The acousmatic situation in digital games

This paper explores acousmatic experiences in digital games. Understood by Schaeffer as “a sound that one hears without seeing what causes it” (1966), the acousmatic has been analyzed in relations to a number of different cases (Kane, 2014), but remains understudied in digital game studies.Thanks to the extensive use of spatialized mixing techniques, the virtual environments of digital games are a contemporary venue for acousmatic situations. Sound designers consistently use “3D audio [...] to localize the sound behind the player, [allowing] to focus simultaneously on the fore and aft perspective” (Miller, 1999), thus generating potential for acousmatic listening experiences.This paper addresses the localization of sound in a virtual acoustic space experienced in a virtual environment through a discussion of acousmatic situations and modes of listening (Collins, 2013). Examples of digital games with acousmate sound, defined as “sound that one imagines hearing” (Kane, 2014), are also introduced.This paper is contextualized within the Schaefferian tradition and the writings of Film theorist Michel Chion. Acousmatic situations are presented as a frequent occurrence in player’s experiences, providing an original theoretical perspective to the study of sounds in virtual environments.peer-reviewe

GTZAN Index accompanying B. L. Sturm, "An Analysis of the GTZAN Music Genre Dataset", ACM MIRUM Workshop (Nov. 2012)

GTZAN Index accompanying B. L. Sturm, "An Analysis of the GTZAN Music Genre Dataset", ACM MIRUM Workshop (Nov. 2012

iPalmas

Rythmic interaction, as described in [1] and [2] [1] A. Jylhä, I. Ekman, C. Erkut, and K. Tahiroğlu, “Design and Evaluation of Rhythmic Interaction with an Interactive Tutoring System,” Computer Music J., vol. 35, no. 2, pp. 36–48, 2011. [2] C. Erkut, A. Jylhä, and R. Dişçioğlu, “A structured design and evaluation model with application to rhythmic interaction displays,” in Proc. New Interfaces for Musical Expression (NIME), (Oslo, Norway, 2011), pp. 477–480

Understanding the impact of an intergenerational arts and health project:A study into the psychological well-being of participants, carers and artists

There is growing interest in arts practices in relation to public health, including their potential to support psychological well-being. This study sought to understand the impact of Hear and Now, an intergenerational arts and health project, upon indicators of psychological well-being among all groups involved: young people, older people with a diagnosis of dementia and their carers and partners and the project's artistic team. This was a descriptive exploratory qualitative study, using focus groups and observation as data collection methods. Study participants were 65 people representing the four groups participating in the 2019 Hear and Now project: older adults living with a diagnosis of dementia, their carers and partners, young people and a team of professional artists and facilitators. Of these, 27 participated in one or more of seven focus groups. Participants were asked about their previous engagement with music and dance, thoughts about the intergenerational element of the project and other aspects of their experiences that related to indicators of well-being. In order to investigate the project's impact on participants' well-being, Seligman's PERMA model was adopted, which sets out five indicators of well-being: positive emotions, engagement, positive relationships, meaning and achievement/accomplishment. Experiences relating to all five areas of the PERMA model were evidenced by all groups in relation to their involvement in the project. Additional health benefits were also cited by some, as well as enhanced perceptions of other members of the project cohort. The findings support existing literature that intergenerational and arts activities can be beneficial for individuals' psychological health. Experiences relating to all five dimensions of the PERMA model of well-being (positive emotion, engagement, positive relationships, meaning, achievement/accomplishment) were cited by the four participant groups, which suggests examining the impact of such projects on all project collaborators is worthy of further study. Understanding the impact these projects can have on the various groups involved will enable artistic and healthcare communities to better collaborate and value each other's practices