| Anderson, M. L. (2003). Embodied cognition: A field guide. Articificial Intelligence, 149, 91–130. |
 
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| Added by: Mark Grimshaw-Aagaard 17/02/2011, 07:55 |
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| "...having disconnected the form of a symbol from its meaning, cognitivism rules out the possibility of context-sensitive processing, and so requires formal rules to govern the transformation from one cognitive state to another." |
| Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press. |
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| Last edited by: Mark Grimshaw-Aagaard 23/10/2023, 15:11 |
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| "A cognitive map of space is a combination of the rules of geometry as well as knowledge about the physical world. [...] This knowledge is acquired in childhood and continually modified in our experience as adults, we are not conscious of its existence. When sensing a spatial environment, an individual builds a cognitive map of space using a combination of sensory information and experiences accumulated over a lifetime. [The map] is subjective and personalized -- an active and synthetic creation -- rather than a passive reaction to stimuli." |
| Clair, R. (1929). The art of sound. Retrieved September 10, 2021, from https://web.archive.org ... ne/575/art-of-sound.htm |
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| Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:17 |
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| "We must draw a distinction here between those sound effects which are amusing only by virtue of their novelty (which soon wears off), and those that help one to understand the action, and which excite emotions which could not have been roused by the sight of the pictures alone. The visual world at the birth of the cinema seemed to hold immeasurably richer promise.... However, if imitation of real noises seems limited and disappointing, it is possible that an interpretation of noises may have more of a future in it. Sound cartoons, using "real" noises, seem to point to interesting possibilities." |
| Doane, M. A. (1980). Ideology and the practice of sound editing and mixing. In T. de Lauretis & S. Heath (Eds), The Cinematic Apparatus (pp. 47–56). London: Macmillan. |
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| Last edited by: Mark Grimshaw-Aagaard 06/06/2023, 14:41 |
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| "Sound is a bearer of a meaning which is communicable and valid but unanalysable." |
| Grodal, T. (2003). Stories for eye, ear, and muscles: Video games, media, and embodied experiences. In M. J. P. Wolf & B. Perron (Eds), The Video Game Theory Reader (pp. 129–155). New York: Routledge. |
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| Last edited by: Mark Grimshaw-Aagaard 22/08/2006, 08:23 |
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| "...video games and other types of interactive virtual reality are simulations of basic modes of real-life experiences. This means that cognitive psychology provides many advantages as a tool for describing video games compared with a semiotic approach." |
| Gröhn, M., Lokki, T., Savioja, L., & Takala, T. 2001, January 22–23, Some aspects of role of audio in immersive visualization. Paper presented at Visual Data Exploration and Analysis VIII. |
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| Added by: Mark Grimshaw-Aagaard 16/02/2006, 08:30 |
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| "The cross-modal perception of auditory and visual stimuli is explored mostly with animals. ... little research have [sic] been done in the area of cognitive aspects of simultaneous visual and auditory stimuli in dynamic environments." |
| Lindley, C. A., & Sennersten, C. C. (2008). Game play schemas: From player analysis to adaptive game mechanics. International Journal of Computer Games Technology, 2008. |
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| Added by: Mark Grimshaw-Aagaard 06/05/2008, 10:43 |
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"a game play schema is understood as a cognitive structure for orchestrating the various cognitive resources required to generate motor outputs of game play in response to the ongoing perception of an unfolding game. A game play schema is therefore the structure and algorithm determining
the management of attentional and other cognitive, perceptual, and motor resources required to realize the tasks involved in game play. [...] Schemas can be regarded as mechanisms or algorithms that, among other functions, determine the allocation of attention to cognitive tasks." |
| Maturana, H., & Varela, F. (1980). Autopoiesis and cognition: The realization of the living. Dordecht: D. Reidel Publishing Co. |
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| Last edited by: Mark Grimshaw-Aagaard 20/06/2006, 08:13 |
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| "...autopoiesis generates a phenomenological domain, this is cognition." |
| Maturana, H., & Varela, F. (1987). The tree of knowledge: The biological roots of human understanding. R. Paolucci, Trans. Boston: Shambhala. |
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| Last edited by: Mark Grimshaw-Aagaard 27/03/2006, 08:08 |
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| "The nervous system does not 'pick up information' from the environment ... The popular metaphor of calling the brain an 'information-processing device' is not only ambiguous but patently wrong" |
| Niedenthal, P. M. (2007). Embodying emotion. Science, 316, 1002–1005. |
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| Added by: Mark Grimshaw-Aagaard 26/01/2011, 01:57 |
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| "...high-level cognitive processes (such as thought and language) use partial reactivations of states in sensory, motor, and affective systems to do their jobs [...] The brain captures modality-specific states during perception, action and interoception and then reinstates parts of the same states to represent knowledge when needed." |
| "...shifting from processing in one modality to another involves temporal processing costs: Individuals take longer to judge the location of a visual stimulus after having just detected the location of an auditory one, for example, than if both stimuli arrive to the same modality." |
| Riddoch, M. 2012, September 9–14, On the non-cochlearity of the sounds themselves. Paper presented at International Computer Music Conference, Ljubljana. |
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| Last edited by: Mark Grimshaw-Aagaard 23/09/2020, 21:36 |
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| "This sensitivity is exhibited even in newborns indicating that an attunement to organized sound is an evolutionary adaptation in the human species." |
| Schafer, R. M. (1994). The soundscape: Our sonic environment and the tuning of the world. Rochester Vt: Destiny Books. |
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| Last edited by: Mark Grimshaw-Aagaard 14/02/2014, 16:44 |
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| "Sounds may be classified in several ways: according to their physical characteristics (acoustics) or the way in which they are perceived (psychoacoustics); according to their function and meaning (semiotics and semantics); or according to their emotional or affective qualities (aesthetics). While it has been customary to treat these classifications seperately, there are obvious limitations to isolated studies." |
| Somers, E. 2000, April 2–5, Abstract sound objects to expand the vocabulary of sound design for visual and theatrical media. Paper presented at 6th International Conference on Auditory Display, Atlanta. |
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| Added by: Mark Grimshaw-Aagaard 16/09/2005, 13:58 |
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| Sound intended for dramatic purposes or to communicate can have "varying levels of cognitive precision." |
| Szabó Gendler, T. (2010). Intuition, imagination, & philosophical methodology. Oxford: Oxford University Press. |
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| Last edited by: Mark Grimshaw-Aagaard 21/10/2023, 06:42 |
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| Quoting Thordyke (1922, p.33) "the mind is ruled by habit throughout" and reasoning is no more than "the organization and cooperation of habits." |
| Williams, S. M. (1994). Perceptual principles in sound grouping. In G. Kramer (Ed.), Auditory Display: Sonification, Audification, and Auditory Interfaces (pp. 95–125). Reading MA: Addison-Wesley. |
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| Added by: Mark Grimshaw-Aagaard 06/05/2008, 15:42 |
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| Provides a definition for sensation, perception and cognition as these (especially the first two) are confusingly and interchangeably used in the literature: "sensation refers to immediate and basic experiences generated by isolated, simple stimuli; perception involves the interpretation of those sensations, giving them meaning and organisation; and cognition involves the acquisition, storage, retrieval, and use of knowledge." |
