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Curtis, S. (1992). The sound of the early Warner Bros. cartoons. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 191–203). New York: Routledge. |
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Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory perception. Ecological Psychology, 5(1), 1–29. |
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Innocent, T. 2003, May 19–23, Exploring the nature of electronic space through semiotic morphism. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne. |
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Kücklich, J. (2003). Perspectives of computer game philology. Game Studies, 3(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0301/kucklich/ |
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Lastra, J. (2000). Sound technology and the American cinema: Perception, representation, modernity. New York: Columbia University Press. |
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Lastra, J. (1992). Reading, writing, and representing sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 65–86). New York: Routledge. |
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van Leeuwen, T. (1999). Speech, music, sound. London: MacMillan Press. |
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Metz, C. (1982). The imaginary signifier: Psychoanalysis and the cinema. C. Britton, A. Williams, B. Brewster & A. Guzzetti, Trans. Bloomington: Indiana University Press. |
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Moncrieff, S., Dorai, C., & Venkatesh, S. (2001). Analysis of environmental sounds as indexical signs in film. Lecture Notes in Computer Science, 2195, 538–545. |
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Tusing, K. J., & Dillard, J. P. (2000). The sounds of dominance: Vocal precursors of perceived dominance during interpersonal influence. Human Communication Research, 26(1), 148–171. |
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Walker, R. (1987). The effects of culture, environment, age, and musical training on choices of visual metaphors for sound. Perception & Psychophysics, 42(5), 491–502. |
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Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from http://www.gamestudies.org/0401/whalen/ |
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