Investigating Narrative and Performative Sound Design Strategies for Interactive Commodities

2010 ◽  
pp. 12-40 ◽  
Author(s):  
Daniel Hug
Keyword(s):  
Sound Design ◽  
Design Strategies

Time to first relapse as an endpoint in multiple sclerosis clinical trials

2012 ◽  
Vol 19 (4) ◽  
pp. 466-474 ◽  
Author(s):  
MP Sormani ◽  
A Signori ◽  
P Siri ◽  
N De Stefano
Keyword(s):  
Multiple Sclerosis ◽  
Clinical Trials ◽  
Primary Outcome ◽  
Model Fitting ◽  
Clinical Trial Design ◽  
Fixed Time ◽  
Sound Design ◽  
Sample Sizes ◽  
Design Strategies ◽  
First Relapse

Background: The increasing number of effective therapies to treat multiple sclerosis (MS) raises ethical concerns for the use of placebo in clinical trials, suggesting that new clinical trial design strategies are needed. Objectives: To evaluate time to first relapse as an endpoint for MS clinical trials. Methods: A recently-developed model fitting the distribution of time to first relapse in MS was used for simulations estimating the sample sizes of trials using this as an outcome, and for comparison with the size of trials using the annualized relapse rate (ARR) as the primary outcome. Results: Trials based on time to first relapse were feasible, requiring sample sizes that were similar or even smaller than if the study was based on ARR instead. In the case of low ARR (0.4 relapses/year), as is expected in future trials, the 1-year trials designed to detect a treatment effect of 30%, with 90% power, require fewer patients when based on time to first relapse (470 patients/arm) than if based on ARR (540 patients/arm). Conclusions: Our simulations show that time to first relapse is not less powerful than ARR in MS trials; thus, this measure would be a potentially useful primary outcome offering the advantage of an ethically sound design, as the patients randomized to placebo can then switch to the active drug, once they relapse. A potential drawback is the loss of information for other endpoints collected at fixed time points.

Lost in Sensation

2013 ◽  
pp. 60-74 ◽  
Author(s):  
William Whittington
Keyword(s):  
Digital Media ◽  
Sound Design ◽  
Design Strategies ◽  
Digital Revolution ◽  
Quiet Revolution ◽  
Design Practices

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This essay argues that sound processes, design practices, and technology have shaped the history and trajectory of digital media in significant and all-to-often unacknowledged ways. Specifically, sound design strategies have helped define the “hyperrealistic” approach that has come to define the style of digital media, establishing unprecedented image and sound unity. Sound has also taken the lead in establishing new forms of “spectacle” and “immersion” through the use of multichannel technologies, which have fostered new cinematic reading codes and considerations in regard to subjectivity. Within the digital “revolution,” the soundtrack offers a quiet revolution of its own, if we just listen.

scholarly journals “That’s not a secure area”– physical-digital sound links in commercial locative games

2014 ◽  
Vol 1 (3) ◽  
Author(s):  
Inger Ekman
Keyword(s):  
Real World ◽  
First Generation ◽  
Location Awareness ◽  
Sound Design ◽  
Design Strategies ◽  
Present Contribution ◽  
Mobile Games ◽  
Pervasive Games ◽  
Digital World ◽  
Free Interaction

Pervasive games break the boundary between digital and physical to make use of elements in the real world as part of the game. One form of pervasive games are locative mobile games, which utilize physical movement as game control. To facilitate eyes-free interaction during play, these games benefit from exploring sound-based content. However, it is currently unclear what type of sound-based interaction is feasible to the general audience. Another consideration is which sound design strategies best support the goal of situated experiences, and how to design sound that supports game experiences drawing upon location-awareness, and intermixing virtual content with physical reality.A first generation of locative mobile games is already commercially available. The present contribution analyzes seven commercially available locative games (Ingress; Shadow Cities; Zombies, Run!; Inception the App; The Dark Knight Rises Z+; CodeRunner) and summarizes the sound design strategies employed to contextualize game content in real-world. Comparison to current themes in contextualized audio research indicates similarities but also challenges some assumptions regarding audio-heavy gameplay. The findings illustrate the need for simplicity regarding audio challenges, but generally confirm the view of audio-based gameplay as a facilitator of mobility. Sound is also centrally involved in shaping contextualized experiences, forging links between the physical and digital world, and indexing game content to context through functionality, verbal references, spatialization, and remediation. The article discusses two complementary strategies to systematically manipulate the physical-digital relationship, and to promote strongly situated experiences.

scholarly journals Enhancing Audio Description: Inclusive Cinematic Experiences Through Sound Design

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Mariana Lopez ◽  
Gavin Kearney ◽  
Krisztian Hofstadter
Keyword(s):  
Focus Groups ◽  
Visually Impaired ◽  
Sound Design ◽  
Design Strategies ◽  
3D Audio ◽  
Film And Television ◽  
Sound Effects ◽  
Audio Description ◽  
Third Person ◽  
Aesthetic Preferences

This paper explores the creation of an alternative to traditional Audio Description for visually impaired film and television audiences. The Enhanced Audio Description (EAD) methods utilise sound design as the main vehicle for accessibility and advocate for the integration of accessibility practices to filmmaking workflows.  Moreover, this integrated strategy results in an organic form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences.  The present article reflects on the discussions held during focus groups in which mixed audiences of visually impaired and sighted people watched the same film, with the same EAD soundtrack over headphones.  The discussions highlight the potential of the format as an example of universal design and accessible filmmaking, which can be enjoyed regardless of audience’s sight condition and can be offered alongside traditional Audio Description (AD) in order to cater for different aesthetic preferences. Lay summary Audio Description (AD) is a third person commentary added to film and television productions to make them accessible for visually impaired audiences.  Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production.  This paper explores an alternative to traditional AD, called Enhanced Audio Description (EAD), whose methods are integrated to filmmaking workflows.  EAD moves away from a focus on verbal descriptions and instead focuses on sound design strategies.  In EAD the traditional third person commentary is replaced by the combination of three techniques.  The first is the addition of sound effects to provide information on actions, convey abstract scenes as well as indicate time, place, and the presence of characters. The second is the use of binaural audio (3D audio over headphones) to convey the position of characters and objects portrayed on the screen. Finally, first-person narration is used to portray feelings, gestures, colours as well as certain actions. The application of EAD methods results in a form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. Focus groups with audiences of visually impaired and sighted people demonstrated the potential of the format to be widely enjoyed, and to be offered alongside traditional Audio Description (AD) in order to provide accessible experiences which cater for different aesthetic preferences.

Sound design: an applied, experimental framework to study the perception of everyday sounds

2014 ◽  
Vol 4 (2) ◽  
pp. 103-121 ◽  
Author(s):  
Patrick Susini ◽  
Olivier Houix ◽  
Nicolas Misdariis
Keyword(s):  
Sound Design

Game Sound

2020 ◽  
Vol 1 (1) ◽  
pp. 100-102
Author(s):  
Karen Collins
Keyword(s):  
Video Game ◽  
Theory And Practice ◽  
Sound Design ◽  
Video Game Music

Karen Collins reflects on her seminal volume Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design, a little over a decade after its publication.

Towards a Design of Active Oxygen Evolution Catalysts: Insights from Automated Density Functional Theory Calculations and Machine Learning

2019 ◽  
Author(s):  
Seoin Back ◽  
Kevin Tran ◽  
Zachary Ulissi
Keyword(s):  
Machine Learning ◽  
Oxygen Evolution ◽  
Active Sites ◽  
Density Functional ◽  
Chemical Space ◽  
Density Functional Theory Calculations ◽  
Catalyst Design ◽  
Transition Metal Catalysts ◽  
Oxide Materials ◽  
Design Strategies

<div> <div> <div> <div><p>Developing active and stable oxygen evolution catalysts is a key to enabling various future energy technologies and the state-of-the-art catalyst is Ir-containing oxide materials. Understanding oxygen chemistry on oxide materials is significantly more complicated than studying transition metal catalysts for two reasons: the most stable surface coverage under reaction conditions is extremely important but difficult to understand without many detailed calculations, and there are many possible active sites and configurations on O* or OH* covered surfaces. We have developed an automated and high-throughput approach to solve this problem and predict OER overpotentials for arbitrary oxide surfaces. We demonstrate this for a number of previously-unstudied IrO2 and IrO3 polymorphs and their facets. We discovered that low index surfaces of IrO2 other than rutile (110) are more active than the most stable rutile (110), and we identified promising active sites of IrO2 and IrO3 that outperform rutile (110) by 0.2 V in theoretical overpotential. Based on findings from DFT calculations, we pro- vide catalyst design strategies to improve catalytic activity of Ir based catalysts and demonstrate a machine learning model capable of predicting surface coverages and site activity. This work highlights the importance of investigating unexplored chemical space to design promising catalysts.<br></p></div></div></div></div><div><div><div> </div> </div> </div>

The Dynamics of Daylighting at a Residential College Building with the Internal Courtyard Arrangement

2015 ◽  
Vol 9 (3) ◽  
pp. 148
Author(s):  
Adi Ainurzaman Jamaludin ◽  
Hazreena Hussein ◽  
Nila Keumala ◽  
Ati Rosemary Mohd Ariffin
Keyword(s):  
Field Measurement ◽  
Mean Value ◽  
Design Strategies ◽  
Residential College ◽  
Bioclimatic Design ◽  
Living Space ◽  
Entrance Door ◽  
Wall Openings

Dayasari residential college building was designed with the internal courtyard that allows for numerous implementations of bioclimatic design strategies, especially on daylighting. The field measurement was conducted at eight unoccupied student rooms, selected as samples to represent ten scenarios and orientations that concerned with the level of radiation and penetration of sunlight. This study reveals the contribution of the internal courtyard in the residential college which allows the daylight penetration at the corridor areas and interior of the rooms through the transom over the entrance door, up to ten hours daily. Different amounts of daylight were measured in specific room scenarios to suggest on the most comfortable indoor living space. The recorded mean value for indoor varied from 37 to 286 lux, while in the corridor area 192 to 3,848 lux. However, the use of the large overhangs over the windows, wall openings in the room and trees with large canopy in the landscape setting should critically justify when the adequacy of daylight was drastically reduced in certain rooms.    

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