Journal articles: 'Audio immersivo'

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Wincott, Abigail, Jean Martin, and Ivor Richards. "Telling stories in soundspace: Placement, embodiment and authority in immersive audio journalism." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 2 (October 1, 2021): 253–70. http://dx.doi.org/10.1386/rjao_00048_1.

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There has been an increase in the use of immersive or spatialized audio formats for radio and podcast journalism. Immersion is used to put audiences at the heart of a story, enable richer experiences and encourage empathy with others, but it can disrupt the ‘grammar’ of broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme-makers have until now lacked a conceptual framework and terminology to describe how space is constructed in immersive audio, the creative and editorial choices available and their effects. This article, based on analysis of immersive output and interviews with those who produce it, critically examines the differences between mono/stereo space and immersive audio space and argues they are not only a matter of aesthetics or comfort, but communicate differential authority over the story and merit further attention when journalists are trained in immersive audio.

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Grimshaw, Mark, and Gareth Schott. "A Conceptual Framework for the Analysis of First-Person Shooter Audio and its Potential Use for Game Engines." International Journal of Computer Games Technology 2008 (2008): 1–7. http://dx.doi.org/10.1155/2008/720280.

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We introduce and describe a new conceptual framework for the design and analysis of audio for immersive first-person shooter games, and discuss its potential implications for the development of the audio component of game engines. The framework was created in order to illustrate and acknowledge the direct role of in-game audio in shaping player-player interactions and in creating a sense of immersion in the game world. Furthermore, it is argued that the relationship between player and sound is best conceptualized theoretically as an acoustic ecology. Current game engines are capable of game world spatiality through acoustic shading, but the ideas presented here provide a framework to explore other immersive possibilities for game audio through real-time synthesis.

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Huang, Yiteng, Jingdong Chen, and Jacob Benesty. "Immersive Audio Schemes." IEEE Signal Processing Magazine 28, no. 1 (January 2011): 20–32. http://dx.doi.org/10.1109/msp.2010.938754.

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Rovithis, Emmanouel, Nikolaos Moustakas, Andreas Floros, and Kostas Vogklis. "Audio Legends: Investigating Sonic Interaction in an Augmented Reality Audio Game." Multimodal Technologies and Interaction 3, no. 4 (November 13, 2019): 73. http://dx.doi.org/10.3390/mti3040073.

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Augmented Reality Audio Games (ARAG) enrich the physical world with virtual sounds to express their content and mechanics. Existing ARAG implementations have focused on exploring the surroundings and navigating to virtual sound sources as the main mode of interaction. This paper suggests that gestural activity with a handheld device can realize complex modes of sonic interaction in the augmented environment, resulting in an enhanced immersive game experience. The ARAG “Audio Legends” was designed and tested to evaluate the usability and immersion of a system featuring an exploration phase based on auditory navigation, as well as an action phase, in which players aim at virtual sonic targets and wave the device to hit them or hold the device to block them. The results of the experiment provide evidence that players are easily accustomed to auditory navigation and that gestural sonic interaction is perceived as difficult, yet this does not affect negatively the system’s usability and players’ immersion. Findings also include indications that elements, such as sound design, the synchronization of sound and gesture, the fidelity of audio augmentation, and environmental conditions, also affect significantly the game experience, whereas background factors, such as age, sex, and game or music experience, do not have any critical impact.

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Rodríguez-Fidalgo, María Isabel, and Adriana Paíno-Ambrosio. "Use of virtual reality and 360° video as narrative resources in the documentary genre: Towards a new immersive social documentary?" Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 239–53. http://dx.doi.org/10.1386/cjcs_00030_1.

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Virtual reality and 360° video are some of the latest technological developments within the media and communications industry. These technologies, which are designed to facilitate viewer immersion, are currently being used to create fictional and non-fictional content, thus giving rise to a new audio-visual narrative. On the basis of these premises, this research article analyses how immersive narratives are applied to the social documentary genre in its social dimension. To this end, qualitative content analysis was performed on a sample of 49 immersive documentaries published on the WITHIN platform. This analysis, which was completed with quantitative data, allowed us to confirm that these technologies have enabled the development of immersive narratives, which has given birth to a new type of documentary – the ‘immersive social documentary’.

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Herre, Jürgen, and Schuyler R. Quackenbush. "MPEG-H 3D Audio: Immersive Audio Coding." Acoustical Science and Technology 43, no. 2 (March 1, 2022): 143–48. http://dx.doi.org/10.1250/ast.43.143.

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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.

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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.

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Park, Byung-Gyoo, and Minho Chang. "The Research on Necessity of Ear Training for Localization of Immersive Sound: Concentrate on Musician." Journal of Korea Culture Industry 21, no. 1 (March 31, 2021): 97–105. http://dx.doi.org/10.35174/jkci.2021.03.21.1.97.

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Turner, Daniel, Damian Murphy, Chris Pike, and Chris Baume. "Spatial audio production for immersive media experiences: Perspectives on practice-led approaches to designing immersive audio content." Soundtrack 13, no. 1 (October 1, 2022): 73–94. http://dx.doi.org/10.1386/ts_00017_1.

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Sound design with the goal of immersion is not new. However, sound design for immersive media experiences (IMEs) utilizing spatial audio can still be considered a relatively new area of practice with less well-defined methods requiring a new and still emerging set of skills and tools. There is, at present, a lack of formal literature around the challenges introduced by this relatively new content form and the tools used to create it, and how these may differ from audio production for traditional media. This article, through the use of semi-structured interviews and an online questionnaire, looks to explore what audio practitioners view as defining features of IMEs, the challenges in creating audio content for IMEs and how current practices for traditional stereo productions are being adapted for use within 360 interactive soundfields. It also highlights potential direction for future research and technological development and the importance of practitioner involvement in research and development in ensuring future tools and technologies satisfy the current needs.

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Friedman, Jeff. "Engram: An Immersive Audio-Walk." Oral History Review 43, no. 1 (April 1, 2016): 186–89. http://dx.doi.org/10.1093/ohr/ohw035.

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Kyriakakis, Chris, Tomlinson Holman, Hartmut Neven, and Christoph von der Malsburg. "Immersive audio for desktop systems." Journal of the Acoustical Society of America 103, no. 5 (May 1998): 3026. http://dx.doi.org/10.1121/1.422548.

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Mehta, Sripal, and Thomas Ziegler. "Personalized and Immersive Broadcast Audio." SMPTE Motion Imaging Journal 124, no. 5 (July 2015): 25–30. http://dx.doi.org/10.5594/j18572.

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Dressler, Roger, and Brian Vessa. "Immersive Audio Standards Move Forward." SMPTE Motion Imaging Journal 124, no. 5 (July 2015): 40–42. http://dx.doi.org/10.5594/j18574.

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Ellison, Steve. "Creating an immersive audio experience at National Sawdust." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A150. http://dx.doi.org/10.1121/10.0015851.

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Venues designed to create immersive audio experiences may include adjustable active acoustics and spatial audio mixing. One such venue is National Sawdust in Brooklyn, New York, which has presented many spatial audio events. For one of these, the electronic music duo “Mouse on Mars,” comprised of Jan St. Werner and Andi Thoma, collaborated with the late Jamaican record producer Lee “Scratch” Perry to create an immersive audio experience presented in March 2022. This audio production presented a challenge, as the content was prepared in Berlin and delivered in Brooklyn using audio systems with significantly different loudspeaker configurations. National Sawdust incorporates a Meyer Sound Constellation active acoustic system with 86 small full-range loudspeakers, 16 compact low-frequency loudspeakers, and a left/right PA system. The Berlin studio includes 20 loudspeakers. Audio sources were spatially mixed to the loudspeakers in both systems using an integrated Spacemap System. The workflow used to prepare this concert and the impact of additional production elements, including active acoustics, lighting, seating, and video, are discussed.

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Fryer, Louise, Linda Pring, and Jonathan Freeman. "Audio Drama and the Imagination." Journal of Media Psychology 25, no. 2 (January 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.

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Xie, Lei, Longbiao Wang, Janne Heikkilä, and Peng Zhang. "Guest Editorial: Immersive Audio/Visual Systems." Multimedia Tools and Applications 75, no. 9 (April 22, 2016): 5047–53. http://dx.doi.org/10.1007/s11042-016-3443-x.

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Mattos, Tiago F., and Bennett M. Brooks. "Comparison of recording studio control room operational response measurements for single, stereo, and immersive audio monitor configurations." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A104. http://dx.doi.org/10.1121/10.0015691.

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Audio monitoring in recording studio control rooms has evolved continuously since the beginning of multitrack systems. In recent years, control rooms have adapted to using multiple audio monitors (loudspeakers) needed for the immersive audio experience. The primary technical recommendations for determining the acoustical quality of a control room are given in EBU-TECH-3276 and ITU BS.1116. The results of measuring the Operational Room Response Curve (ORRC) can differ significantly for only one audio monitor operating compared to the two monitors required for stereo. For multichannel immersive audio configurations, there can also be significant differences in the measured ORRC. A recent immersive system, known as Dolby Atmos, follows the Dolby Laboratories recommendations which generally comply with the EBU/ITU specifications. The goal of this research is to analyze and compare the measurements of the ORRC per the EBU/ITU/Dolby standards for various audio monitor configurations in a control room. These include individual monitors operating alone, two monitors in a stereo configuration operating at the same time, and combinations of monitors in the multichannel immersive audio system. The impact of the coupled system of room acoustics and multiple loudspeakers on the decision quality for the studio user will be addressed.

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Ciążyńska, Julia, and Janusz Maciaszek. "Effects of Low-Immersive vs. High-Immersive Exercise Environment on Postural Stability and Reaction and Motor Time of Healthy Young Adults." Journal of Clinical Medicine 12, no. 1 (January 3, 2023): 389. http://dx.doi.org/10.3390/jcm12010389.

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(1) Background: Many young adults spend their time playing games and watching television. This type of spending time should be used effectively, so it’s worth adding exercise and immersion to them. Bearing in mind that the video games and physical exercise also improve postural stability, motor time (MT) and reaction time (RT), it is worth reaching for new technologies with immersion that are widely available and can be used, for example, as a remote intervention. This study aimed to compare the effects of a low vs. high-immersive exercise environment on postural stability, RT and MT in young adults. (2) Methods: Ninety-three participants were randomly divided into a control group (CG; n = 48) and experimental group (EG; n = 45). The CG exercised according to the Tabata self-made video display on a television set, and the EG exercised according to the Audio Trip exergame. In addition to the postural stability, RT and MT, we monitored the heart rate, breath rate and energy expenditure for safety reasons and to note any differences. (3) Results: Significant differences were observed for both groups in RT (F(2.182) = 3.14, p = 0.046, η2 = 0.03) and MT (F(2.182) = 3.07, p = 0.049, η2 = 0.03) and in postural stability in eyes closed (EC): F(2.182) = 3.66, p = 0.028, η2 = 0.04 and eyes open in one leg (EO-OL): F(2.182) = 5.814, p = 0.04, η2 = 0.07. (4) Conclusions: The inclusion of a higher immersion produces greater improvements in RT, MT. Additionally, after a low-immersive exercise environment, participants have higher center of pressure (COP) path length values with EC and EO-OL tests, which testifies to less postural stability. Regarding COP trajectory, a smaller area surface means better performance for high-immersive participants after 30 min of exercise.

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Zhang, Hanqi, Jing Wang, Zhuoran Li, and Jingxin Li. "Design and Implementation of Two Immersive Audio and Video Communication Systems Based on Virtual Reality." Electronics 12, no. 5 (February 26, 2023): 1134. http://dx.doi.org/10.3390/electronics12051134.

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Due to the impact of the COVID-19 pandemic in recent years, remote communication has become increasingly common, which has also spawned many online solutions. Compared with an in-person scenario, the feeling of immersion and participation is lacking in these solutions, and the effect is thus not ideal. In this study, we focus on two typical virtual reality (VR) application scenarios with immersive audio and video experience: VR conferencing and panoramic live broadcast. We begin by introducing the core principles of traditional video conferencing, followed by the existing research results of VR conferencing along with the similarities, differences, pros, and cons of each solution. Then, we outline our view about what elements a virtual conferencing room should have. After that, a simple implementation scheme for VR conferencing is provided. Regarding panoramic video, we introduce the steps to produce and transmit a panoramic live broadcast and analyze several current mainstream encoding optimization schemes. By comparing traditional video streams, the various development bottlenecks of panoramic live broadcast are identified and summarized. A simple implementation of a panoramic live broadcast is presented in this paper. To conclude, the main points are illustrated along with the possible future directions of the two systems. The simple implementation of two immersive systems provides a research and application reference for VR audio and video transmission, which can guide subsequent relevant research studies.

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Doyle, S. "Beyond the screen [immersive audio-visual environments]." Engineering & Technology 15, no. 6 (July 1, 2020): 62–63. http://dx.doi.org/10.1049/et.2020.0612.

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Bravo, Luana Carolina, Carlos Watanabe, Gabriel Thomazini, Carlos B. Ronconi, and Rodrigo Meirelles. "BRAZILIAN PIONEERING IN IMMERSIVE AUDIO: PRACTICAL EXPERIENCES." SET EXPO PROCEEDINGS 2017, no. 1 (August 1, 2017): 56–58. http://dx.doi.org/10.18580/setep.2017.17.

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Van Nort, Doug. "Audio-haptic perception in immersive improvisational environments." Journal of the Acoustical Society of America 143, no. 3 (March 2018): 1931. http://dx.doi.org/10.1121/1.5036312.

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BERRY, GABRIELLE. "[inaudible]: Point of Audition Representations of Deafness and the Cochlear Implant in A Quiet Place (2018)." Music, Sound, and the Moving Image 15, no. 2 (December 1, 2021): 109–31. http://dx.doi.org/10.3828/msmi.2021.8.

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Interrogating point of audition (POA) sound through the silences, noises, and closed captions of A Quiet Place’s critically lauded soundscapes, this article examines the ways point of audition aurally and rhetorically constructs deafness, technology, and the audio-viewer. In its sonic rendering of the post-apocalyptic world, A Quiet Place actively involves the audio-viewer in its fantastical conceit and ‘fantasy’ of deafness, folding the audience into the complex cyborgian politics and potential of the malfunctioning cochlear implant. This diegetic technological breakdown merges and tangles with the technology of the film, the point of audition sound highlighting the immersive capabilities and audist expectations of cinematic soundscapes. Yet, in this straining towards ‘immersion’, the uncaptioned silences of Regan’s point of audition further accentuate issues of access, raising questions of the composition and meaning of immersion and silence. Through the shades of silence and sharp whining feedback of A Quiet Place, this article ultimately details the possibilities and complications of analysing point of audition sound, in the process, illustrating the harmonic resonation of the studies of sound, deafness, and disability. This article is the winner of the 2020 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.

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Bhide, Saylee, Elizabeth Goins, and Joe Geigel. "Experimental Analysis of Spatial Sound for Storytelling in Virtual Reality." Frameless 1, no. 1 (December 15, 2019): 1–3. http://dx.doi.org/10.14448/frameless.01.007.

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Virtual Reality leverages our cognitive and perceptual abilities to provide immersive experiences that recreate both the visual and aural elements of real spaces with a high degree of realism making it a suitable delivery platform for conveying narratives through games and films. Spatial sound is useful in enhancing immersion and presence of the user in a virtual world. This audio design allows the game designer to place audio cues that appropriately match with the visual cues in a virtual game environment. These localized audio cues placed in a story based game environment also help to evoke an emotional response from the user and construct the narrative of the game by capturing the user’s attention towards the guiding action events in the game. Our work currently involves a thorough literature study on the significance of debating the usefulness of spatial sound. Our future work involves conducting a user study for analyzing the same i.e., understanding how spatial sound improves user performance and user experience in a virtual game environment. Furthermore, with the help of the relevant subjective and objective inferences that will be collected from the user study conducted on four different evaluation models, our work will also analyze and establish the potential of spatial sound as a powerful storytelling tool in a virtual game environment.

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Chang, Albert, Mei Si, Samuel Chabot, Jonathan Mathews, Tomek Strzalkowski, and Jonas Braasch. "A spatially-aware dialogue system for immersive classrooms." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A132. http://dx.doi.org/10.1121/10.0010883.

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Dialogue systems have become a popular research medium as recent advances in task-oriented and open-domain systems combined with deep learning technologies have increased the potential for practical applications across many disciplines. One such vein of applications involves multi-modal dialogue systems deployed in interactive spaces that seek to provide an immersive experience for participants. This project proposes a combination of spatial awareness with a multi-modal, immersive dialogue system as a potential interactive medium to provide an additional layer of immersion. The system employs an array of audio/visual sensors that tracks participants within the interactive space. It responds contextually depending on the application and information domain, for example, by displaying and sonifying conversational agents at accurate spatial locations. The current application of this system involves Mandarin language learning in which the system will act as both a learning medium and conversation augmentation system to provide students with an immersive environment to learn a language and provide real-time feedback during the learning process. This project aims to provide insight into interactive spaces for education and general conversation applications, and demonstrate the capabilities of combining spatial awareness with a multi-modal dialogue system. [Work supported by NSF IIS-1909229, IBM GATOR, and CISL.]

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SHLIENKOVA, Elena V., and Khristina V. KAYGORODOVA. "IMMERSIVE AUDIO EXPOSITION AND ITS VISUAL CONTENT AS ACTUALIZATION OF MUSEUM DESIGN PRINCIPLES." Urban construction and architecture 10, no. 3 (December 15, 2020): 114–22. http://dx.doi.org/10.17673/vestnik.2020.03.15.

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The article is devoted to the experimental practice of new local history and museum design, the study of collective identity, the actualization of “gene memory” and the representation of the Finno-Ugric ethnic group of the North of Udmurtia, Russia. The project continues to develop a long-term partnership of an inter-regional consortium consisting of specialists in the fi eld of cultural anthropology and authentic geography, local history, music and stage art, folklore, design, architecture and modern art practices, and the local community. The article deals with the study of the principles of organizing a traditional a local history museum, its tactile and spatial reconfi guration based on immersive interaction with the visitor, his active participation, polylogue, post-empathy and total involvement (psychophysiological “linkage” with reality). It covers a wide range of topics from technological to meta-immersion, creation spaces of holistic experience, space-event, space-situations, where the viewer becomes a key subject.

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Bruckner, Franziska, Clemens Baumann, Matthias Husinsky, Andreas Jakl, Julia Püringer, Rosa Von Suess, Georg Vogt, and Markus Wintersberger. "Interactive Storytelling for Immersive Media, Augmented Manufacturing, and Digital Healthcare." Interactive Film & Media Journal 2, no. 4 (December 30, 2022): 66–75. http://dx.doi.org/10.32920/ifmj.v2i4.1693.

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The article explores interactive storytelling in augmented and virtual reality. It is based on the research project Immersive Media Lab, bridges the gap between technological developments and their application, and aims to combine art, economy, and science. Due to their increased availability, virtual and immersive technologies have not only seen a resurgence in their popularity but also offer intriguing new perspectives regarding their use in different contexts. Consequently, the notions of interactivity and immersion also play significant roles in the study of storytelling in conjunction with virtual and augmented reality. The Immersive Media Lab has employed state-of-the-art AR/VR technology in five use cases: VR Interaction, Artistic Motion Tracking in AR/VR, Audio AR for Industry, AR/VR Interfaces for Industry, and AR Education for Patients. All of them, but one, developed prototypical applications related to the central concept of interactive storytelling. Furthermore, each use case addresses three distinct dimensions of storytelling: the production of a coherent story, the collection and transfer of knowledge, and the specificity of the technology used. Covering the areas of Creative Media, Smart Manufacturing, and Healthcare leads to a particular research design, as each area is connected to different research contexts and comes with appliances of immersive media. The article focuses on various theoretical inputs regarding interactive and immersive storytelling in general and relates them to the academic background of the five use cases. Furthermore, each use case defined a story in its context, the purpose of its narration, and its media-specific context. Finally, the paper reflects on the outcomes of the use cases and outlines their potential for future applications of interactive storytelling in immersive media.

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Cabrera, Andrés, JoAnn Kuchera-Morin, and Curtis Roads. "The Evolution of Spatial Audio in the AlloSphere." Computer Music Journal 40, no. 4 (December 2016): 47–61. http://dx.doi.org/10.1162/comj_a_00382.

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Spatial audio has been at the core of the multimodal experience at the AlloSphere, a unique instrument for data discovery and exploration through interactive immersive display, since its conception. The AlloSphere multichannel spatial audio design has direct roots in the history of electroacoustic spatial audio and is the result of previous activities in spatial audio at the University of California at Santa Barbara. A concise technical description of the AlloSphere, its architectural and acoustic features, its unique 3-D visual projection system, and the current 54.1 Meyer Sound audio infrastructure is presented, with details of the audio software architecture and the immersive sound capabilities it supports. As part of the process of realizing scientific and artistic projects for the AlloSphere, spatial audio research has been conducted, including the use of decorrelation of audio signals to supplement spatialization and tackling the thorny problem of interactive up-mixing through the Sound Element Spatializer and the Zirkonium Chords project. The latter uses the metaphor of geometric spatial chords as a high-level means of spatial up-mixing in performance. Other developments relating to spatial audio are presented, such as Ryan McGee's Spatial Modulation Synthesis, which simultaneously explores the synthesis of space and timbre.

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IDROVO, RENÉ. "The Immersive Continuity of Roma." Music, Sound, and the Moving Image 15, no. 2 (December 1, 2021): 167–93. http://dx.doi.org/10.3828/msmi.2021.10.

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In Gravity (2013), Alfonso Cuarón introduced a fully three-dimensional sound design approach that was originally termed by Idrovo and Pauletto (2019) as ‘immersive point-of-audition’. More recently, in Netflix’s Roma (2018), Cuarón not only perfected such treatment of sound, but consolidated an audio-visual style that stands out for its capacity to enhance our sensation of ‘presence’ in the narrative world, a style that is referred here to as immersive continuity. Grounded on the spatiotemporal continuity of the long take, Cuarón’s immersive continuity allows sound objects to flow all around the 3-D space, and hence opens a giant window of opportunity for the exploitation of Dolby Atmos. Through an extensive analysis of Roma, this article describes the aesthetics of such audio-visual style, and beyond, it explores the methods and workflows that permitted Cuarón’s sound team to fully exploit sound three-dimensionality. Finally, I discuss the growing adoption of Netflix as one of the major challenges that the theatrical cinema industry has to face; and argue that embracing immersive continuity may be a powerful weapon for attracting audiences to a cinematic experience that cannot be found at home.

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Courchesne, Luc, Emmanuel Durand, and Bruno Roy. "Posture Platform and The Drawing Room: Virtual Teleportation in Cyberspace." Leonardo 47, no. 4 (August 2014): 367–74. http://dx.doi.org/10.1162/leon_a_00842.

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Three-hundred-sixty-degree audio/visual immersion and the restoration of non-verbal communication cues are essential features for interfaces inviting the human body in cyberspace. The Posture Platform is a network of bases that offers access to a shared virtual environment. Each base is composed of an immersive 360-degree visual display, a surround-sound system, an array of image capture devices, a microphone, an omnidirectional controller/pointer, and a computer with wifi and an internet connection. The Drawing Room is the most recent virtual space developed for the platform. It invites participants to a blank shared space where they draw their own environment collaboratively. The platform, and the project it hosts, is an example of the art, design, and engineering challenges and opportunities associated with development of inhabitable cyberspace.

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Quackenbush, Schuyler R., and Jurgen Herre. "MPEG Standards for Compressed Representation of Immersive Audio." Proceedings of the IEEE 109, no. 9 (September 2021): 1578–89. http://dx.doi.org/10.1109/jproc.2021.3075390.

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Vessa, Brian A. "Immersive Audio: Futureproof Workflows for the Real World." SMPTE Motion Imaging Journal 131, no. 1 (January 2022): 12–22. http://dx.doi.org/10.5594/jmi.2021.3134756.

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Kyriakakis, C. "Fundamental and technological limitations of immersive audio systems." Proceedings of the IEEE 86, no. 5 (May 1998): 941–51. http://dx.doi.org/10.1109/5.664281.

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Yao, Shu-Nung. "Headphone-based immersive audio for virtual reality headsets." IEEE Transactions on Consumer Electronics 63, no. 3 (August 2017): 300–308. http://dx.doi.org/10.1109/tce.2017.014951.

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Herre, Jurgen, Johannes Hilpert, Achim Kuntz, and Jan Plogsties. "MPEG-H 3D Audio—The New Standard for Coding of Immersive Spatial Audio." IEEE Journal of Selected Topics in Signal Processing 9, no. 5 (August 2015): 770–79. http://dx.doi.org/10.1109/jstsp.2015.2411578.

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Eldred, Cameron M., Elizabeth R. Neil, Zachary J. Dougal, Stacy E. Walker, Anna Marie Grimes, and Lindsey E. Eberman. "Preceptor Perceptions of the Immersive Clinical Experience in Athletic Training Education." Athletic Training Education Journal 16, no. 1 (January 1, 2021): 42–52. http://dx.doi.org/10.4085/1947-380x-20-36.

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Context Clinical immersion is a newly required concept within athletic training education, and preceptors play a critical role in facilitating athletic training students' learning during those experiences. Objective To explore the perceptions of preceptors currently supervising athletic training students who participate in immersive clinical experiences. Design Qualitative study. Setting Individual phone interview. Patients or Other Participants Preceptors from various clinical sites (4 females [40%] and 6 males [60%]) with an average age of 41 ± 18 years. Participants also had an average 7 ± 8 years of experience as a preceptor. Data Collection and Analysis Interviews occurred via individual phone interviews using a semistructured interview script. All interviews were audio-recorded and transcribed verbatim. A 3-person research team analyzed the data and coded it into domains and categories based on a consensus process. Credibility was established with multiple researchers, an external auditor, and member checks. Results Three domains emerged from the data: (1) exposure, (2) benefits, and (3) insufficient training. Participants stated that as a result of exposure the athletic training students experienced increased responsibility and trust, increased realistic work environment, increased collaborative practice experiences, and skill use and refinement. Preceptors indicated that the added benefits of immersive clinical experiences led to confidence in clinical and professional interactions. Preceptors noted insufficiency in their training, specific to the expectations of an immersive clinical experience. Many preceptors sought out independent learning opportunities to enhance their role as preceptor. There was a misunderstanding as to what the main differences were between traditional and immersive clinical experiences, as well as a lack of communicated or standardized goals and objectives. Conclusions Participants indicated that the immersive clinical experiences were beneficial for the athletic training students' professional development. The insufficiency of training and misunderstanding of the immersive clinical experience are concerning and could be enhanced with clearly set goals and objectives.

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Im, Dong-uk. "Analysis of Arts Educational Function of Immersive Digital Exhibition: Case of ‘Bunker de Lumières’ in Jeju." Academic Association of Global Cultural Contents 39 (May 31, 2019): 130–58. http://dx.doi.org/10.32611/jgcc.2019.5.39.130.

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There is an increasing number of cases in which the idle space is revived and transformed into a regenerated space. Idle space means a location which lost its function due to changes in the era and society, or which needs to change its usage. This space is often used as a common space, especially in the field of culture and arts. Oldenberg argued that this "third place" would help raise community ties. The regenerated space as arts mediating center has a high value because of unique place identity. The "Carrières de Lumières" in France, which was launched in 2012, was expanded to the "Bunker de Lumières" in Jeju, Korea, along with "Atelier des Lumières" in Paris. This series of regenerated idle spaces transforming abandoned industrial facilities into immersive digital exhibitions attracts hundreds of thousands of tourists each year, thanks to immersive technology based on audio-visual continuity by AMIEX system. In arts education, especially fine arts education, it is not easy to induce voluntary inward engagement as flow. Therefore, it is effective to amplify users’ curiosity and interest by using digital display and stimulating sensory outward engagement as immersion

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Major, Oliver, Ziad Shaban, Bernd Czelhan, and Adrian Murtaza. "Immersive Audio Application Coding Proposal to the SBTVD TV 3.0 Call for Proposals." SET INTERNATIONAL JOURNAL OF BROADCAST ENGINEERING 2021, no. 1 (December 1, 2021): 48–56. http://dx.doi.org/10.18580/setijbe.2021.4.

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In July 2020 the Brazilian Terrestrial Television System Forum (SBTVD) has issued a Call for Proposals (CfP) for their next-generation digital TV system called TV 3.0. Fraunhofer IIS and ATEME have proposed the MPEG-H Audio system, based on the open international standard ISO/IEC 23008-3, MPEG-H 3D Audio, as a candidate technology for the Application Coding component of SBTVD TV 3.0. The submitted proposal specifies a new Application Programming Interface (API) enabling applications to make use of the nextgeneration interactivity features of the MPEG-H Audio system. This paper provides a detailed description of the proposed API, as well as the submitted JavaScript implementation, and the architecture of the prototype system. Additionally, the paper outlines the proposed evaluation process demonstrating how the MPEG-H Audio system fulfills the TV 3.0 Application Coding requirements for 3D object-based immersive audio interaction and emergency warning information delivery

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Roussigné, Mathilde. "Tours et détours du Grand Paris. La ronde, une commande littéraire entre immersion et distanciation." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 16, no. 2 (December 19, 2022): 126–37. http://dx.doi.org/10.51777/relief13502.

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La ronde (« The Round »), an immersive audio-walk commissioned by the Société du Grand Paris in 2016, allows us to analyse the contradiction between adherence and distancing, in relation to the ambiguity of the writer’s position facing citizen consultation and territorial development. The immersive modality of the audio-walk is constantly undermined by ironic and critical distancing effects. Paradoxically, it is also a privileged way of subtly contesting urban planning projects. This paper examines the ambiguities of this work, that plays and does not play the consultation game.

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Lu, Yi, Xiaoye Wang, Jiangtao Gong, and Yun Liang. "ChordAR: An Educational AR Game Design for Children’s Music Theory Learning." Wireless Communications and Mobile Computing 2022 (February 21, 2022): 1–9. http://dx.doi.org/10.1155/2022/5268586.

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Augmented reality (AR) technology, with its unique immersive interactive experience of virtual reality integration, can show children abstract concepts and theories in an intuitive way. In this paper, we improve the high-precision position and low delay interaction of AR recognition area through edge calculation, so as to enhance the immersion of children’s chord knowledge learning. Meanwhile, multisource fusion perception of audio and touch is used, and the AI algorithm model is used to monitor physical events (cloud AI training and edge execution) and effectively realize intelligent services such as chord combination, melody perception, and control. Chord knowledge in music theory is presented to children through multichannels (kinesthetic, visual, auditory, etc.) situationally, to improve children’s learning efficiency and experience. We invited 12 children to participate in user experiments to test usability of ChordAR. The test results showed that children can master the method of playing the game through simple learning, ultimately correctly imitating C, G, and E chords, and experience full immersion in the game. Finally, we discuss the positive effects of ChordAR on children’s learning and creativity and make suggestions for future AR games.

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Ciążyńska, Julia, Michał Janowski, and Janusz Maciaszek. "Effects of a Modern Virtual Reality 3D Head-Mounted Display Exergame on Simulator Sickness and Immersion Under Specific Conditions in Young Women and Men: Experimental Study." JMIR Serious Games 10, no. 4 (November 29, 2022): e41234. http://dx.doi.org/10.2196/41234.

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Background Many young adults do not reach the World Health Organization’s minimum recommendations for the amount of weekly physical activity. The virtual reality 3D head-mounted display (VR 3D HMD) exergame is a technology that is more immersive than a typical exercise session. Our study considers gender differences in the experience of using VR games for increasing physical activity. Objective The aim of this study was to examine the differences in the effects of VR 3D HMD gaming in terms of immersion, simulator sickness, heart rate, breathing rate, and energy expenditure during two 30-minute sessions of playing an exergame of increasing intensity on males and females. Methods To examine the effects of the VR 3D HMD exergame, we experimented with 45 participants (23 males and 22 females) exercising with VR 3D HMD Oculus Quest 1, hand controllers, and Zephyr BioHarness 3.0. Players exercised according to the Audio Trip exergame. We evaluated the immersion levels and monitored the average heart rate, maximum heart rate, average breathing rate, maximum breathing rate, and energy expenditure in addition to simulator sickness during two 30-minute exergame sessions of increasing intensity. Results Audio Trip was well-tolerated, as there were no dropouts due to simulator sickness. Significant differences between genders were observed in the simulator sickness questionnaire for nausea (F2,86=0.80; P=.046), oculomotor disorders (F2,86=2.37; P=.010), disorientation (F2,86=0.92; P=.040), and total of all these symptoms (F2,86=3.33; P=.04). The measurements after the first 30-minute VR 3D HMD exergame session for all the participants showed no significant change compared to the measurements before the first 30-minute exergame session according to the total score. There were no gender differences in the immersion (F1,43=0.02; P=.90), but the measurements after the second 30-minute exergame session showed an increase in the average points for immersion in women and men. The increase in the level of immersion in the female group was higher than that in the male group. A significant difference between genders was observed in the average breathing rate (F2,86=1.44; P=.04), maximum breathing rate (F2,86=1.15; P=.047), and energy expenditure (F2,86=10.51; P=.001) measurements. No gender differences were observed in the average heart rate and maximum heart rate measurements in the two 30-minute sessions. Conclusions Our 30-minute VR 3D HMD exergame session does not cause simulator sickness and is a very immersive type of exercise for men and women users. This exergame allows reaching the minimum recommendations for the amount of weekly physical activity for adults. The second exergame session resulted in simulator sickness in both groups, more noticeably in women, as reflected in the responses in the simulator sickness questionnaire. The gender differences observed in the breathing rates and energy expenditure measurements can be helpful when programming VR exergame intensity in future research.

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Gallacher, Nicola. "Game audio — an investigation into the effect of audio on player immersion." Computer Games Journal 2, no. 2 (August 2013): 52–79. http://dx.doi.org/10.1007/bf03392342.

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Simon, Christian, Yannik Grewe, Nicolas Faecks, and Ulli Scuda. "Field Tests for Immersive and Interactive Broadcast Audio Production using MPEG-H 3D Audio." SET INTERNATIONAL JOURNAL OF BROADCAST ENGINEERING 2018, no. 1 (December 1, 2018): 40–46. http://dx.doi.org/10.18580/setijbe.2018.5.

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Agulló, Belén, and Anna Matamala. "Subtitles in virtual reality: Guidelines for the integration of subtitles in 360º content." Íkala 25, no. 3 (September 12, 2020): 643–61. http://dx.doi.org/10.17533/udea.ikala.v25n03a03.

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Immersive content has become a popular medium for storytelling. This type of content is typically accessed via a head-mounted visual display within which the viewer is located at the center of the action with the freedom to look around and explore the scene. The criteria for subtitle position for immersive media still need to be defined. Guiding mechanisms are necessary for circumstances in which the speakers are not visible and viewers, lacking an audio cue, require visual information to guide them through the virtual scene. The aim of this reception study is to compare different subtitling strategies: always-visible position to fixed-position and arrows to radar. To do this, feedback on preferences, immersion (using the ipq questionnaire) and head movements was gathered from 40 participants (20 hearing and 20 hard of hearing). Results show that always-visible subtitles with arrows are the preferred option. Always-visible and arrows achieved higher scores in the ipq questionnaire than fixed-position and radar. Head-movement patterns show that participants move more freely when the subtitles are always-visible than when they are in a fixed position, meaning that with always-visible subtitles the experience is more realistic, because the viewers do not feel constrained by the implementation of subtitles.

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Mouchtaris, A., P. Reveliotis, and C. Kyriakakis. "Inverse filter design for immersive audio rendering over loudspeakers." IEEE Transactions on Multimedia 2, no. 2 (June 2000): 77–87. http://dx.doi.org/10.1109/6046.845012.

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Malham, David G. "Fully immersive audio environments—musical, aesthetical, and computational considerations." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1357. http://dx.doi.org/10.1121/1.426428.

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Indans, Reinis, Eva Hauthal, and Dirk Burghardt. "Towards an Audio-Locative Mobile Application for Immersive Storytelling." KN - Journal of Cartography and Geographic Information 69, no. 1 (March 8, 2019): 41–50. http://dx.doi.org/10.1007/s42489-019-00007-1.

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Israel, Kai, Christopher Zerres, and Dieter K. Tscheulin. "Presenting hotels in virtual reality: does it influence the booking intention?" Journal of Hospitality and Tourism Technology 10, no. 3 (September 17, 2019): 443–63. http://dx.doi.org/10.1108/jhtt-03-2018-0020.

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Purpose The purpose of this study is to investigate the effects of telepresence while using a smartphone-based virtual reality system (SBVR) to explore a hotel virtually and to determine the influence of this immersive experience on the booking intention of the potential customer. Design/methodology/approach Within the scope of this study, a conceptual research model was developed which covered utilitarian and hedonic aspects of the user experience of SBVRs and showed their relevance for the booking intention. A virtual reality application was programmed especially for the study, in which the test persons were able to virtually explore a hotel complex. A total of 569 people participated in the study. A questionnaire was used for the data collection. The structural equation modelling and hypothesis verification were carried out using the partial least squares method. Findings The immersive feeling of telepresence increases the perceived enjoyment and usefulness of the potential customer. In addition, the user's curiosity is aroused by the telepresence, which also significantly increases the perceived enjoyment as well as the perceived usefulness. The hedonic and utilitarian value of the virtual hotel experience increases the probability that the customer will book the travel accommodation. Research limitations/implications The virtual reality application developed for the study is based on static panoramic images and does not contain audio-visual elements (e.g. sound, video, animation). Audio-visual elements might increase the degree of immersion and could therefore be investigated in future research. Practical implications The results of the study show that the SBVR is a suitable marketing tool to present hotels in an informative and entertaining way, and can thereby increase sales and profits. Originality/value For the first time, this study investigates the potential of SBVRs for the virtual product presentation of hotels and provides empirical evidence that the availability of this innovative form of presentation leads to a higher booking intention.

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Kock, Maximilian, and Christoph Louven. "The Power of Sound Design in a Moving Picture: an Empirical Study with emoTouch for iPad." Empirical Musicology Review 13, no. 3-4 (April 18, 2019): 132. http://dx.doi.org/10.18061/emr.v13i3-4.6572.

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The art of sound design for a moving picture rests basically on the work experience of pragmatists. This study tries to establish some guidelines on sound design: In an experiment 240 participants gave feedback about their emotions while watching two videos, each combined with four different audio tracks – music, sound effects, full sound design (music and sound effects) and no audio (as the comparative "null" version). Each participant viewed an audiovisual combination once to prevent habituation. The lead author employed a tablet-computer with the emoTouch-application serving as a mapping tool to provide information about the emotional responses. The participants moved a marker on the tablet's touch screen in a two-dimensional rating scale describing their felt immersion and suspense. A 3-factor-ANOVA showed significant increases of the median (and maximum) values of immersion and suspense when the participants listened to music and/ or sound effects. These values were always compared to the induced emotions of the participants who watched the videos with no audio at all. The video with full sound design audio tracks increased the median immersion values up to four times and the median suspense values up to 1.4 times. The median suspense values of the video with either music or sound effects dropped by 40 percent compared to the median suspense values of the null version. In contrast, the median immersion values were increased up to 3.6 times. The findings point to the importance of sound effects in an appropriate mix with music to enhance the viewers induced immersion and suspense.

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Blauert, Jens. "Immersive Audio Signal ProcessingImmersive Audio Signal ProcessingSunilBharitkarChrisKyriakakisSpringer, 2006. 232 pp. Price: $79.95 (hardcover). ISBN: 038728532." Journal of the Acoustical Society of America 121, no. 2 (February 2007): 673. http://dx.doi.org/10.1121/1.2405857.

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Journal articles on the topic 'Audio immersivo'

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