Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 20 of 52 Parameters |
| Asutay, E., Västfjäll, D., Tajadura-Jimenez, A., Genell, A., Bergman, P., & Kleiner, M. (2012). Emoacoustics: a study of the psychoacoustical and psychological dimensions of emotional sound design. Journal of the Audio Engineering Society, 60(1/2), 21–28. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/06/2014, 21:20 | |
| Bouchard, S., St-Jacques, J., Robillard, G., & Renaud, P. (2008). Anxiety increases the feeling of presence in virtual reality. Presence: Teleoperators and Virtual Environments, 17(4), 376–391. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/08/2020, 15:36 | |
| Not only external factors but also "psychological states and appraisal patterns of users might also affect presence." | |
| Suggest that there is a limit to the linear equation between increasing sophistication of immersive technology/level of realism and development of presence. | |
| Bradley, M. M., & Lang, P. J. (2000). Affective reactions to acoustic stimuli. Psychophysiology, 37, 204–215. |
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| Added by: Mark Grimshaw-Aagaard 19/05/2014, 08:30 | |
| Bramas, B., Kim, Y.-M., & Kwon, D.-S. 2008, October 14–17. Design of a sound system to increase emotional expression impact in human-robot interaction. Paper presented at International Conference on Control, Automation and Systems, Seoul, Korea. |
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| Added by: Mark Grimshaw-Aagaard 20/04/2009, 09:30 | |
| Brenton, H., Gillies, M., Ballin, D., & Chatting, D. 2005, September 6. The Uncanny Valley: Does it exist and is it related to presence? Paper presented at Proceedings of the Human-Animated Characters Interaction. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/07/2018, 10:36 | |
| Cho, J., Yi, E., & Cho, G. (2001). Physiological responses evoked by fabric sounds and related mechanical and acoustical properties. Textile Research Journal, 71(12), 1068–1073. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/04/2009, 09:29 | |
| Cohen, A. J. (2002). Music as a source of emotion in film. In P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research. (pp. 249–272). Oxford: Oxford University Press. (Original work published 2001). |
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| Added by: Mark Grimshaw-Aagaard 02/09/2005, 12:50 | |
| Cox, T. J. 2007, September 2–7. Bad vibes: An investigation into the worst sounds in the world. Paper presented at 19th International Congress on Acoustics, Madrid. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/10/2010, 07:00 | |
| Cruz, R. (2007). I-sounds emotion-based sound generation for virtual environments. Retrieved April 20, 2009, from http://isounds.files.wo ... .com/2007/04/report.pdf |
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| Added by: Mark Grimshaw-Aagaard 22/04/2009, 10:04 | |
| Econtact! 14.2: Biotechnological performance practice. (2012). Retrieved April 3, 2014, from http://cec.sonus.ca/econtact/14_2/index.html |
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| Added by: Mark Grimshaw-Aagaard 03/04/2014, 08:46 | |
| Ekman, I. 2008, October 22–23. Psychologically motivated techniques for emotional sound in computer games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard 08/01/2009, 10:14 | |
| The role of sound in film (and, for Ekman, by extension games) is "to make things on screen seem real [...] to create a sense of immediacy", to support and facilitate gameplay and to provoke "sensory pleasure and displeasure." | |
| Typically in film, sounds (especially dialogue) is used to drive the narrative; in games, sounds support player action and hence have a greater utility value as opposed to narrative value. | |
| Evans, D. (2001). Emotion: A very short introduction. Oxford: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard 28/05/2011, 07:52 | |
| Ekman's basic universal, innate emotions include: joy; distress; anger; fear; surprise; disgust. "They are of rapid onset and last a few seconds at a time." | |
| "The universality of basic emotions argues strongly for their biological nature." | |
| Some emotions are learned and culturally specific. Perhaps such emotions exist to "help people to cope with the particular demands of their culture." (p.15) | |
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"...fear is probably one of the first meotions to have ever evolved." All animals descended from the first vertebrates have the capacity for fear. |
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| "Some memories seem so fresh and vivid when we recall them that we may have the impression of reliving the event exactly as it happened, but this is an illusion caused by the power of our imaginative reconstruction. When we compare such recollections with those of others who were in the same place at the same time, we may find that the accounts differ markedly, while the differing versions seem equally vivid and real to each person." | |
| Internal response lead to particular courses of action, external emotional expression allows others to learn from our experience. | |
| Re John Searle's thought experiment, the Chinese Room. A man in a room has a set of rules for responding to Chinese inscriptions that are given to him. Based on these responses, people outside the room believe the man knows the Chinese language. He doesn't though. Searle argues a computer is like this -- it only interprets, it never knows therefore could never become conscious. | |
| Subjective feeling that is the basis for consciousness is "the essence of true emotion" (p.116) and consciousness is arrived at through embodiment (which leads to subjective feeling). Will robots feel differently to themselves than humans observe their behaviours (and thus inferred) feelings to be? Will they experience the same emotions or the same mix of emotions? If not, could there be empathy between robot and human (p.119)? | |
| If consciousness depends on the capacity for subjective feelings and subjective feeling depend on the form of body one has, computer programs will always lack consciousness if they remain virtual. Hence 'evolutionary robotics' and 'embodied programs'. | |
| Remembering is never precise because items in memory are not recorded in their fine details. They are filed under keywords; these are extrcted and "educated guesswork" fills in the blanks. "It is more like reconstrcuting an antique pot from a few broken shards than replaying an old movie" (p.80). | |
| Stories provide emotional satisfaction by providing social information. Yet the information is false Perhaps they work by providing information about the narrator -- his/her intelligence. | |
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Moods (e.g. happiness) are long-term and increase our susceptibility to emotions (e.g. joy). Equally, a mood such as happiness may protect us from distress. Moods are background states. |
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The higher cognitive emotions, guilt, love, revenge etc., "seem to exhibit a kind of 'global rationality' that saves pure reason from itself" (p.36). Robert Frank says that such emotions, which evolved later than the basic emotions, are related to commitment issues. e.g. facial expressions of guilt demonstrate untrustworthiness -- if you can be trusted, others are more happy to work with you. Signs of love demonstrate commitment to another. A reputation for revenge means you will be less likely to be a victim. |
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| Internal feelings and external expressions must be taken into account in a consideration of the evolution of emotions. | |
| Two pathways related to fear in the brain. The shorter leads to quicker responses but can be wrong -- e.g. false fire alarms. The second is longer and slower, passsing through the sensory cortex allowing us to consider the risk and to cut off the initial fear response if the danger is not real. | |
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Other higher cognitive emotions might be jealousy, envy, pride, embarrassment, shame, guilt as well as love. All of these are fundamentally social unlike basic emotions. "Some basic emotions can also be co-opted for the social functions that typify higher cognitive emotions." (p.21). e.g. disgust at a rotting body's smell (non-social function keeps you away from disease) or disgust at incest or paedophilia (social function). |
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| Possibly a third category of emotions -- 'higher cognitive emtotions' e.g. love. It is universal and innate (to a degree) but typically grows slowly (unlike fear and anger). Such emotions are associated with the neocortex rather than in the subcortical strucutres of the brain. The neocortex supports high level complex cognition such as logical analysis. Emotions derived here may be "influenced by conscious thoughts and this in turn is probably what allows higher cognitive emotions to be more culturally variable than the basic emotions" (p.20). | |
| A continuum betwee basic, innnate emotions and learned emotions. Fear and anger, for examplem very innate and very basic. Romantic love, as an emotion: unclear whether basic or learned. Some claim it is a Mediaeval invention but others find evidence for it in texts such as the Old Testament. It's also been observed in non-Western societies.. However, emotions such as romantic love can be "played out slightly differently in different cultures" (p.19). | |
| Fairclough, S. H. 2007 Psychophysiological inference and physiological computer games. Paper presented at Brainplay’07: Brain-Computer Interfaces and Games, Salzburg, Austria. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/01/2010, 08:45 | |
| Garner, T., Grimshaw, M., & Abdel Nabi, D. 2010, September 14–16. A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game. Paper presented at Audio Mostly 2010, New York. |
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| Added by: Mark Grimshaw-Aagaard 22/09/2010, 04:15 | |
| Garner, T., & Grimshaw, M. 2013, July 22–26. Psychophysiological assessment of fear experience in response to sound during computer video gameplay. Paper presented at IADIS International Conference Interfaces and Human Computer Interaction, Prague. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/10/2013, 07:13 | |
| Garner, T. A., & Grimshaw, M. (2013). The physiology of fear and sound: Working with biometrics toward automated emotion recognition in adaptive gaming systems. IADIS International Journal on WWW/Internet, 11(2). Retrieved February 5, 2014, from http://www.iadisportal. ... i/papers/2013112106.pdf |
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| Added by: Mark Grimshaw-Aagaard 05/02/2014, 13:02 | |
| Garner, T. A. (2013). Game sound from behind the sofa: An exploration into the fear potential of sound & psychophysiological approaches to audio-centric, adaptive gameplay. Unpublished PhD Thesis, University of Aalborg, Denmark. |
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| Added by: Mark Grimshaw-Aagaard 13/05/2013, 08:37 | |
| Garner, T. A. (2016). From sinewaves to physiologically-adaptive soundscapes: The evolving relationship between sound and emotion in video games. In K. Karpouzis & G. N. Yannakakis (Eds.), Emotion in Games. Vol. 4, (pp. 197–214). Berlin: Springer. |
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| Added by: Mark Grimshaw-Aagaard 08/11/2016, 08:37 | |
| Glass, S. T., Lingg, E., & Heuberger, E. (2013). Do ambient urban odors evoke basic emotions? Frontiers in Psychology, 5(340), 1–11. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 29/09/2015, 12:08 | |
| Grimshaw, M. 2009, September 2–3. The audio uncanny valley: Sound, fear and the horror game. Paper presented at Audio Mostly 2009, Glasgow, UK. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/10/2017, 05:43 |