4,756
Views
3
CrossRef citations to date
0
Altmetric
Articles

Sounds too true to be good: diegetic infidelity – the case for sound in virtual reality

, &
Pages 26-40 | Received 16 Jan 2017, Accepted 09 Mar 2017, Published online: 19 May 2017

References

  • Alais, D., and D. Burr. 2004. “The Ventriloquist Effect Results from Near-Optimal Bimodal Integration.” Current Biology 14: 257–262. doi: 10.1016/j.cub.2004.01.029
  • Altman, R., ed. 1992. Sound Theory, Sound Practice. New York: Routledge.
  • Anderson, M. L. 2003. “Embodied Cognition: A Field Guide.” Artificial Intelligence 149 (1): 91–130. doi: 10.1016/S0004-3702(03)00054-7
  • Barton, B., and R. Windeyer. 2012. “Binaural Perspectives on Site-Specific Sound.” In Performing Site-Specific Theatre: Politics, Place, Practice, edited by A Birch and J Tompkins (pp. 182–200). London: Palgrave Macmillan.
  • Battaglia, Peter W., Robert A. Jacobs, and Richard N. Aslin. 2003. “Bayesian Integration of Visual and Auditory Signals for Spatial Localization.” Journal of the Optical Society of America A 20: 1391–1397. doi: 10.1364/JOSAA.20.001391
  • Baudrillard, J. 1994. Simulacra and Simulation. Ann Arbor: University of Michigan Press.
  • Benjamin, W. 1936. The Work of Art in the Age of Mechanical Reproduction. London and New York: Penguin Books.
  • Bia, Bord. 2016. “Immersive Experiences.” Accessed February 6, 2017. http://www.bordbiaconsumerlifestyletrends.ie/3-shared-experiences-sub-trend-immersive-experiences/.
  • Biocca, F. 1999. “Lab Probes Long-term Effects of Exposure to Virtual Reality”, Interview via Johnson, C for EE Times. Accessed December 7, 2016. http://www.eetimes.com/document.asp?doc_id=1138729.
  • Blesser, B., and L.-R. Salter. 2009. Spaces Speak, Are You Listening? Experiencing Aural Architecture. Cambridge, MA: MIT Press.
  • Bregman, A. (1990). Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA, US: The MIT Press.
  • Böhme, G. 1993. “Atmosphere as the Fundamental Concept of a New Aesthetics.” Thesis Eleven 36 (1): 113–126. doi: 10.1177/072551369303600107
  • Bottomore, S. 1999. “An International Survey of Sound Effects in Early Cinema.” Film History 11 (4): 485–498.
  • Bottomore, S. 2001. “The Story of Percy Peashaker: Debates about Sound Effects in the Early Cinema.” In The Sounds of Early Cinema, edited by Richard Abel and Rick Altman (pp. 129–142). Bloomington and Indianapolis: Indiana University Press.
  • Chion, M. 1994. Audio-Vision: Sound on Screen. Translated by Claudia Gorbman. New York: Columbia University Press.
  • Chion, M. 1999. The Voice in Cinema. Translated by Claudia Gorbman. New York: Columbia University Press.
  • Chow, R., and J. Steintrager. 2011. “In Pursuit of the Object of Sound: An Introduction.” Differences: The Sense of Sound 22: 2–3. doi: 10.1215/10407391-1428816
  • Eco, U. 1986. Faith in Fakes: Travels in Hyperreality. London: Vintage/Random House.
  • Eco, U. 1989. The Open Work. Cambridge, MA: Harvard University Press.
  • Emmerson, S. 2007. Living Electronic Music. Farnham, UK: Ashgate.
  • Feld, S. 2015. “Acoustemology.” In Keywords in Sound, edited by D Novak and M Sakakeeny (pp. 12–21). Durham and London: Duke Uni Press.
  • Foucault, M. 1970. The Order of Things. New York: Pantheon.
  • Gartner. 2016. “Hype Cycle for Emerging Technologies, 2016.” Accessed February 6, 2017. https://www.gartner.com/doc/3383817.
  • Gerwen, R. V. 2012. “Hearing Musicians Making Music: A Critique of Roger Scruton on Acousmatic Experience.” The Journal of Aesthetics and Art Criticism 70 (2): 223–230. doi: 10.1111/j.1540-6245.2012.01514.x
  • Grant, S. 2014. “Performing an Aesthetics of Atmospheres.” Literature & Aesthetics 23 (1): 12–32.
  • Hendrix, C., and W. Barfield. 1996. “The Sense of Presence within Auditory Virtual Environments.” Teleoperators & Virtual Environments 5: 290–301. doi: 10.1162/pres.1996.5.3.290
  • Johnson, M. 1987. The Body in the Mind: The Bodily Basis of Imagination, Reason, and Meaning. Chicago: University of Chicago Press.
  • Johnson, W. 1989. “Sound and Image: A Further Hearing.” Film Quarterly 43 (1): 24–35. doi: 10.2307/1212710
  • Lakoff, G., and M. Johnson. 1999. Philosophy in the Flesh: The Embodied Mind and its Challenge to Western thought. New York: Basic Books.
  • Lakoff, G., and M. Johnson. 2003. Metaphors we Live by. London: The University of Chicago Press.
  • Lennox, P. 2004. “The Philosophy of Perception in Artificial Auditory Environments: Spatial Sound and Music.” PhD thesis, University of York.
  • Lerdahl, F. 1992. “Cognitive Constraints on Compositional Systems.” In Contemporary Music Review. Vol. 6, 97–121. Glasgow: Harwood Academic.
  • Madary, M., and T. Metzinger. 2016. Real Virtuality: A Code of Ethical Conduct. Recommendations for Good Scientific Practice and the Consumers of VR-Technology in Front. Robot. AI 3:3.
  • McLuhan, M., and Q. Fiore. 1967. The Medium is the Message: An Inventory of Effects. New York: Bantam Books.
  • McLuhan, M., and E. McLuhan. 2011. Media and Formal Cause. Houston, TX: NeoPoiesis Press.
  • North, A., and David J. Hargreaves. 1995. “Subjective Complexity, Familiarity, and Liking for Popular Music.” Psychomusicology: A Journal of Research in Music Cognition 14 (1–2): 77–93. doi: 10.1037/h0094090
  • Novak, D., and M. Sakakeeny, eds. 2015. Keywords in Sound. Durham and London: Duke Uni Press.
  • Orr, M., and S. Ohlsson. 2005. “Relationship Between Complexity and Liking as a Function of Expertise.” Music Perception: An Interdisciplinary Journal 22 (4): 583–611. doi: 10.1525/mp.2005.22.4.583
  • Percheron, D., and M. Butzel. 1980. “Sound in Cinema and its Relationship to Image and Diegesis.” Yale French Studies, Cinema/Sound 60: 16–23. doi: 10.2307/2930001
  • Raskin, Richard. 1992. “Varieties of Film Sound: A New Typology.” fra (Pré) Publications, Romansk Inst. Aarhus Universitet, April 1992.
  • Saffron, Jenny R., Elizabeth K. Johnson, Richard N. Aslin, and Elissa L. Newport. 1999. “Statistical Learning of Tone Sequences by Human Infants and Adults.” Cognition 70: 27–52. doi: 10.1016/S0010-0277(98)00075-4
  • Scruton, R. 1997. The Aesthetics of Music. Oxford: Clarendon Press.
  • Serafin, S., and G. Serafin. 2004. “Sound Design to Enhance Presence in Photorealistic Virtual Reality.” Proceedings of ICAD 04-Tenth meeting of the International Conference on Auditory Display, Sydney, Australia, July.
  • Sharples, S. 2016. Long-term effects of virtual reality use need more research, say scientists, interview via Davis, N for Guardian. Accessed December 7, 2016. https://www.theguardian.com/technology/2016/mar/19/long-term-effects-of-virtual-reality-use-need-more-research-say-scientists.
  • Slater, M., V. Linakis, M. Usoh, R. Kooper, and G. Street. 1996. “Immersion, Presence, and Performance in Virtual Environments: An Experiment with Tri-Dimensional Chess.” In Proceedings of ACM Symposium on Virtual Reality Software and Technology (VRST), (Vol. 163, p. 72) (pp. 163–172). New York, NY: ACM Press
  • Smalley, D. 1997. “Spectromorphology: Explaining Sound-Shapes.” Organised Sound 2: 107–126. doi: 10.1017/S1355771897009059
  • Stam, R. 2000. Film Theory: An Introduction. New York: Blackwell.
  • Steinbeis, N., S. Koelsch, and J. A. Sloboda. 2006. “The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses.” Journal of Cognitive Neuroscience 18: 1380–1393. doi: 10.1162/jocn.2006.18.8.1380
  • Tarkovsky, A. 1989. Sculpting in Time: Reflections on the Cinema. New ed. Austin, TX: University of Texas Press.
  • Voegelin, S. 2010. Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York and London: Bloomsbury.
  • Wilson, M. 2002. “Six Views of Embodied Cognition.” Psychonomic Bulletin & Review 9 (4): 625–636. doi: 10.3758/BF03196322