Sound for Fantasy and Freedom

Sound is an integral part of our everyday lives. Sound tells us about physical events in the environ- ment, and we use our voices to share ideas and emotions through sound. When navigating the world on a day-to-day basis, most of us use a balanced mix of stimuli from our eyes, ears and other senses to get along. We do this totally naturally and without effort. In the design of computer game experiences, traditionally, most attention has been given to vision rather than the balanced mix of stimuli from our eyes, ears and other senses most of us use to navigate the world on a day to day basis. The risk is that this emphasis neglects types of interaction with the game needed to create an immersive experience. This chapter summarizes the relationship between sound properties, GameFlow and immersive experience and discusses two projects in which Interactive Institute, Sonic Studio has balanced perceptual stimuli and game mechanics to inspire and create new game concepts that liberate users and their imagination

Viatopias: Exploring the experience of urban travel space

The title of this research is constructed from: `via' - route and töp(os) -a place. Viatopias are urban spaces of continual travel or flux that incorporate multiple forms of perception and inscriptions of meaning. My aim has been to define and describe the increasingly important fluid perceptual spaces that have developed between static nineteenth century destinations. Viatopias such as passageways, underground tunnels, train tracks, and the North Circular escape a sense of destination, operating as ever-changing experiences or events. The practice has sought to produce digital representations of these urban travel spaces that exist in constant flux, to communicate the experience of Viatopias. The research explores themes such as: The North Circular as a Deleuzian Route exploring driving as performance; Plica, Replica, Explica an unfolding of experience through digital media; The Making of Baroque Videos, using Baroque architectures of viewing; Mobilizing Perception treating human vision as an artifact; Mirrors For Un-Recognition disassembling nineteenth century controlled vision; Sound as an Urban Compass considering urban audio experience; Narrative Practice in New Media Space analysing contemporary approaches in digital media; and Convergent Languages, Digital Poiesis investigating the dislocation of representation in different digital languages. These conceptual frameworks developed in symbiosis with the practice. The visual practice presents a collection of digital videos that extend and complicate these concepts through experimental visual and audio techniques such as layering, repetition, anamorphic distortion, and mirroring to produce visual immersion and the fracturing of space. The concluding digital works incorporate video with audio and text resulting in integrated visual statements that attempt to stretch the viewer's perception, in the process offering a glimpse of a new experience within urban space

Emerging technologies for learning (volume 1)

Collection of 5 articles on emerging technologies and trend

Will Kentucky Route Zero Take You to Twin Peaks? Tracing the Narrative of the American Weird

In this article, I analyze the narrative of Kentucky Route Zero in search of tropes and constructive principles already known from Twin Peaks. I seek to find out how interactivity of the game adds to these tropes and techniques, and whether we can project our findings about its interactive hypertextual narrative back to Twin Peaks. I suggest that, in both cases, the fictional world largely emerges from the interaction with the audience that actively interprets the narrative and extends it far beyond the ‘tangible’ text. Furthermore, the authors explicitly call for such involvement by introducing self-reflexivity and metacommentary in their work. I conclude with the perspective of the American Weird setting, implemented in both ‘story worlds’; it can engender new meanings that surpass the linear logic of narration.©2021 Authors, published in WiderScreen by Filmiverkko.fi=vertaisarvioitu|en=peerReviewed

The role of play

Play is seen as an activity that is fun, voluntary, offers escape, and is fundamentally exciting. Play is however, more than that; it is a working model of flexibility! There is a vital link between play, psychological development and learning. Moreover, the importance of play has gained importance by modern gaming, social networks and digital culture. Huizinga pointed out that play is of profound value to our culture. In his book Homo Ludens, play is restricted to a specific time and place. In the chair Design of Playful Interactions, we focus on new forms of play, which are integrated in daily activities (work, education) or other practices, e.g. art or citizenship, and share several qualities: exploration, communication, personalization and expression. In my lecture I will "play the ball", highlighting our educational and research efforts to design interactive toys, games, playgrounds, interactive art and (entertainment) applications. I will sketch future developments and relate these to examples in digital culture

Choosing love: performances of romance in mobile dating simulation games

2022 Summer.Includes bibliographical references.With the launch of the Android app store in 2008, mobile gaming has occupied a surging niche in the video game market. While considerable scholarly attention has been paid to video games, with mobile games enjoying a portion of that attention, the study of dating simulation games is still emerging. Further, almost all existing scholarship on dating simulation games focuses on console- or computer-based games. This thesis aims to fill that gap by analyzing how dating simulation conventions translate onto mobile devices. What changes when a new platform, with its own conventions and affordances, is introduced? Through textual analysis of gameplay mechanics, visual style, and narrative, I examine how popular mobile dating simulation games offered through the Android app store construct and restrict player access to romance on the axes of time and money. Ultimately, I argue that the ways time and money flow on the mobile device afford unique performances of romance while foreclosing others, apart from their progenitors on consoles and PCs

Spartan Daily December 6, 2012

Volume 139, Issue 51https://scholarworks.sjsu.edu/spartandaily/1367/thumbnail.jp

Amergent Music: behavior and becoming in technoetic & media arts

Merged with duplicate records 10026.1/1082 and 10026.1/2612 on 15.02.2017 by CS (TIS)Technoetic and media arts are environments of mediated interaction and emergence, where meaning is negotiated by individuals through a personal examination and experience—or becoming—within the mediated space. This thesis examines these environments from a musical perspective and considers how sound functions as an analog to this becoming. Five distinct, original musical works explore the possibilities as to how the emergent dynamics of mediated, interactive exchange can be leveraged towards the construction of musical sound. In the context of this research, becoming can be understood relative to Henri Bergson’s description of the appearance of reality—something that is making or unmaking but is never made. Music conceived of a linear model is essentially fixed in time. It is unable to recognize or respond to the becoming of interactive exchange, which is marked by frequent and unpredictable transformation. This research abandons linear musical approaches and looks to generative music as a way to reconcile the dynamics of mediated interaction with a musical listening experience. The specifics of this relationship are conceptualized in the structaural coupling model, which borrows from Maturana & Varela’s “structural coupling.” The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Musical autonomy is sustained through generative techniques and organized within a psychogeographical framework. In the way that cities invite use and communicate boundaries, the individual sounds of a musical work create an aural context that is legible to the listener, rendering the consequences or implications of any choice audible. This arrangement of sound, as it relates to human presence in a technoetic environment, challenges many existing assumptions, including the idea “the sound changes.” Change can be viewed as a movement predicated by behavior. Amergent music is brought forth through kinds of change or sonic movement more robustly explored as a dimension of musical behavior. Listeners hear change, but it is the result of behavior that arises from within an autonomous musical system relative to the perturbations sensed within its environment. Amergence propagates through the effects of emergent dynamics coupled to the affective experience of continuous sonic transformation.Rutland Port Authoritie

Design with Intent: 101 patterns for influencing behaviour through design

Copyright @ 2010 EquifineThe Architectural Lens draws on techniques used to influence user behaviour in architecture, urban planning and related disciplines such as traffic management and crime prevention through environmental design (see also the Security Lens). While most of the techniques have been developed in the built environment, many of the ideas can also be applied in interaction and product design, even in software or services; they are effectively about using the 'structure of systems' to influence behaviour. Some of the patterns, such as Simplicity, Feature deletion and Hiding things are really fundamental to all kinds of design