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Yuille, J. Smearing discontinuity: In-game sound. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne. 
Added by: Mark Grimshaw-Aagaard (12/14/04, 9:43 PM)   
Resource type: Proceedings Article
BibTeX citation key: Yuille2003
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Categories: Sound Design
Keywords: Synthesis
Creators: Yuille
Publisher: DAC (RMIT, Melbourne)
Collection: 5th International Digital Arts and Culture Conference
Views: 10/643
On the whole, digital games treat sound with something akin to a mix of fear, contempt and jealousy. Sound is used to accentuate visual transitions, to help create atmosphere, or to inform us of an event that is not visible. Sounds are triggered at discrete points in game time and space, and are very rarely the object of fascination or final goal.

This paper explores the possibility of continuity between game sound events, through the introduction of real-time synthesis. It reports on experiments conducted by the author this year with game systems for use in installations, and attempts to chart the territory of sound driven digital games, particularly with respect to real-time performance.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
Discussion of sound generation techiques for Evolglyph: "a digital system that generates dynamic, three-dimensional objects that evolve within an abstract virtual world."
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
   Discusses the reasons why sound files are used in preference to synthesis (real-time) in game audio -- hardware limitations and the [too] specific nature of potential synthesis techniques.   Added by: Mark Grimshaw-Aagaard
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