Sound Research WIKINDX

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Ballas, J. A. (1994). Delivery of information through sound. In G. Kramer (Ed.), Auditory Display: Sonification, Audification, and Auditory Interfaces (pp. 79–94). Reading MA: Addison-Wesley.   
Last edited by: Mark Grimshaw-Aagaard 28/04/2009, 06:34
Points out that a sound can be dissociated from its causal event unlike, for example, light/vision and that this dissociation has advantages and disadvantages. Because a sound can be representative of something other than its causal event (dissociated), sound designers need to understand the mapping of sound parameters to complex phenomena. Where no dissociation occurs, designers need to take into account sound context and listener expectations.
Bruner, J. S. (1957). On perceptual readiness. Psychological Review, 64(2), 123–152.   
Added by: Mark Grimshaw-Aagaard 21/10/2005, 14:48
A section dealing with expectancy. Bruner suggests that expectancy of encountering events or objects in any context "preactivates a related array of categories" (p.137) leading to a heightened state of perceptual readiness.
Ermi, L., & Mäyrä, F. 2005, June 16–20, Fundamental components of the gameplay experience: Analysing immersion. Paper presented at Changing Views -- Worlds in Play, Toronto.   
Last edited by: Mark Grimshaw-Aagaard 30/03/2011, 04:15

Use McMahan's (2003) three conditions that are required to "create a sense of immersion in digital games: the conventions of the game matching the user expectations, meaningful things to do for the player, and a consistent game world."



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.
Kramer, G. (1994). Some organizing principles for representing data with sound. In G. Kramer (Ed.), Auditory Display: Sonification, Audification, and Auditory Interfaces (pp. 185–221). Reading MA: Addison-Wesley.   
Last edited by: Mark Grimshaw-Aagaard 21/10/2005, 14:49
Audiation is the formation of "an imagined auditory image" and involves memory and recall. Little research has been done in this area. Sometimes called auralization, which itself is sometimes described as realistic sonic spatialization.
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.   
Last edited by: Mark Grimshaw-Aagaard 01/02/2018, 15:16

"Immersion is not wholly subject to the technology's physical dimensions nor is it wholly dependent on audio or photo realism. Three conditions are required for immersion"


  • "the user's expectations of the game or environment must match the environment's conventions fairly closely"
  • "the user's actions must have a non-trivial impact on the environment"
  • "the conventions of the world must be consistent"

These conditions are described further by Ermi (Ermi & Mäyrä 2005)



Ermi, L., & Mäyrä, F. 2005, June 16–20, Fundamental components of the gameplay experience: Analysing immersion. Paper presented at Changing Views -- Worlds in Play, Toronto.
de Valck, M. (2005). Sound gag: The use of sound for comic effect in the films of Jacques Tati. New Review of Film and Television Studies, 3(2), 223–235.   
Last edited by: Mark Grimshaw-Aagaard 21/10/2005, 14:46
Discusses the synchronising of unusual sound effects to footsteps in Mon Oncle (1958), for example the use of ping-pong balls and other objects
WIKINDX 6.8.2 | Total resources: 1301 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: American Psychological Association (APA)