| Ambrosetti, F. Urban Terror 2.6 released. Retrieved June 2, 2006, from http://www.gamershell.com/news/4383.html |
 
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| Added by: Mark Grimshaw-Aagaard 02/06/2006, 07:49 |
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| "Well Silicon Ice Development, the team behind Urban Terror, a great Q3 realism mod, has announced the release of the beta version 2.6 this Saturday November 9, 2002." |
| 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 discussion on auditory spatial awareness. Conclusions, based mainly on case studies of blind people:
- Auditory spatial awareness is a skill that must be learnt and is difficult to learn.
- Different aural cultures have different abilities and there is no one sensitivity to aural space; rather a group of independent sensory skills (some more aware of spatial volumes, others more aware of objects in that space).
- Controlled experiments showing humans have give auditory spatial awareness should be treated with care as they are artificial and, in testing one spatial factor, usually remove other potentially confusing factors.
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| 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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| Last edited by: Mark Grimshaw-Aagaard 14/08/2020, 15:36 |
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| Suggest that there is a limit to the linear equation between increasing sophistication of immersive technology/level of realism and development of presence. |
| Chion, M. (1994). Audio-vision: Sound on screen. C. Gorbman, Trans. New York: Columbia University Press. |
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| Added by: Mark Grimshaw-Aagaard 07/06/2021, 08:48 |
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| "Of two war reports that come back from a very real war, the one in which the image is shaky and rough, with uneven focus and other "mistakes," will seem more true than the one with impeccable framing, perfect visibility, and imperceptible grain. In much the same way for sound, the impression of realism is often tied to a feeling of discomfort, of an uneven signal, of interference and microphone noise, etc." |
| Clowes, R. W., & Chrisley, R. (2012). Virtualist representation. International Journal of Machine Consciousness, 4(2), 503–522. |
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| Last edited by: Mark Grimshaw-Aagaard 06/06/2023, 14:37 |
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| "Take the idea of telepresence, for instance, which was strange and new when described by Howard Rheingold back in 1991." |
| "Interfaces in standard VR can be viewed as modes of coupling with the (virtual) environment that transform an already existing sensed-embodiment. To put this another way, in the original context presence is assumed (perhaps as produced by unconscious neural mechanisms) and then, through an interactive interface, presence is "projected" into a virtual world." |
| As an example of presentational virtualism: "But in dreams, our sense of presence assuming we have such can only be explained by the "projections" of the brain. In essence, Revonsuo is arguing that, as presence can be experienced in the absence of dynamic world coupling, such coupling cannot be necessary for (the experience of) presence. His conclusion is that being-in-the-world, and the experience of presence even in normal configurations, is virtual." |
| "In its unelaborated form, presentational virtualism faces several traditional problems. First, the position is internalist to an extent that appears to put us radically out of touch with the world, in familiar ways. For those acquainted with the history of the philosophy of perception, it is hard to resist seeing this kind of virtualism as an old, discredited theory of perception — the indirect theory — in modern technological guise. On this picture, virtualism is advocating that: (1) when we are dreaming there is no further reality beyond the virtual, dreamed reality for our experiences to be of, so they are of the virtual objects, properties, etc., that constitute that virtual world; and therefore, in the same way, (2) when we are not dreaming, our experiences are not of a further, external world to which we have no access, but are again of virtual objects, properties, etc., that constitute a virtual world (those created by the neural "interface", which is the same, after all as the "interface" in operation during dreaming) that we merely take to be an actual world." |
| "The key components of the sophisticated presentationalist view are crucially disanalogous with what is going on in the use of virtual reality technology. When we use such technology, we exercise the very same perceptual processes when we are wearing the VR gear as when we are not." |
| "VR technology parasitizes the pre-existing, biologically endowed (in our case) sensory capacities of an autonomous subject to create an experience of a virtual world, a world whose virtuality is defined relative to the actuality of the world made available by the preexisting sensory system." |
"the virtualist is asking us to simultaneously employ the VR metaphor and ignore an essential, ineliminable feature
of the source (the use of VR technology by a pre-existing subject) while doing so. For this reason the metaphor (at least in its presentational virtualist form) fails in its attempt to portray a coherent, alternative conception of mind and experience." |
| Enactive virtualism (after Noë description of perceptual presence): "when we perceive an object, we are only really (occurrently) sensorially in touch with a small part of what we perceive or see, but nevertheless the whole object is perceptually (but virtually) present to us." |
"How is sensory contact actualized in such a way that perceptual experience is generated?
This actualization process happens, in all versions of Noë's theory, through acting. Put slightly differently, and in the terminology that Noë favors, perceptual content is given through occurrent deployment of our mastery of sensorimotor dependencies (originally contingencies [...]; that is, very roughly, the way that sensory information follows or frustrates our expectations that arises out of our mastery of sensorimotor flow. Perceptual presence on this analysis arises because of the mastery of dependencies we acquire as we move around and interact with objects. Perceptual presence for Noë is to be explained, like perceptual content itself, from our mastery of the laws of sensorimotor dependence." |
| "For Noë, perception is actional or enactive but is also in a certain sense projected. What we experience is not what is simply given in our occurrent sensorimotor contact but what is somehow generated in that contact. Perceptual content is generated because we are constantly in touch with the world." |
| "presentational virtualism holds that that the content of our experiences is virtual and perception is, in an important sense, similar to hallucination because it is ultimately internal perceptual vehicles that we perceive rather than the external worldly objects they represent. In contrast, enactive representationalism sees us as being in deep contact with the world, but at the "price" of conceiving of our representational systems as partly composed by the world. We have seen that the former trades on di±culties with the metaphor of virtuality itself while the latter tends to commit us to problematic views: either the Grand Illusion or the idea that external world contributes to perceptual content independently of our sensory contact with it." |
| Corner, J. (1992). Presumption as theory: 'realism' in television studies. Screen, 33(1), 97–102. |
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| Added by: Mark Grimshaw-Aagaard 28/03/2006, 11:02 |
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| There is a realism of form -- "staging, directing, acting, shooting and editing" -- and a realism of theme -- "plausibility of characterization, circumstance and action" |
| Mentions a further emotional realism based on Ien Ang's Watching Dallas book which is "deep-level resonances with the emotional organization of the viewer" |
Defines two initial types of realism as they relate to television:
1. Verisimilitude: being like the real.
2. Reference - being about the real. |
| Crawford, C. (1997). The art of computer game design. Retrieved January 28, 2008, from http://www.vancouver.ws ... ame-book/Coverpage.html |
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| Last edited by: Mark Grimshaw-Aagaard 29/01/2008, 11:26 |
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| "...a game is a closed formal system that subjectively represents a subset of reality." |
| Darley, A. (2000). Visual digital culture: Surface play and spectacle in new media genres. London: Routledge. |
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| Last edited by: Mark Grimshaw-Aagaard 05/11/2006, 11:59 |
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| Claims that the idea of producing realism has dominated the computer image industry/research since the late 1970s. Realism is defined as the degree of resemblance to real-world objects with, for images, photography being the yardstick. |
| Dion, L. P. (2017). Game design deep dive: Dynamic audio in destructible levels in Rainbow Six: Siege. Gamasutra, Retrieved July 7, 2021, from https://www.gamasutra.c ... n_Rainbow_Six_Siege.php |
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| Added by: Mark Grimshaw-Aagaard 07/07/2021, 09:12 |
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| "Special attention was put to the realism and amount of details in our Navigation Sounds" |
| 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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| "The ineffable, intangible quality of sound requires that it be placed on the side of the emotional or the intuitive. If the ideology of the visible demands that the spectator understand the image as a truthful representation of reality, the ideology of the audible demands that there exist simultaneously a different truth and another order of reality for the subject to grasp." |
| "In the arguments over sound perspective, 'realism' (as an effect of the ideology of the visible) is viewed as conflicting with intelligibility". |
| Spoken words reveal directly the psychological interior revealing the character on screen. While image can do this, sound is more direct. Image is best at defining the exterior (i.e. visible realism) whereas sound best defines the interior (i.e. psychological realism). |
| 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" |
| Ekman, I. 2005, Meaningful noise: Understanding sound effects in computer games. Paper presented at Digital Arts and Cultures, Kopenhagen. |
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| Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 01:21 |
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| To be diegetic, game sound must be considered real in the context of the story. |
| A game sound that is a diegetic referent, references or signifies something real inside the game. |
| Ellis, S. R. (1996). Presence of mind: A reaction to Thomas Sheridan's "further musings on the psychophysics of presence". Presence: Teleoperators and Virtual Environments, 5(2), 247–259. |
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| Last edited by: Mark Grimshaw-Aagaard 26/07/2018, 10:46 |
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| In suggesting that interface performance in virtual environments can be improved by decreasing presence, Ellis suggests removing or controlling the realism of spatial information. |
| Flach, J. M., & Holden, J. G. (1998). The reality of experience: Gibson's way. Presence: Teleoperators and Virtual Environments, 7(1), 90–95. |
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| Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21 |
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| Re Gibson, "action takes precedence. The experience depends more on what can be "done" than on the quality of visual or acoustic images." |
| "in the design of experiences in virtual environments the constraints on action take precedence over the constraints on perception." |
| "the reality of experience (i.e. presence or immersion)." |
| Hutcheon, P. D. (1972). Value theory: Towards conceptual clarification. The British Journal of Sociology, 23(2), 172–187. |
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| Added by: Mark Grimshaw-Aagaard 23/05/2021, 16:33 |
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| "The myth of the possibility of 'objectively' documenting reality, so unquestioningly accepted by sociologists anxious to achieve 'scientific' status, seems now to have spread to a majority of those involved in the humanities and the arts. The fetish of realism-too often manifested as a detailed portrayal of pathology in the name of the whole truth-is widely indulged in by the very 'creative' intellectuals who scorn the social scientists for their conformist scientism." |
| "American sociology has tended to develop in isolation from the humanities, and in the form of a highly specialized technique rather than as a broad, philosophically and historically sophisticated perspective for the study of man. This may have been due as much to the trend toward professionalization and kingdom building in academic life as to the widespread acceptance of the philosophical assumptions of Weberian neopositivism. The establishment of separate departments in universities no doubt encouraged competition among the social sciences for funds, students, and better means of sharpening data-manipulating techniques. It is easy to see how values, with their notorious resistance to precise measurement, might be assigned low priority in this situation." |
| IJsselsteijn, W. A., Freeman, J., & de Ridder, H. (2001). Presence: Where are we? Cyberpsychology & Behavior, 4(2), 179–182. |
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| Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:19 |
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| Presence is "an illusory shift in point of view" |
| The illusion of "being there" in a virtual environment is enhanced by "more accurate reproductions and/or simulations of reality." |
| Law, C. Urban Terror! GameSpy, Retrieved June 2, 2006, from http://archive.gamespy. ... ghts/urbanterror_a.shtm |
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| Added by: Mark Grimshaw-Aagaard 02/06/2006, 07:33 |
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| Bot Killer: "Ever since we were kids we all have imagined what it would be like to be on an elite team of Navy Seals, or a deadly group of angry terrorists. Now with the power of id Software's Quake III engine, Silicon Ice Development will be capable of making a more realistic environment than anything ever seen before in a total conversion. Our goal is to make a fast pace, action packed, brand spankin' new, totally realistic, gore-covered, super mod." |
| GottaBeKD: ""Urbanites" will get lost in the reality of it all. From the beautiful present day locations to the frighteningly real models, there will be tons of things working together to give our players that action fix that they all need." |
| WU: "Urban Terror is a total conversion that aims to achieve the realistic sense of suspense and action that real life situations would provide. Although its primary inspiration is realism, we are not forgetting the community we are developing for." |
| Dokta8: "The science fiction theme of Quake is replaced by conventional weapons and urban landscapes. Gameplay is also enhanced to add more detail and realism to the gaming experience. By enhanced I mean that there will be more to winning a round than simply fragging opponents with a rocket launcher as weapons respond differently when you are running or crouching, and at long or short ranges. Skill and strategy plays an increasingly important part in Urban Terror." |
| McCaren, T., & Goellner, V. (2019). Behind the audio of Total War: Three Kingdoms. Gamasutra, Retrieved July 7, 2021, from https://www.gamasutra.c ... _War_Three_Kingdoms.php |
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| Added by: Mark Grimshaw-Aagaard 07/07/2021, 09:06 |
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| "Our main goal with the audio for the settlements was to make them feel alive, dynamic and responsive to certain in-game conditions for an added level of realism." |
| McMahan, A. (2003). Immersion, engagement, and presence: A new method for analyzing 3-D video games. In M. J. P. Wolf & B. Perron (Eds), The Video Game Theory Reader (pp. 67–87). New York: Routledge. |
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| Last edited by: Mark Grimshaw-Aagaard 01/02/2018, 15:16 |
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Defining realism as one of the factors of immersion/presence, McMahan describes two parts of it: social realism and perceptual realism. She extends Fencott's (1999) work and his argument that, because presence relies on perception (which is a mental rather than sensory/tactile state), increased presence derives from increased field of view and a strong sense of foreground and background. Fencott has derived Perceptual Opportunities which include:
- Sureties -- indicators, signs, architectural detail
- Shocks -- polygon leaks, poor design - anything which detracts from presence and indicates that this is merely a game
- Surprises -- nonpredictable details that are a part of the virtual world's logic and design. 3 types of surprises
- Attractors - tempt the user to do something.
- Connectors -- similar to sureties in helping the user's orientation.
- Retainers -- make the user "linger and enjoy" parts of the environment.
Fencott, C. (1999). Presence and the content of virtual environments. Retrieved August 4, 2005, from http://web.onyxnet.co.u ... co.uk/pres99/pres99.htm |
| Melville, T. (2020). Gran Turismo: Realism redefined. Retrieved July 3, 2021, from https://www.mazda.com.a ... ismo-realism-redefined/ |
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| Last edited by: Mark Grimshaw-Aagaard 03/07/2021, 13:04 |
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| "The sound of the RX-VISION GT3 CONCEPT is different from most other in-game vehicles in that it is created using audio recorded from another vehicle, in this case Mazda’s Le Mans winning 787B race car." |
| "The illusion of reality that Gran Turismo achieves is fragile, and relies on perfection in every aspect of the game’s execution. One crucial element in maintaining this illusion is vehicle sound. [...] Using software these sounds are placed in the spatial context of the game, ensuring the car sounds realistic as it travels around a track, or through a tunnel or forest." |
