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

Tapping into effective emotional reactions via a user driven audio design tool.

A major problem when tackling any audio design problem aimed at conveying important and informative content, is the imposing of the designer’s own emotion, taste and value systems on the finished design choices, rather than reflecting those of the end user. In the past the problem has been routed in the tendency to use passive test subjects in rigid environments. Subjects react to sounds without no means of controlling what they hear. This paper suggests a system for participatory sound design that generates results by activating test subjects and giving them significant control of the sounding experience under test. The audio design tool application described here, the AWESOME (Auditory Work Environment Simulation Machine) Sound Design Tool, sets out to enable the end user to have direct influence on the design process through a simple yet innovative technical applications This web based device allows the end users to make emotive decisions about the kinds of audio signals they find most appropriate for given situations. The results can be used to both generate general knowledge about listening experiences and more importantly, as direct user input in actual sound design processes

Immersion and Gameplay Experience: A Contingency Framework

The nature of the relationship between immersion and gameplay experience is investigated, focusing primarily on the literature related to flow. In particular, this paper proposes that immersion and gameplay experience are conceptually different, but empirically positively related through mechanisms related to flow. Furthermore, this study examines gamers' characteristics to determine the influence between immersion and gameplay experiences. The study involves 48 observations in one game setting. Regression analyses including tests for moderation and simple slope analysis are used to reveal gamers' age, experience, and understanding of the game, which moderate the relationship between immersion and gameplay experience. The results suggest that immersion is more positive for gameplay experience when the gamer lacks experience and understanding of the game as well as when the gamer is relatively older. Implications and recommendations for future research are discussed at length in the paper

DigiWall - an audio mostly game

DigiWall is a hybrid between a climbing wall and a computer game. The climbing grips are equipped with touch sensors and lights. The interface has no computer screen. Instead sound and music are principle drivers of DigiWall interaction models. The gaming experience combines sound and music with physical movement and the sparse visuals of the climbing grips. The DigiWall soundscape carries both verbal and nonverbal information. Verbal information includes instructions on how to play a game, scores, level numbers etc. Non-verbal information is about speed, position, direction, events etc. Many different types of interaction models are possible: competitions, collaboration exercises and aesthetic experiences

Sound for enhanced experiences in mobile applications

When visiting new places you want information about restaurants, shopping, places of historic in- terest etc. Smartphones are perfect tools for de- livering such location-based information, but the risk is that users get absorbed by texts, maps, videos etc. on the device screen and get a second- hand experience of the environment they are vis- iting rather than the sought-after first-hand expe- rience. One problem is that the users’ eyes often are directed to the device screen, rather than to the surrounding environment. Another problem is that interpreting more or less abstract informa- tion on maps, texts, images etc. may take up sig- nificant shares of the users’ overall cognitive re- sources. The work presented here tried to overcome these two problems by studying design for human-computer interaction based on the users’ everyday abilities such as directional hearing and point and sweep gestures. Today’s smartphones know where you are, in what direction you are pointing the device and they have systems for ren- dering spatial audio. These readily available tech- nologies hold the potential to make information more easy to interpret and use, demand less cog- nitive resources and free the users from having to look more or less constantly on a device screen

Using Sound to Enhance Users’ Experiences of Mobile Applications

The latest smartphones with GPS, electronic compass, directional audio, touch screens etc. hold potentials for location based services that are easier to use compared to traditional tools. Rather than interpreting maps, users may focus on their activities and the environment around them. Interfaces may be designed that let users search for information by simply pointing in a direction. Database queries can be created from GPS location and compass direction data. Users can get guidance to locations through pointing gestures, spatial sound and simple graphics. This article describes two studies testing prototypic applications with multimodal user interfaces built on spatial audio, graphics and text. Tests show that users appreciated the applications for their ease of use, for being fun and effective to use and for allowing users to interact directly with the environment rather than with abstractions of the same. The multimodal user interfaces contributed significantly to the overall user experience

A look at the modern picture of the gene

International audienc

Approaching Professional Learning: what teachers want

Teachers do not come to professional learning opportunities as blank slates. Instead, they come to these settings with a complex collection of wants and needs. The research presented here takes a closer look at these wants across five different professional learning settings distilling form the data a taxonomy of five categories of wants that teachers may approach professional learning with. The resultant taxonomy, as well as teachers behaviours vis-à-vis this taxonomy indicate that we need to rethink our role as facilitators within these settings as well as the role that single workshops can play in the professional learning of teachers

Recalling the (Afro)Future: Collective Memory and the Construction of subversive Meanings in Janelle Monáe’s Metropolis-Suites

Focusing on the intersection of collective memory, technology, and African American popular music, this paper use aspects of the sonic narratives in Janelle Monáe’s Metropolis-Suites I–V to introduce core concepts of Afrofuturism. The paper challenges the positioning of collective memory as being exterior to the sphere of individual cognitive memory. By inhabiting past, present, and future at once, Afrofuturism is able to critically revisit collective memory not only as a social framework but also as actual individual memory. Afrofuturist discourse questions the status of the human being by examining African Americans as always already robotic, and posits African American history as an essentially posthumanist tradition that rebels against the Western Enlightenment ideal of humanity. Through juxtaposing Monáe’s music as robotic with Theodor Adorno’s thoughts on the gramophone, it is shown that Monáe’s android emerges as a collective memory-technology, functioning as a musical memory bank. She insists that she is an actual android, thus pluralising herself and her memories. These memories are used to reinstate collective memory as actual individual memory within African American popular music