Relevant bibliographies by topics / Meaning of sound immersion

Academic literature on the topic 'Meaning of sound immersion'

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Published: 18 May 2024

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Journal articles on the topic "Meaning of sound immersion"

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Stingel-Voigt, Yvonne. "Functions and Meanings of Vocal Sound in Video Games." Journal of Sound and Music in Games 1, no. 2 (2020): 25–43. http://dx.doi.org/10.1525/jsmg.2020.1.2.25.

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The following article gives a short overview of some functions of vocal sounds in video games. The sound of voices contributes to the realization of fictitious game worlds, since it makes the fictitious world appear significantly more real. I briefly cover the atmospheric and emotional function of the sound of voices as well as how they are utilized in video games for supporting characters. In lieu of discussing dialogues and linguistically conveyed information, I focus on the sound of voices and their influence in generating feelings and moods, and thus how they contribute to a deepening of the immersion of the player. These considerations are based on Michel Chion's concept that sound may have an added value—the recipient assigns a special meaning to a sound, which enriches the audiovisual experience. For this purpose, I analyze a number of games in short case studies in regard to their utilization of vocal sounds with added value. The research is further contextualized through Karen Collins's concept of embodied cognition, as discussed in her seminal work Playing with Sound: A Theory of Interacting with Sound and Music in Video Games and “Making Gamers Cry: Mirror Neurons and Embodied Interaction with Game Sound.”
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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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Tudini, Vincenza. "Virtual immersion." Australian Review of Applied Linguistics. Series S 18 (January 1, 2004): 63–80. http://dx.doi.org/10.1075/aralss.18.05tud.

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Most studies in the field of synchronous Computer Mediated Communication (CMC) deal with interactions between language learners, while interactions between native speakers (NS) and learners have not been explored to the same extent, particularly to ascertain whether chatting with NS can provide a pedagogically sound bridge to conversation. Through the analysis of interactions within a NS Italian chatline, this paper considers whether the chatline environment can act as a bridge to conversational Italian by providing the same opportunities for second language acquisition reputedly offered by face-to-face interaction. Italian NS chatline discourse is analysed for its conversational ‘flavour’ by considering variety of Italian, range of topics, questions, discourse markers, feedback tokens and negotiations. The findings of this study suggest that NS chat discourse can provide learners with exposure to colloquial and regional varieties of Italian, which are generally unavailable in language textbooks. Furthermore, NS chatline discourse offers learners a type of informal conversational practice which also includes negotiation of meaning, thus confirming its role in promoting language learning.
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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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Kinnear, Tyler. "Voicing Nature in John Luther Adams's The Place Where You Go to Listen." Organised Sound 17, no. 3 (January 11, 2012): 230–39. http://dx.doi.org/10.1017/s1355771811000434.

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John Luther Adams's The Place Where You Go to Listen (2006), a permanent sound-and-light installation at the Museum of the North in Fairbanks, Alaska, resonates strongly with the geography and ecology of the composer's place of residence. The audiovisual experience is generated through a computer programme that translates real-time data streams from geophysical events into sound and colour signals. The Place functions as an artistic mirror, absorbing data from natural phenomena and reflecting it back to the listener in a deliberately allusive way. As a result, those present are invited to raise their awareness to the ‘unheard vibrations’ of the natural world.Upon entering the installation, the listener perceives an ongoing, harmonically dense hum. Through immersion, he or she notices change in both the location from which sounds project and the properties of audio and visual signals. Drawing on information theory, this article investigates the process whereby Adams renders scientific data into an audiovisual presentation as well as the role the composer and audience play in attributing meaning to this environmentally driven work. By examining the communicative layers of the installation and exploring the perceptual tendencies of the listener, we can better understand how The Place raises environmental awareness.
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Singer, Michael J., and Bob G. Witmer. "On Selecting the Right Yardstick." Presence: Teleoperators and Virtual Environments 8, no. 5 (October 1999): 566–73. http://dx.doi.org/10.1162/105474699566486.

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In an article that discussed both the conceptual aspects of presence and the practical considerations of measuring the concept (Witmer & Singer, 1998), we argued that both involvement and immersion are necessary for experiencing presence. The article also presented two questionnaires we have developed, an Immersive Tendencies Questionnaire (ITQ) and a Presence Questionnaire (PQ). Our analyses showed that they are internally consistent with high reliability, there is a weak but consistent positive relation between presence and performance, the ITQ predicts presence as measured by the PQ, and individuals reporting more simulator sickness symptoms report less presence than those reporting fewer symptoms. In this issue, Slater (1999) critiques our approach to measuring presence as represented by the PQ. Dr. Slater finds our definitions of presence helpful and that our concept of immersion is part of his understanding of the meaning of presence. Dr. Slater then argues that both our approach to measuring presence and the PQ are conceptually flawed. In his critique, he raises statistical questions about our measure, concluding that the PQ is not a measure of presence at all. He concludes by arguing against the validity of the measure and stating that he would not use the PQ in his research. In this article, we argue that the PQ is based in the same conceptual structure that is accepted by Dr. Slater, and that the PQ represents a fundamentally sound approach—although not the only approach—to measuring presence. Dr. Slater's statistical arguments are shown to be incorrect simplifications, as he acknowledges in his critique. We also demonstrate that individual PQ items still correlate significantly with the PQ total score even when the PQ total is adjusted to remove the score on individual items from that total. Finally, we rebut Slater's argument concerning the validity of the measure, and suggest that researchers not be constrained by an equipment-oriented model of the presence experience.
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Novikov, Vasily N. "VR cinema. Virtual spectacle as a dream." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 43–52. http://dx.doi.org/10.17816/vgik11243-52.

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The essay analyzes the meaning of the term immersion in relation to its application in modern cinema, explores the significance of physiological sensations in the perception of artistic and entertaining VR content, and discusses the main features of the aesthetics of 360 spherical video. In a state of immersion, a person ceases to psychologically perceive the screen as a repeater of an artificially created world, actually merging with the surrounding space. This technology, embodied in VR films, poses many still unresolved issues: the management of the subjects attention, the role of editing, the quality of sound, the use of music, film narration, the participation of the viewer in a film's events, work with light and color. The VR video format with a 360 overview is used in many areas: music videos, virtual tours, documentary travels, independent dives into art works, digital painting, and installations. In all these cases, the viewer feels like an observer, finding himself in the very center of an infinite, all-encompassing virtuality. In contrast to the traditional film that appeals to the mass consciousness of the audience, the viewing of VR content is aimed at the personal self-awareness of the individual. Images perceived in this format have a potentially higher impact on the human psyche and the human unconscious because they are remembered more vividly as a result of the complex involvement in the personalized experience here and now. The ability of the author-artist to create for the viewer an emotionally saturated dream with the psychological fusion of the subject and the space takes place is a qualitatively new quality of VR dives, a feature uncharacteristic of traditional visual arts.
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Шишлянникова, Нина Петровна. "ANALYSES AND VALUE-MEANING INTERPRETATION OF A MUSICAL WORK AS PEDAGOGICAL PROBLEM." Pedagogical Review, no. 6(40) (December 8, 2021): 38–44. http://dx.doi.org/10.23951/2307-6127-2021-6-38-44.

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Рассмотрена проблема анализа и интерпретации музыкального произведения с точки зрения теоретиков музыки и педагогов-музыкантов. Обоснована вариативность подходов к анализу, обусловленная категорией слушателей музыки, жанром произведения, неповторимостью, уровнем сложности и продолжительностью звучания, уникальностью мировоззрения композитора. Охарактеризованы отдельные виды анализа в зависимости от целевой направленности, указаны трудности и пути их преодоления. Анализ инструментальных произведений с позиций интонационной теории (интонационно-образный анализ) – своего рода социальное, историческое, художественное исследование, при котором необходима организация общения детей с автором и исполнителями сочинения в форме живого диалога, направленного на погружение в художественно-образный мир произведения, выявление смысла и эмоционально-ценностных отношений, воплощенных в образах-интонациях, формирование к нему собственного отношения (В. В. Медушевский). Представленные виды музыковедческого анализа применяются в практике музыкального образования школьников в зависимости от особенностей произведения и предпочтений педагога. Показан пример музыкально-педагогического анализа инструментальной пьесы студентами как один из возможных вариантов для использования в педагогической практике с учащимися общеобразовательной школы. The article observes the problem of analyses and interpretation of a piece of music from the point of view of music theorists and music teachers. The variability of approaches to the analysis is substantiated due to the category of the listeners, the genre of a piece of music, the uniqueness, the level of complexity and duration of the sound, the uniqueness of the composer’s worldview. Certain types of analysis, depending on the target orientation, are characterized, difficulties and ways of overcoming them are indicated. Analysis of an instrumental works from the point of view of intonation theory (intonation-figurative analysis) is a kind of social, historical, artistic research, in which it is necessary to organize communication between children and the author and performers of the composition in the form of a live dialogue aimed at immersion in the artistic-figurative world of the work, identifying meaning and emotional-value relations, embodied in images-intonations, the formation of one’s own attitude towards him (V. V. Medushevsky). The presented types of music studying analyses are used in the practice of music education of schoolchildren, depending on the characteristics of the work and the preferences of the teacher. An example of musical and pedagogical analysis of an instrumental piece by students is shown as one of the possible options for using in pedagogical practice with secondary school students.
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Haag, Moritz P., and Markus Reiher. "Studying chemical reactivity in a virtual environment." Faraday Discuss. 169 (2014): 89–118. http://dx.doi.org/10.1039/c4fd00021h.

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Chemical reactivity of a set of reactants is determined by its potential (electronic) energy (hyper)surface. The high dimensionality of this surface renders it difficult to efficiently explore reactivity in a large reactive system. Exhaustive sampling techniques and search algorithms are not straightforward to employ as it is not clear which explored path will eventually produce the minimum energy path of a reaction passing through a transition structure. Here, the chemist's intuition would be of invaluable help, but it cannot be easily exploited because (1) no intuitive and direct tool for the scientist to manipulate molecular structures is currently available and because (2) quantum chemical calculations are inherently expensive in terms of computational effort. In this work, we elaborate on how the chemist can be reintroduced into the exploratory process within a virtual environment that provides immediate feedback and intuitive tools to manipulate a reactive system. We work out in detail how this immersion should take place. We provide an analysis of modern semi-empirical methods which already today are candidates for the interactive study of chemical reactivity. Implications of manual structure manipulations for their physical meaning and chemical relevance are carefully analysed in order to provide sound theoretical foundations for the interpretation of the interactive reactivity exploration.
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Hughes, Janette, and Amy John. "From Page to Digital Stage: Creating Digital Performances of Poetry." Voices from the Middle 16, no. 3 (March 1, 2009): 15–22. http://dx.doi.org/10.58680/vm20097001.

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The authors share the story of a performance-based poetry project undertaken by a class of grade 6 and 7 students. The use of new digital media for reading, writing, and representing poetry encouraged an exploration of the relationship between text and image and how images and sound might be used to mediate meaning making. New media have an immersive and performative potential that encouraged students to get inside a poem and play with it. This project tapped into students’ interests in new media and allowed them to experience poetry in new ways through a multimodal learning environment.
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Dissertations / Theses on the topic "Meaning of sound immersion"

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Kent, J. "Sound received : immersion, listening and anthropology." Thesis, Liverpool John Moores University, 2016. http://researchonline.ljmu.ac.uk/4049/.

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Immerse yourself in a world of sound and approximations. This practice-­led research is concerned with critically examining the roots and contemporary significance of immersion within sonic art and everyday life. This body of work has resulted from research into key issues repositioning the term immersion outside the normal parameters of art investigating the intertwining relationship between immersion, listening and anthrophony. The research has been informed by the working methods of selected contemporary artists using field recordings within various interior environments. Rigorous listening to works has also influenced and driven this research forward to search for definitions of immersion. The author analyses the sonic works produced by reflecting on his own practice, with the thesis focused on the works produced rather than any alternative historical notion of sonic arts. The thesis critically examines a collection of works perceived as immersive in nature and secondly explores the interaction with personal sonorous environments. This thesis presents a series of informative and illuminating original interviews that have reinforced expanded elements of immersion presented in the examination of the practice-­led aspects of the work. These primary source interviews give a wide spectrum of opinions and experiences enabling the term and practices of immersion to be viewed outside the commonly viewed perceptions and practices that immersion evokes with artists’, audiences and individuals. Thirteen interviews with international artists’, curators and contemporary writers reflect on their personal experiences of immersion in art and critical methodological influences and practices. The interviews also discuss the contested adjectives that the term immersion evokes and the wider reaching impacts of the term beyond popular usages of the term. These essential interviewees include: Alan Dunn (multidisciplinary artist), BJ Nilsen (field recordist and sound artist), Budhaditya Chattopadhyay (researcher and sound artist), Chris Watson (field recordist and artist), Christine Sun Kim (sound artist), Daniela Cascella (curator, researcher and contemporary writer), David Hendy (researcher and contemporary writer), Francisco Lopez (sound artist), Hildegard Westerkamp (composer and sound ecologist), Markus Soukup (film and sound artist) Matthew Herbert (electronic musician), Ross Dalziel (Local Curator) and Sebastiane Hegarty (visual and sound artist). This primary research brings together, for the first time, a broad spectrum of experiences, opinions and views on immersion in sonic art and everyday life and re-­considers the challenges presented when examining this theme. An accompanying collection of artistic recordings using three distinct methods is also presented as an integrated part of the thesis. First, using mobile phones to record the author’s everyday travels, conversations and movements. Secondly, it utilises the habituated environments and the in/significance of each reverberation by presenting recordings using delicate contact microphones. The third method utilises the phenomenological and abstract memories from the author’s autobiographical past, reconstructing the distant but real recollections. These methods illuminate the author’s immersive resonating capsule of isolated existence including and portraying the fragmented and often distorted everyday sonorous experience. Sound Received: Immersion, Listening and Anthrophony generates alternative and renewed thinking on immersion, re-­definitions illuminating historical moments that have shaped much of the research. The unique collection of interviews and sonic recordings contributes to the expanding area of sonic discourse and offers a unique contribution to the field.
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Litty, Jamie M. "Audience, relevance, sound : meaning structures and structuring meaning in public radio journalism /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544588394.

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Huiberts, Sander. "Captivating sound the role of audio for immersion in computer games." Thesis, University of Portsmouth, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529027.

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Narain, Charvy. "From sound to meaning : how the brain understands speech." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413513.

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Ji, Sunjing, and Sunjing Ji. "Sound and Meaning Components during Speech Comprehension of Mandarin Compounds." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621822.

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Under the framework of dual-route theory of speech comprehension, two neurological routes are simultaneously active during speech decoding, the dorsal stream and the ventral stream. The dorsal stream is argued to be a sound processor whereas the ventral stream is a meaning processor, hence in cognitive terms, they are called the sound component and the meaning component respectively. Hypotheses concerning the processing speed and response accuracy of these two cognitive components were tested on compound words in Modern Mandarin Chinese. Four experiments were run contrasting, the sound-based task and the meaning-based task, corresponding to each of the two cognitive components. In Experiment 1 and 2, the Task effect was tested on one set of words in which the word-level and word-initial-syllable frequencies were controlled. In Experiment 3 and 4, the Task effect was tested on a different set of words in which semantic transparency was controlled. Multiple regression analyses integrating the data collected in Experiment 1-4 were conducted to test which language theory was preferred, the probability-based theory, the rule-based theory or the integrative theory. The probability-based theory suggests that speech comprehension of compound words relies only on the probability distribution of linguistic units. The rule-based theory suggests that speech comprehension of compound words relies only on phrase-structural rules. The integrative theory suggests that speech comprehension of compound words relies on both the probabilities of linguistic units and phrase-structural rules. It was suggested that the integrative theory explains the data best, but further data testing is needed to confirm this hypothesis. The results of the present study provide evidence for functional trade-off of the sound and meaning components, garden path effects during parsing opaque words and the possibility of the role of a mirror system in human speech comprehension.
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沙知, 板垣, and Sachi Itagaki. "A study on sound symbolism : the cognitive and neural mechanism underlying the sound-meaning correspondence in language." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13127445/?lang=0, 2020. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13127445/?lang=0.

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Klintfors, Eeva. "Emergence of words : Multisensory precursors of sound-meaning associations in infancy." Doctoral thesis, Stockholm : Department of Linguistics, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7371.

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Atchley, Rachel. "Memory for Poetry: More than Meaning?" Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1319216131.

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Ömer, Faruk Es. "The Interaction of Sound and Meaning in Qur’ānic Words: A Tonal Approach." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/30772.

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Muslims believe that the Qur’ān is the Speech of God with all its sound and sense. The association of the sound with Divine speech triggers the anticipation that the sound and meaning in the Qur’ān have to be intertwined. This expectation is heightened since according to a vast majority of Muslim scholars, the most powerful facet of the miraculousness and inimitability of the Qur’ān (iʻjāz) is the aesthetic excellence of its eloquence (balāḡah) and articulacy (fasāḥah). And intriguingly, in parallel to the intricate relationship of sound and meaning, the attempts of Muslim rhetoricians to identify the source and enchantment of Qur’ānic eloquence have been developed around, and challenged by the distinction of meaning (maʻnā) and expression (lafẓ), which has long continued to be a most elusive problem. In this connection, there are several signi2icant contemporary studies such as of Michael Sells and Kristina Nelson, which develop the traditional analysis further by charting the aural structures of Qur’ānic passages on the basis of the parallelisms and divergencies of syntactic, phonological, and rhythmic features, which are interpreted through the musical tonal dynamics. And the ways in which the aural structures become distinct of each other are read in parallel with the generation of Qur’ānic meanings. These studies construct a fertile formal framework for sound-meaning interaction, without, however, focusing upon how they are instantaneously correlated. In this regard, we encounter a unique work of Sayyid Quṭb, Artistic Imagery in the Qur’ān, in which Quṭb propounds that the fundamental principle and the most valuable stylistic quality of Qur’ānic language is artistic imagery (taswīr), through which the meanings are depicted and portrayed in a vividly evocative way kindling the feeling that the Qur’ānic expression is “alive”. As a crucial dimension of taswīr, Quṭb suggests that the tonal and articulatory features of the letters depict the meanings of the words, and the ways in which they are sequenced generate unique styles of inner musicality that portray the moods and atmospheres of the passages. However, in his cursory discussion, Quṭb does not explain what these tonal qualities are, and how they work. This dissertation develops the concept of taswīr around the concept of tonality and investigates the sound-meaning relationship by meticulously dissecting the articulatory dynamics of the letters and their expressive and evocative qualities.
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Eernstman, Natalia. "Art as a source of learning for sustainable development : making meaning, multiple knowledges and navigating open-endedness." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9197/.

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This research is a practice-based inquiry into the contribution of art to processes in which communities explore, design and proceed on sustainable ways forward. In rejecting an overly technocratic approach, this thesis follows a learning-based conception of sustainable development. Rather than transmitting predetermined solutions, social learning is about establishing a prolific framework of conditions in which people can explore for themselves what is ‘right’, sustainable and desired. Such learning shows important overlaps with art, in that it does not set out to transmit a predetermined message; instead the meaning of something is collectively made throughout the process. Where the shift from instrumental, technocratic approaches to participatory, intersubjective and open-ended approaches to sustainable development is relatively new in the social sciences, artists arguably have a longer legacy working in non-instrumental and ‘goal-searching’ ways. Subsequently, this thesis proposes a range of artful approaches that would allow educators to create spaces in which meaning is mutually created. These are the result of three research activities: the researcher interviewed artists, she participated in practices of artists, and reflected upon her own making process in which she conceived social learning as a contextual arts practice. Where this thesis takes social learning into new areas of knowledge is in the way that it conceives the meaning of sustainable development as continuously coming out of the present. Despite a professed action-oriented and experiential rendition of sustainable development, academics in the field of learning for sustainability present the concept as theoretical and abstract: it exists separated from the lived world of practice that it draws meaning from. This thesis argues that the key potential of art lies in counteracting such excessive objectification of socio-environmental issues. Through locative meaning-making, for example, meanings are derived from the here and now rather than from abstracted terms. Consequently, social learning should not strive for sustainable development as an objective, general goal in itself. Instead the learning should be conceived as an emergent process that is driven by an active vehicle, score or invitation that generates an interaction-rich environment in which meaning-making can happen. Sustainable development then threads through the fabric of whatever is happening, rather than being a focus on its own.
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Books on the topic "Meaning of sound immersion"

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Ibadan, University of, ed. The sound of meaning. Nigeria: University of Ibadan, 2011.

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Crowell, Benton L. Sound meaning and sound play in Shakespeare's sonnets. Birmingham: University of Birmingham, 1995.

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Musical gestures: Sound, movement, and meaning. New York: Routledge, 2010.

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Inge, Godøy Rolf, and Leman Marc 1958-, eds. Musical gestures: Sound, movement, and meaning. New York: Routledge, 2010.

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American grammar: Sound, form, and meaning. New York: P. Lang, 1990.

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Nishiguchi, Sumiyo. Sound and Meaning in East Cushitic Languages. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-6972-2.

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J, Moore Brian C., Tyler Lorraine Komisarjevsky 1945-, and Marslen-Wilson William, eds. The perception of speech: From sound to meaning. Oxford: Oxford University Press, 2009.

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J, Moore Brian C., Tyler Lorraine Komisarjevsky 1945-, and Marslen-Wilson William, eds. The perception of speech: From sound to meaning. Oxford: Oxford University Press, 2009.

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Qureshi, Regula. Qawwali: Sound, context and meaning in Indo-Muslim Sufi music. [S.l: s.n.], 1986.

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Jadalīyat al-maʻná wa-al-ṣawt: Dialectical meaning and sound. Bayrūt: Dār al-Rāfidayn, 2017.

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Book chapters on the topic "Meaning of sound immersion"

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Solomos, Makis. "Immersion in sound." In From Music to Sound, 114–35. New York : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429201110-5.

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Hiraga, Masako K. "Sound as Meaning." In Metaphor and Iconicity, 127–69. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230510708_5.

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Garner, Tom A. "Sound and meaning." In How the World Listens, 63–88. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003178705-4.

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St John, Rob. "Fluid-sound." In Water, Creativity and Meaning, 157–71. Abingdon, Oxon ; New York, NY : Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315110356-10.

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Hebron, Malcolm. "Sound: Music and Meaning." In Mastering, 5–52. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-1-137-06380-9_2.

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Boudreau, Annette, and Médéric Gasquet-Cyrus. "From sound to social meaning." In Pragmatics of Accents, 247–62. Amsterdam: John Benjamins Publishing Company, 2021. http://dx.doi.org/10.1075/pbns.327.11bou.

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Fujimori, Atsushi. "The association of sound with meaning." In Linguistik Aktuell/Linguistics Today, 141–66. Amsterdam: John Benjamins Publishing Company, 2012. http://dx.doi.org/10.1075/la.194.07fuj.

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Zwiep, Irene. "9. Where Sound and Meaning Part." In Images, Improvisations, Sound, and Silence from 1000 to 1800, edited by Babette Hellemans and Alissa Jones Nelson, 177–88. Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048529186-012.

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Bromberger, Sylvain. "Vagueness, Ambiguity, and the “Sound” of Meaning." In Analysis and Interpretation in the Exact Sciences, 75–93. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-2582-9_5.

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Schuback, Marcia Sá Cavalcante. "Sancta Sonantia: Reflections on Sound and Meaning." In Sapientia et eloquentia, 349–63. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.disput-eb.3.467.

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Conference papers on the topic "Meaning of sound immersion"

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IMAI, MUTSUMI, MICHIKO ASANO, GUILLAUME THIERRY, KEIICHI KITAJO, HIROYUKI OKADA, and SOTARO KITA. "SOUND SYMBOLISM AND ARBITRARY SOUND-MEANING RELATIONSHIPS IN LANGUAGE." In EVOLANG 10. WORLD SCIENTIFIC, 2014. http://dx.doi.org/10.1142/9789814603638_0090.

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Fehr, Jonas, and Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.

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Chamberlain, Alan. "Surfing with Sound." In AM'18: Sound in Immersion and Emotion. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243274.3243289.

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Eriksson, Martin Ljungdahl, Lena Pareto, Ricardo Atienza, and Kjetil Falkenberg Hansen. "My Sound Space." In AM'18: Sound in Immersion and Emotion. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243274.3243309.

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Beller, Greg. "Sound space and spatial sampler." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791010.

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Drempetic, Cassandra, and Leigh Ellen Potter. "Wearable bass tactile sound systems and immersion." In OzCHI '17: 29th Australian Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3152771.3156175.

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Bolsee, Quentin, and Vivian Bolsee. "A Fast Water Droplet Sound Simulation." In 2018 International Conference on 3D Immersion (IC3D). IEEE, 2018. http://dx.doi.org/10.1109/ic3d.2018.8657882.

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Scaletti, Carla, and Alan B. Craig. "Using sound to extract meaning from complex data." In Electronic Imaging '91, San Jose,CA, edited by Edward J. Farrell. SPIE, 1991. http://dx.doi.org/10.1117/12.44397.

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McDougall, Sine J. P., and Judy Edworthy. "Soundscaping: Sound, meaning and vision in healthcare alarm systems." In Proceedings of the 32nd International BCS Human Computer Interaction Conference. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/hci2018.228.

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Mycroft, Joshua, Tony Stockman, and J. D. Reiss. "A Prototype Mixer to Improve Cross-Modal Attention During Audio Mixing." In AM'18: Sound in Immersion and Emotion. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243274.3243290.

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Reports on the topic "Meaning of sound immersion"

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Bondarenko, Olga V. The didactic potential of virtual information educational environment as a tool of geography students training. [б. в.], February 2020. http://dx.doi.org/10.31812/123456789/3761.

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The article clarifies the concept of “virtual information educational environment” (VIEE) and examines the researchers’ views on its meaning exposed in the scientific literature. The article determines the didactic potential of the virtual information educational environment for the geography students training based on the analysis of the authors’ experience of blended learning by means of the Google Classroom. It also specifies the features (immersion, interactivity, and dynamism, sense of presence, continuity, and causality). The authors highlighted the advantages of virtual information educational environment implementation, such as: increase of the efficiency of the educational process by intensifying the process of cognition and interpersonal interactive communication; continuous access to multimedia content both in Google Classroom and beyond; saving student time due to the absence of necessity to work out the training material “manually”; availability of virtual pages of the virtual class; individualization of the educational process; formation of informational culture of the geography students; and more productive learning of the educational material at the expense of IT educational facilities. Among the disadvantages the article mentions low level of computerization, insignificant quantity and low quality of software products, underestimation of the role of VIЕЕ in the professional training of geography students, and the lack of economic stimuli, etc.
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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).
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Glick, Mark, Gabriel A. Lozada, Pavitra Govindan, and Darren Bush. The Horizontal Merger Efficiency Fallacy. Institute for New Economic Thinking Working Paper Series, August 2023. http://dx.doi.org/10.36687/inetwp212.

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The Department of Justice and Federal Trade Commission Merger Guidelines (the “Merger Guidelines”), including the much improved latest revision in 2023 (the “New Merger Guidelines”), have continued to perpetrate what we call in this paper the horizontal merger efficiency fallacy. The fallacy arises because in the Guidelines the term “efficiencies” has become unmoored from its foundations in economic theory and has been reduced to the business school construct of cost savings. We show that cost savings can only be considered universally socially beneficial by acceptance of what is termed “the Consumer Welfare Standard” (antitrust) or “the surplus theory of welfare” (economics), a theory that has been discredited and abandoned by welfare economists. In economic theory, efficiency means Pareto Efficiency. We explore the various attempts to tether the cost savings definition of efficiency to Pareto Efficiency and explain why these attempts have failed. We conclude that there is no sound way to theoretically reconcile cost savings with the economic meaning of efficiencies. We then move beyond the efficiency fallacy and show how modern welfare economics can be used to integrate Congressional antitrust goals into the New Merger Guidelines. This requires abandoning the unsupported “standard deduction” for efficiencies and replacing it with an evidence-based assessment of how a specific merger under review potentially impacts Congressional antitrust goals. This change renders the present efficiency rebuttal section of the New Merger Guidelines superfluous, and we provide specific reasons why this section as currently drafted is flawed and should be jettisoned.
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