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Anderson, M. L. (2003). Embodied cognition: A field guide. Articificial Intelligence, 149, 91–130.   
Added by: Mark Grimshaw-Aagaard 17/02/2011, 07:55
Cognitivism derives from the Cartesian world view (that sensing and acting in the world does not require thinking -- the mind is separate from the body and this is what separates man and animals; man is capable of higher-level reasoning and abstraction).

Cognitivism -- thinking is a manipulation of abstract symbols according to explicit rules. Three elements to cognitivism: representation, formalism and transformation. Representation requires symbols pertaining to "specific features or states of affairs", but it is the form of the symbol (not its meaning) "that is the basis of its rule-based transformation."
Carter, P. (2004). Ambiguous traces, mishearing, and auditory space. In V. Erlmann (Ed.), Hearing Cultures: Essays on Sound Listening and Modernity (pp. 43–63). Oxford: Berg.   
Added by: Mark Grimshaw-Aagaard 20/12/2007, 17:14
In many societies, "[m]eaning is derived not from the place of the sound sign in relation to other sound signs within the communicational system. It originates from outside the system, from the association of the sound with a sound in the environment that it mimics."
Lastra, J. (1992). Reading, writing, and representing sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 65–86). New York: Routledge.   
Last edited by: Mark Grimshaw-Aagaard 03/03/2006, 14:09
"Those aspects of a sound which mark it as authentic are never simply self-evident "attributes" of that sound. Only their inscription within a system allowing or requiring them to become perceptible gives them a semiotic import within that system. Thus, the supposed unique attributes of an original sound become significant and, to a certain degree, perceptible as such only through their constitution as signs -- precisely that which is not unique."
Lindley, C. A. (2005). The semiotics of time structure in ludic space as a foundation for analysis and design. Game Studies, 5(1). Retrieved March 22, 2006, from http://www.gamestudies.org/0501/lindley/   
Last edited by: Mark Grimshaw-Aagaard 22/03/2006, 16:10
Defines three temporal semiotic levels in games:

1. Simulation: the functional characteristics of the game. time frames, quantization, ticks per cycles etc. At the level of the game design(er).

2. Ludic or Game: patterns of player movements, player engagement with the game rules. Turns, tournaments etc. At the level of the player.

3. Narrative: Based upon the three-act restorative structure. Often, especially in action games, the second act (conflict) is the most extended with the first act (beginning) and third act (resolution) often being limited to cut scenes, FMV, display of final scores etc.
Moncrieff, S., Venkatesh, S., & Dorai, C. 2003, July 6–9, Horror film genre typing and scene labelling via audio analysis. Paper presented at International Conference on Multimedia and Expo.   
Added by: Mark Grimshaw-Aagaard 15/12/2008, 03:11
Affect events are indexical by nature with a "high level of semantic association between the sound energy and affect events" and this "can be extended to attribute a semantic correlation between affect events and the broader thematic content of the film."
Schafer, R. M. (1994). The soundscape: Our sonic environment and the tuning of the world. Rochester Vt: Destiny Books.   
Last edited by: Mark Grimshaw-Aagaard 14/02/2014, 16:44
"A [acoustic] sign is any representation of a physical reality. ... A sign does not sound but merely indicates. A signal is a sound with a specific meaning, and it often stimulates a direct response (telephone bell, siren etc.). A symbol, however, has richer connotations."
"A sound event is symbolic when it stirs in us emotions or thoughts beyond its mechanical sensations or singaling function, when it has a numinosity or reverberation that rings through the deeper recesses of the psyche."
"Sirens and church bells belong to the same class of sounds: they are community signals. As such they must be loud enough to emerge clearly out of the ambient noise of the community. But while the church bell sets a protective spell on the community, the siren speaks of disharmony from within."
"Noises possess a great deal of symbolic character as sound phobias"
Smith, B. R. (2004). Listening to the wild blue yonder: The challenges of acoustic ecology. In V. Erlmann (Ed.), Hearing Cultures: Essays on Sound Listening and Modernity (pp. 21–41). Oxford: Berg.   
Added by: Mark Grimshaw-Aagaard 20/09/2012, 12:10
"The written word in early modern England still carried the bodily force of the spoken word. For us, written words are symbols, arbitrary signs of the things signified. For Shakespeare's contemporaries, I would argue, written words functioned as indices, as signs carrying a bodily, metonymic connection with the things being signified."
WIKINDX 6.8.2 | Total resources: 1301 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: American Psychological Association (APA)