Relevant bibliographies by topics / Video game acoustics

Academic literature on the topic 'Video game acoustics'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Video game acoustics"

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Ikariko, Masahiro. "Fighting video game machine." Journal of the Acoustical Society of America 119, no. 3 (2006): 1305. http://dx.doi.org/10.1121/1.2185034.

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Iannace, Gino, Giuseppe Ciaburro, and Amelia Trematerra. "Video games noise exposure in teenagers and young adults." Noise & Vibration Worldwide 51, no. 1-2 (November 25, 2019): 3–11. http://dx.doi.org/10.1177/0957456519889956.

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Many teenagers’ free time is almost entirely devoted to video games. Unlike reality, in the virtual environment, adolescents feel themselves as protagonists by interacting with people and objects that are very far from the current living environments. Several authors in the literature have highlighted the risks associated with an intensive use of these technologies and the negative consequences for health. To make the gaming experience as exciting as possible, these applications are equipped with sound environments that stimulate attention and aggression. This study describes the noise exposure measurement activities for video game users. The damage caused by noise depends on both the acoustic power and the exposure time. For this reason, different noise exposure scenarios produced by video games have been simulated. The results show that the daily levels of exposure to noise are close to the limits imposed by the legislation. A game exceeds the lower exposure limit for two different time exposures. In the case of 4 h of exposure, the lower exposure limit is exceeded, although the other 4 h of rest have been passed in an environment with low background noise (46.0 dBA). The results suggest limiting the set sound level appropriately and to reduce users’ exposure times.
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Araki, Shigeru. "Background-sound control system for a video game apparatus." Journal of the Acoustical Society of America 114, no. 4 (October 2003): 1712. http://dx.doi.org/10.1121/1.1627509.

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Miyamoto, Shigeru. "Sound generating device and video game device using the same." Journal of the Acoustical Society of America 113, no. 4 (2003): 1795. http://dx.doi.org/10.1121/1.1572379.

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Lim, Sung‐joo, Lori L. Holt, and Francisco Lacerda. "Learning acoustically complex word‐like units within a video‐game training paradigm." Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2661. http://dx.doi.org/10.1121/1.3588896.

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Lim, Sung‐joo, and Lori L. Holt. "Investigating non‐native category learning using a video‐game‐based training paradigm." Journal of the Acoustical Society of America 125, no. 4 (April 2009): 2768. http://dx.doi.org/10.1121/1.4784711.

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Uenishi, Takahito, and Yasuhiro Kawabata. "Recording medium storing volume control program, volume control method, video game machine, and volume control program." Journal of the Acoustical Society of America 119, no. 4 (2006): 1909. http://dx.doi.org/10.1121/1.2195809.

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Lauter, Judith L., Elizabeth Mathukutty, and Brandon Scott. "How can a video game cause panic attacks? I. Effects of an auditory stressor on the human brainstem." Journal of the Acoustical Society of America 126, no. 4 (2009): 2204. http://dx.doi.org/10.1121/1.3248647.

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Araki, Shigeru. "Background sound switching apparatus, background-sound switching method, readable recording medium with recording background-sound switching program, and video game apparatus." Journal of the Acoustical Society of America 115, no. 2 (2004): 457. http://dx.doi.org/10.1121/1.1669303.

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Kitapci, Kivanc, and Dogukan Ozdemir. "An interdisciplinary sound classification framework for environmental sound design." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 5 (August 1, 2021): 1130–41. http://dx.doi.org/10.3397/in-2021-1761.

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One of the objectives of architectural design is to create multi-sensory environments. The users are under the influence of a wide variety and intense perceptual data flow when users experience a designed space. Architects and environmental designers should not ignore the sense of hearing, one of the most important of the five primitive senses that allow us to experience the physical environment within the framework of creative thinking from the first stage of the design process. Today, auditory analysis of spaces has been studied under architectural acoustics, soundscapes, multi-sensory interactions, and sense of place. However, the current sound design methods implemented in the film and video game industries and industrial design have not been used in architectural design practices. Sound design is the art and application of making soundtracks in various disciplines and it involves recognizing, acquiring, or developing of auditory components. This research aims to establish a holistic architectural sound design framework based on the previous sound classification and taxonomic models found in the literature. The proposed sound design framework will help the architects and environmental designers classify the sound elements in the built environment and provide holistic environmental sound design guidelines depending on the spaces' functions and context.
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Dissertations / Theses on the topic "Video game acoustics"

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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.

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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Grimshaw, Mark Nicholas. "The Acoustic Ecology of the First-Person Shooter." The University of Waikato, 2007. http://hdl.handle.net/10289/2653.

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This thesis contributes to the field of Game Studies by presenting the hypothesis that the player(s) and soundscape(s) in the first-person shooter (FPS) game, and the relationships between them, may be construed as an acoustic ecology. It explores the idea that the single-player FPS game acoustic ecology has the basic components of player and soundscape and that the relationships between these two lead to the creation and perception of a variety of spaces within the game world constituting a significant contributing factor to player immersion in that world. Additionally, in a multiplayer FPS game, these individual acoustic ecologies form part of a larger acoustic ecology which may be explained through autopoietic principles. There has been little written on digital game sound (much less on FPS game sound) and so the research contained within this thesis is an important contribution to the Game Studies field. Furthermore, the elaboration of the hypothesis provides insight into the role of sound in the perception of a variety of spaces in the FPS game, and player immersion in those spaces, and this has significance not only for Game Studies but also for other disciplines such as virtual environment design and the study of real-world acoustic ecologies. A text-based methodology is employed in which literature from a range of disciplines is researched for concepts relevant to the hypothesis but, where necessary, new concepts will be devised. The aim of the methodology is to construct a conceptual framework which is used to explicate the hypothesis and which may, with future refinement, be used for the study of sound in digital game genres other than FPS.
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Jackson, Nicholas Allen. "The Creation, Performance, and Preservation of Acousmatic Music." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619144438948909.

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Probert, Benjamin Kym. "Video Game Acoustics: Perception-Based Sound Design for Interactive Virtual Spaces Submitted." Thesis, 2020. http://hdl.handle.net/2440/129585.

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Video game acoustics are the various aspects of sound physics that can be represented in a video game, as well as the perception and interpretation of those sound physics by a player. At its core, the research here aims to identify the many functions and considerations of acoustics in interactive virtual spaces, while also building a theoretical foundation for video game acoustics by gathering relevant research from a wide variety of disciplines into a single video game context. The writing here also functions as an informative resource for video game sound designers and is primarily written for that audience. Through a review of the literature it is found that there is research available across many different disciplines that is relevant to video game acoustics, but none that bring it all together and fully explore acoustics in a video game context. Small discussions related to the topic occur sporadically throughout various fields, however there are few of any detailed focus and even fewer with video game sound designers as their intended audience. This scattering and dilution of relevant information validates the need for its distillation into a dedicated discussion. The writing here addresses this gap in the literature and in doing so uncovers aspects of video game acoustics that have not previously been given adequate attention. This thesis accomplishes its aims by combining an interdisciplinary background with an emphasis on simplification to suit the creative field of game sound design. A theoretical foundation is built from several different disciplines, including Acoustics, auditory perception, acoustic simulation, sound theory, spatial presence, film sound, and of course game sound. A twofold physics/perception approach is used to analyse video game acoustics. The human perception of sound has various strengths and weaknesses, which help to identify the aspects of sound physics that are important to provide a player as well as aspects that may be ignored for efficiency reasons. The thesis begins by revealing the many considerations and implications of incorporating acoustics into a video game, followed by an exploration of the perceptual functions of acoustics in virtual spaces. Several conceptual frameworks are then offered to address some of the problems discovered in the previous sections. By the end of the thesis it will be shown that the main purpose of video game acoustics is to provide a player with a natural experience of sound. People working in the video game industry may use the research presented here to cultivate an understanding of how humans can interact with video games through sound physics, and why it is important to improve the quality of this interaction.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2020
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Alves, Valter Nelson Noronha. "Sound design guidance as a contribution towards the empowerment of indie game developers." Doctoral thesis, 2013. http://hdl.handle.net/10316/23448.

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Tese de doutoramento em Ciências e Tecnologia da Informação, apresentada à Faculdade de Ciências e Tecnologia da Universidade de Coimbra
Currently, expertise in sound design in games is mostly tacit and held by senior professionals, who are not numerous and who typically work for resourceful teams that are able to afford them. Indie game developers, usually working with low resources, often have to cope with lack of expertise in sound design. We propose to provide guidance for the empowerment of non-expert practitioners to perform sound design in games, assuming the impracticality of integrating sound design experts in their teams. This empowerment also implies leveraging the literacy in this specific domain, hence providing abilities to communicate and participate in the conception of possible explorations. Such abilities could also be beneficial to the broader audience of game developers, where it could create the conditions for expert sound designers to be invited more regularly and earlier into game projects. Our proposal is composed of several contributions. First, we present an operative adherence to a holistic practice of sound design, embedded in game design, in which the exploration of sound is performed in the early phases of ideation and addressed by its purposefulness to the game experience. Then, we present an initial set of design guidelines for sound design in games, which include multidisciplinary concepts and insights. Our observation of game design practitioners using these guidelines led us to also propose a lower-level of guidance: a pattern language for sound design in games, representing recurrent sound explorations found in games of recognized quality. In its current state, version 2.0, the pattern language consists of a network of 81 candidate design patterns, publicly available through the wiki soundingames.com. We also present a deck of cards for sound design in games, which was originally developed for research purposes as way to audit the participation of the patterns during design phenomena, but which eventually evolved into an end-user interface with the pattern language. Through experimentation, we gathered indicators that the proposed guidance can empower non-expert practitioners. The experiments also informed revisions to the proposals and contributed to refine our understanding of the research problem. We conclude this dissertation by presenting the conditions that we have been developing to open the body of knowledge to the community of practice, for discussion and appropriation.
O conhecimento pericial em desenho de som em jogos é, atualmente, maioritariamente tácito e mantido por profissionais experientes que não são numerosos e que trabalham para equipas que possuem recursos para os contratar. Os criadores de jogos independentes, usualmente a trabalhar com escassos recursos, têm frequentemente que lidar com a falta de conhecimento especializado em desenho de som. Propomos fornecer orientações para a capacitação de praticantes não especialistas em desenho de som em jogos, assumindo a impraticabilidade de integrar especialistas com essa competência nas suas equipas. Esta capacitação implica também fomentar a literacia neste domínio específico, promovendo, assim, competências para comunicar e participar na concepção de explorações de som. Tais capacidades também podem ser vantajosas no âmbito mais amplo dos criadores de jogos, junto do qual poderiam criar as condições para que os especialistas em desenho de som fossem convidados com mais regularidade, e mais cedo, para os projetos de criação de jogos. A nossa proposta é constituída por várias contribuições. Começamos por apresentar uma operacionalização holística da prática de desenho de som, incorporada no desenho de jogos, em que a exploração do som é realizada nas fases iniciais da ideação e é apreciada em função do seu propósito para a experiência de jogo. Seguidamente, apresentamos um conjunto inicial de linhas orientadoras para o desenho de som em jogos, que incluem conceitos e influências multidisciplinares. A observação que fizemos da utilização dessas linhas orientadores, por parte de praticantes em desenho de jogos, levou-nos a propor também orientação de mais baixo nível: uma linguagem de padrões para desenho de som em jogos, representando explorações de som recorrentes em jogos de reconhecida qualidade. No seu estado atual, versão 2.0, esta linguagem de padrões consiste numa rede de 81 padrões candidatos, publicamente disponíveis através da wiki soundingames.com. Apresentamos também um instrumento na forma de um baralho de cartas para o desenho de som em jogos, que foi originalmente desenvolvido com fins de investigação, como forma de auditar a participação dos padrões durante a atividade de desenho de jogos, mas que evoluiu para se tornar uma interface entre a linguagem de padrões e o utilizador final. Com base em experimentação, reunimos indicadores de que a orientação que propomos pode capacitar praticantes não especializados. Os exercícios realizados também informaram revisões às propostas e contribuíram para aumentar a nossa compreensão da questão em investigação. Concluímos apresentando condições que temos vindo a desenvolver para abrir esta base de conhecimento à comunidade de prática, para discussão e apropriação.
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Books on the topic "Video game acoustics"

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Rockband Guitar Method Learn How To Play Electric Or Acoustic Guitar Using Songs From The Popular Video Game. Hal Leonard Publishing Corporation, 2008.

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Conference papers on the topic "Video game acoustics"

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Sabrina, W., and K. J. Ray Liu. "Pricing game and evolution dynamics for mobile video streaming." In 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946954.

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Karttunen, Janne, Anssi Kanervisto, Ville Kyrki, and Ville Hautamaki. "From Video Game to Real Robot: The Transfer Between Action Spaces." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9053221.

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Asioli, Stefano, Naeem Ramzan, and Ebroul Izquierdo. "A game theoretic framework for optimal resource allocation in P2P scalable video streaming." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6288372.

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Gao, Yang, Yan Chen, and K. J. Ray Liu. "A cheat-proof game-theoretic framework for cooperative peer-to-peer video streaming." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6288373.

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Gresse, Adrien, Mickael Rouvier, Richard Dufour, Vincent Labatut, and Jean-François Bonastre. "Acoustic Pairing of Original and Dubbed Voices in the Context of Video Game Localization." In Interspeech 2017. ISCA: ISCA, 2017. http://dx.doi.org/10.21437/interspeech.2017-1311.

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Li, Yujie, Atsunori Kanemura, Hideki Asoh, Taiki Miyanishi, and Motoaki Kawanabe. "A Sparse Coding Framework for Gaze Prediction in Egocentric Video." In ICASSP 2018 - 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2018. http://dx.doi.org/10.1109/icassp.2018.8462640.

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Lauter, Judith, Elizabeth Mathukutty, and Brandon Scott. "How can a video game cause panic attacks? 1. Effects of an auditory stressor on the human brainstem." In 158th Meeting Acoustical Society of America. ASA, 2010. http://dx.doi.org/10.1121/1.3266884.

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Fullerton, Anne M., Thomas C. Fu, and Edward S. Ammeen. "Distribution of Wave Impact Forces From Breaking and Non-Breaking Waves." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79978.

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Impact loads from waves on vessels and coastal structures are highly complex and may involve wave breaking, making these changes difficult to estimate numerically or empirically. Results from previous experiments have shown a wide range of forces and pressures measured from breaking and non-breaking waves, with no clear trend between wave characteristics and the localized forces and pressures that they generate. In 2008, a canonical breaking wave impact data set was obtained at the Naval Surface Warfare Center, Carderock Division, by measuring the distribution of impact pressures of incident non-breaking and breaking waves on one face of a cube. The effects of wave height, wavelength, face orientation, face angle, and submergence depth were investigated. A limited number of runs were made at low forward speeds, ranging from about 0.5 to 2 knots (0.26 to 1.03 m/s). The measurement cube was outfitted with a removable instrumented plate measuring 1 ft2 (0.09 m2), and the wave heights tested ranged from 8–14 inches (20.3 to 35.6 cm). The instrumented plate had 9 slam panels of varying sizes made from polyvinyl chloride (PVC) and 11 pressure gages; this data was collected at 5 kHz to capture the dynamic response of the gages and panels and fully resolve the shapes of the impacts. A Kistler gage was used to measure the total force averaged over the cube face. A bottom mounted acoustic Doppler current profiler (ADCP) was used to obtain measurements of velocity through the water column to provide incoming velocity boundary conditions. A Light Detecting and Ranging (LiDAR) system was also used above the basin to obtain a surface mapping of the free surface over a distance of approximately 15 feet (4.6 m). Additional point measurements of the free surface were made using acoustic distance sensors. Standard and high-speed video cameras were used to capture a qualitative assessment of the impacts. Impact loads on the plate tend to increase with wave height, as well as with plate inclination toward incoming waves. Further trends of the pressures and forces with wave characteristics, cube orientation, draft and face angle are investigated and presented in this paper, and are also compared with previous test results.
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