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Kramer, G. (1994). Introduction to auditory display. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 1–77). Reading MA: Addison-Wesley.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 03/02/2006, 11:00
Quoting R.B. Dannenberg (unreferenced) providing a meaning of timbre as a demonstration of the paucity of audial descriptive tools in everyday language: "...we picked out the two things we understood, pitch and amplitude, and called everything else timbre. So timbre is by definition that which we cannot explain."  
"...the use of soundtracks in computer software, games, and so on offers these media advantages identical to film soundtracks. Fear, anticipation, calm, humor, and other emotions can all be suggested."  
"[Auditory Display] can, after all, encompass the disciplines of cognitive and experimental psychology, psychoacoustics, communication, education, computer science, mathematics, statistics, linguistics, psychomusicology, sound analysis and sythesis, music composition and all the data generating fields. ... Information-generating sources, sound-generating and manipulating techniques, human perception and comprehension, all must be throughly comprehended in order to assure effectiveness in the field."
McCrindle, R. J., & Symons, D. Audio space invaders. Paper presented at 3rd International Conference on Disability, Virtual Reality and Associated Technologies.    
Added by: Mark Grimshaw-Aagaard 05/08/2005, 12:53
Some of the results obtained include:

  • "Sounds with a smooth varying pitch were very difficult to locate. It gave the impression that these sounds were moving when they were in fact not."
  • "Sounds that changed could be located as long as the change was quite harsh. A helicopter s propellers or some other sort of machine were easy to locate whereas a sound like siren was not."
  • "With more than two sounds the quieter or less distinguishable sounds became masked and were not easy to hear until objects making the louder sounds were destroyed."
  • "Two or more sounds which were the same or very similar were also difficult to locate, although not impossible."
  • "Too many sources of sound were found to be detrimental to the game."
Röber, N., & Masuch, M. 2004, November 8–10. Auditory game authoring: From virtual worlds to auditory environments. Paper presented at International Conference on Computer Games: Artificial Intelligence, Design and Education, University of Wolverhampton, UK.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 31/08/2005, 14:51
"...the visual and the auditory field of view are two independent sensory systems..."  
"Auditory environments are much like visual environments. The only difference is that these environments are perceived by hearing instead of vision. The environmental information conveyed through sound is usually different than the one through vision (Goldstein 2001)."

E.Bruce Goldstein, Sensation and Perception Wadsworth Publishing Company,2001 		 
"For the rendering of acoustic scenes, it is more important to focus on the clarity and effectivity of the display rather than on physically accurate rendering."  
The authors divide sound in [game] auditory environments into:

  1. Story-related sound textures. Sounds can be activated by user interaction. Can be one sound or layered sounds and drive the narrative onward.
  2. Environmental sound textures. Characterise story-related sound textures in different environments. The example they give is tyres on a moving car in different environments. Tyres are the story-related sound texture; dirt road, wet tarmac etc. are the environmental sound textures. The latter are defined and processed by the game's physics engine.
Röber, N., & Masuch, M. 2004, July 6–9. Interacting with sound: An interaction paradigm for virtual auditory worlds. Paper presented at Tenth Meeting of the International Conference on Auditory Display, Sydney, Australia.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 27/07/2005, 11:47
Three categories of auditory phenomena in auditory worlds:

  1. Speech -- (transmission of knowledge)
  2. Music -- (suited to affect and emotion)
  3. Natural or artifical sounds


The last is the largest and may be further broken down to:

  1. Main sounds
  2. Supporting sounds
  3. Ambient sounds

or

  1. describing sounds -- information about environment
  2. artifical sounds -- used for identifaction of objects
  

All objects in an auditory[-only] world are described as 'interactable' -- all objects must emit sound otherwise they do not exist for the listener. These objects can be grouped as


  • obstacles -- interfere with environment navigation
  • portals -- allow change of position within the environment
  • interactables -- most interactive and its sounds describe the object's potential or possibilities.

There is a little discussion of difficulties in choosing sounds appropriate for the interactables (Gaver 1986)
Röber, N., & Masuch, M. 2005, June 16–20. Playing audio-only games: A compendium of interacting with virtual auditory worlds. Paper presented at Changing Views -- Worlds in Play, Toronto.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 27/07/2005, 11:13
"The most important quality to explore acoustic spaces is the ability to determine the origin of sounds and speech."
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