| Breinbjerg, M. (2005). The aesthetic experience of sound: Staging of auditory spaces in 3D computer games. Retrieved January 24, 2006, from http://www.aestheticsofplay.org/breinbjerg.php |
 
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| Added by: Mark Grimshaw-Aagaard 28/08/2006, 13:30 |
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| Suggests that, although every sound informs us about the salient features of the source-cause event, we are not necessarily able to confirm precisely the nature of the source other than its rough features. |
| Bruner, J. S. (1957). On perceptual readiness. Psychological Review, 64(2), 123–152. |
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| Added by: Mark Grimshaw-Aagaard 21/10/2005, 14:48 |
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| Bruner uses the term predictive veridicality: "By predictive veridicality I mean simply that perceptual categorization of an object or event permits one to "go beyond" the properties of the object or event perceived to a prediction of other properties of the object not yet tested. The more adequate the category systems constructed for coding environmental events in this way, the greater the predictive veridicality that results." |
A point taken up later by Anderson that veridicality encompasses a process of matching and confirmation across modalities (Anderson 1996, p.82).
Anderson, J. D. (1996). The reality of illusion: An ecological approach to cognitive film theory. Carbondale and Edwardsville: Southern Illinois University Press. |
| Droumeva, M. (2011). An acoustic communication framework for game sound: Fidelity, verisimilitude, ecology. In M. Grimshaw (Ed.), Game sound technology and player interaction: concepts and developments (pp. 131–152). Hershey (PA): IGI. |
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| Last edited by: Mark Grimshaw-Aagaard 30/05/2021, 07:59 |
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| "Fidelity reflects the development of sound in games from a technological perspective while verisimilitude reflects the cultural emergence of authenticity, immersion and suspension of disbelief in cinema" |
| "[...] sound's role in games is not simply descriptive, one of reflecting reality in a high-fidelity manner, but it is largely about function! Interface sounds, warning sounds, alerts, and musical earcons must continue to be part of this acoustic ecology, subject to issues of acoustic balance, masking and fidelity, as well as the informational ecology of interactive play." |
| "If fidelity refers to the faithfulness of sound quality in computer games, verisimilitude concerns itself with the experience and nature of truthfulness and authenticity in a game context, as conveyed through the game soundscape." |
| "[...] game sound has developed historically to conform to our sense of reality while at the same time it has constructed a sense of reality, particular to games, that we now expect." |
| "In its traditional literary/theatrical definition, verisimilitude reflects the extent to which a work of fiction exhibits realism or authenticity, or otherwise conforms to our sense of reality. In film, the notion of verisimilitude signifies the relative success of cinematography at creating an immersive, engaging fictional world of hyper-realistic proportions both in terms of image and sound, but also of intensity of emotion and experience" |
| Lee, K. M. (2004). Why presence occurs: Evolutionary psychology, media equation, and presence. Presence: Teleoperators and Virtual Environments, 13(4), 494–505. |
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| Last edited by: Mark Grimshaw-Aagaard 15/11/2018, 11:30 |
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| Discussing the reason why high fidelity of image is not necessary to presence – much of what we see is actually from peripheral vision and thus out of focus. |
| Discusses humans' natural tendency to accept incoming stimuli as sourced from reality first and only then to reject after assessment – a suggestion as to why users accept technologically mediated stimuli as real (thus presence). |
