scholarly journals “Our Stories about Extraction”: A Brief Interview with Elizabeth LaPensée

MediaTropes ◽  
2020 ◽  
Vol 7 (2) ◽  
pp. 199-208
Author(s):  
Elizabeth LaPensée ◽  
Jordan Kinder
Keyword(s):  
Video Game ◽  
Two Dimensional ◽  
Sound Effects

In this brief interview, Jordan B. Kinder discusses Thunderbird Strike with Anishinaabe, Métis, and settler-Irish media theorist and artist Elizabeth LaPensée. Thunderbird Strike is a multiplatform, two-dimensional sidescrolling video game created by LaPensée in collaboration with Adrian Cheater and Aubrey Jane Scott (programming), NÀHGĄ a.k.a. Casey Koyczan (music and sound effects), and Kaitlin Rose Lenhard (cut scene editing). The conversation is centred on the inspiration for Thunderbird Strike, its reception, and its possibilities as a pedagogical medium.

Development of an Educational Video Game That Can Be Modified by End-Users

2018 ◽  
pp. 184-204
Author(s):  
Noah L. Schroeder ◽  
Alexandrea Oliver ◽  
Kenneth Deffet ◽  
James Morgan
Keyword(s):  
User Interfaces ◽  
Video Game ◽  
End Users ◽  
Graphical User Interfaces ◽  
Educational Game ◽  
Educational Video ◽  
Specific Content ◽  
Sound Effects ◽  
Educational Video Game ◽  
Beta Testing

The development of educational video games can be a challenging process. Typically, games are created for one content area and are designed to specifically facilitate learning in regards to that content. However, this approach inherently limits the utility of the game to specific content. In this chapter, the authors describe the development and systematic iterative playtesting of an educational game designed to be modified by end-users (e.g., teachers, researchers, students). Quantitative and qualitative data were collected through three phases of beta-testing, and the results from each test informed the subsequent version of the software. Overall, the results indicated that, aside from fixing software glitches, the addition of aesthetically pleasing graphical user interfaces and the integration of sound effects appear to have made the biggest contributions to players' perceptions of the game.

Music versus Sound Design

2020 ◽  
pp. 91-102
Author(s):  
Noah Kellman
Keyword(s):  
Video Game ◽  
Sound Design ◽  
Visual World ◽  
Sound Effects ◽  
History Of ◽  
Musical Elements ◽  
Different Levels

Each video game has its own unique, visual aesthetic, and it’s up to the composer to complement this visual world by creating a sonic atmosphere. Many of the greatest games have incorporated musical elements into their sound effects and ambiences. As the field of game music continues to grow, so does the importance of sound design as part of the composer’s skill set. This chapter explores how music and sound effects have interacted throughout the history of game music, defining these relationships for the reader in understandable terms with clear distinctions and accessible examples. This chapter explores FEZ (2012) as an example, along with a variety of other examples in which the music and sound effects were conceived with different levels of interconnectivity.

scholarly journals The Power of Sound Design in a Moving Picture: an Empirical Study with emoTouch for iPad

2019 ◽  
Vol 13 (3-4) ◽  
pp. 132
Author(s):  
Maximilian Kock ◽  
Christoph Louven
Keyword(s):  
Empirical Study ◽  
Work Experience ◽  
Rating Scale ◽  
Emotional Responses ◽  
Lead Author ◽  
Tablet Computer ◽  
Two Dimensional ◽  
Sound Design ◽  
Mapping Tool ◽  
Sound Effects

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.

Videogames and Sensory Theory

2021 ◽  
pp. 162-183
Author(s):  
Kaila Goode ◽  
Sheri Vasinda
Keyword(s):  
Video Games ◽  
Video Game ◽  
Physical World ◽  
Literacy Skills ◽  
Instructional Tool ◽  
Digital World ◽  
Sound Effects ◽  
The World ◽  
Visual Text ◽  
Classroom Use

The act of playing video games is a multimodal experience, immersing the gamer in a sensorial experience in the digital world. Video games incorporate sensory literacies such as haptics, graphics, sound effects, music, auditory dialogue, visual text, and character movement. The sensory literacies allow gamers to connect the digital world to the physical world, becoming engrossed in the world and story of the video game. Thus, due to the multimodal and sensorial nature of video games, they have the potential to be a beneficial tool for increasing student engagement within the classroom and assisting students in further increasing literacy skills and content knowledge. In addition, a review of literature of classroom use of video games as an instructional tool found increased engagement, use of video games as texts, cross-literacies that supported traditional literacy processes and skills.

Exploring the Use of Musical Sound Effects in Games

2020 ◽  
pp. 69-90
Author(s):  
Noah Kellman
Keyword(s):  
Video Games ◽  
Video Game ◽  
Musical Sound ◽  
Video Game Music ◽  
Sound Effects ◽  
Case Basis ◽  
Event Triggered

Musical sound effects are brief, event-triggered sounds, apart from the dialogue or music, which nonetheless contain a distinctly musical element as part of their sonic essence. Combining semiotic codes and thematic materials, musical sound effects can serve various important functions in video games: accentuating emotions, building worlds, providing signals and clues, and other purposes. This chapter explores various examples of their use, discussing how and why they are used on a case by case basis. It then provides readers with different techniques that can be applied to their own video game music projects.

scholarly journals Peppy: A Virtual Reality Environment for Exploring the Principles of Polypeptide Structure

2019 ◽  
Author(s):  
David G Doak ◽  
Gareth S Denyer ◽  
Juliet A Gerrard ◽  
Joel P Mackay ◽  
Jane R Allison
Keyword(s):  
Virtual Reality ◽  
Protein Structure ◽  
Molecular Modelling ◽  
Video Game ◽  
Electrostatic Interactions ◽  
Three Dimensional ◽  
Protein Secondary Structure ◽  
Undergraduate Teaching ◽  
Two Dimensional ◽  
Polypeptide Structure

ABSTRACTA key learning outcome for undergraduate biochemistry classes is a thorough understanding of the principles of protein structure. Traditional approaches to teaching this material, which include two-dimensional (2D) images on paper, physical molecular modelling kits, and projections of 3D structures into 2D, are unable to fully capture the dynamic, 3D nature of proteins. We have built a virtual reality application, Peppy, aimed at facilitating teaching of the principles of protein secondary structure. Rather than attempt to model molecules with the same fidelity to the underlying physical chemistry as existing, research-oriented molecular modelling approaches, we took the more straightforward approach of harnessing the Unity video game physics engine. Indeed, the simplicity and limitations of our model are a strength in a teaching context, provoking questions and thus deeper understanding. Peppy allows exploration of the relative effects of hydrogen bonding (and electrostatic interactions more generally), backbone ϕ/ψ angles, basic chemical structure and steric effects on polypeptide structure in an accessible format that is novel, dynamic and fun to use. As well as describing the implementation and use of Peppy, we discuss the outcomes of deploying Peppy in undergraduate biochemistry courses.STATEMENTProtein structure is inherently dynamic and three-dimensional, but traditional teaching tools are static and/or two-dimensional. We have developed a virtual reality teaching tool, Peppy, that facilitates undergraduate teaching of the principles of protein structure. We outline how Peppy works in terms of how it is used and what goes on ‘under the hood’. We then illustrate its use in undergraduate teaching, where its playful nature stimulated exploration and, thus, deeper understanding.

Spectrophotometric measurements of objective-prism spectra

1966 ◽  
Vol 24 ◽  
pp. 118-119
Author(s):  
Th. Schmidt-Kaler
Keyword(s):  
Progress Report ◽  
Two Dimensional ◽  
Objective Prism ◽  
Made In

I should like to give you a very condensed progress report on some spectrophotometric measurements of objective-prism spectra made in collaboration with H. Leicher at Bonn. The procedure used is almost completely automatic. The measurements are made with the help of a semi-automatic fully digitized registering microphotometer constructed by Hög-Hamburg. The reductions are carried out with the aid of a number of interconnected programmes written for the computer IBM 7090, beginning with the output of the photometer in the form of punched cards and ending with the printing-out of the final two-dimensional classifications.

Introductory paper

1966 ◽  
Vol 24 ◽  
pp. 3-5
Author(s):  
W. W. Morgan
Keyword(s):  
Line Intensity ◽  
Classification Scheme ◽  
Two Dimensional ◽  
Spectral Classification ◽  
Dimensional Array ◽  
Rr Lyrae ◽  
Metallic Line ◽  
Introductory Paper ◽  
Parameter Varying ◽  
Definition Of

1. The definition of “normal” stars in spectral classification changes with time; at the time of the publication of theYerkes Spectral Atlasthe term “normal” was applied to stars whose spectra could be fitted smoothly into a two-dimensional array. Thus, at that time, weak-lined spectra (RR Lyrae and HD 140283) would have been considered peculiar. At the present time we would tend to classify such spectra as “normal”—in a more complicated classification scheme which would have a parameter varying with metallic-line intensity within a specific spectral subdivision.

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