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Journal articles on the topic 'Audio immersif'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

Asmaliah, Diana Lia Andriyani, Dian Miranda, Siska Perdina, and Lukmanulhakim. "Immersif Learning di PAUD Untuk Memperkenalkan Tempat Ibadah Agama Buddha di Pontianak Berbasis Virtual Reality." Didaktika: Jurnal Kependidikan 13, no. 2 (2024): 1721–36. http://dx.doi.org/10.58230/27454312.705.

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Penelitian ini bertujuan untuk menggabungkan konsep pembelajaran imersif pada pendidikan anak usia dini (PAUD) dengan pengenalan tempat ibadah umat Buddha di Pontianak menggunakan Virtual Reality. Metodologi pengembangan penelitian ini antara lain membuat Virtual Reality tempat ibadah agama Buddha di Pontianak yang interaktif dan detail serta mengevaluasi efektivitasnya dalam meningkatkan pemahaman agama Buddha pada anak PAUD. Virtual Reality dikembangkan menggunakan teknologi multimedia termasuk gambar, audio, dan video 360 derajat untuk memberikan pengalaman mendalam bagi anak-anak. Temuan m

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Syariati, Kasmir, Citra Suardi, David Sundoro, and Reinaldo Lewis. "PERBANDINGAN EFEKTIVITAS SISTEM INTERAKSI VIRTUAL REALITY CLASSROOM DAN KONFERENSI VIDEO KONVENSIONAL DALAM MENGATASI KETERBATASAN BANDWIDTH PADA PEMBELAJARAN DARING." Jurnal Technopreneur (JTech) 11, no. 1 (2023): 30–39. http://dx.doi.org/10.30869/jtech.v11i1.1167.

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Penelitian ini mengeksplorasi pemanfaatan Ruang Kelas Virtual Reality (VR) sebagai alternatif untuk konferensi video dalam pembelajaran online, dengan tujuan mengatasi kendala bandwidth. Metode penelitian yang digunakan adalah analisis komparatif antara sistem interaksi avatar VR dan sistem video konferensi tradisional. Penelitian berfokus pada pengoptimalan penggunaan bandwidth dalam VR melalui interaksi berbasis avatar. Pengumpulan data dilakukan melalui pengamatan perilaku interaksi pengguna dan pengukuran penggunaan bandwidth dalam komunikasi antar klien. Data yang terkumpul dianalisis sec

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Hedges, Jacob Michael, Robert Sazdov, and Andrew Johnston. "Audio’s Impact on Immersive Experience in Extended Reality and Digital Games: A Systematic Review." Journal of the Audio Engineering Society 72, no. 10 (2024): 630–49. http://dx.doi.org/10.17743/jaes.2022.0169.

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Extended reality and digital games strive to deliver a high level of “immersion,” a complex phenomenon influenced by both perceptual and psychological factors. Audio plays a crucial role in shaping immersive experiences, yet there is no clear consensus on its impact or on the best methods to evaluate it. This paper presents a systematic literature review spanning two decades, outlining the methods and findings related to how audio influences immersion in extended reality and digital games. It reveals a strong preference for experiments using virtual reality headsets and headphones and notes a

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

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There has been an increase in the use of immersive or spatialized audio formats for radio and podcast journalism. Immersion is used to put audiences at the heart of a story, enable richer experiences and encourage empathy with others, but it can disrupt the ‘grammar’ of broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme-makers have until now lacked a conceptual framework and terminology to

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Reeder, Philip, and Danielle Meunier. "Song and Soundscape – Immersion and Presence in Spatial Audio." International Journal of Creative Media Research 11 (April 10, 2025): 23–36. https://doi.org/10.24135/ijcmr.v11i1.138.

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Returns is a creative practice research project, involving multichannel recordings of traditional folk songs performed in rural locations. This writing discusses how aspects of immersion and presence were considered over the making process alongside the dissemination method of head tracked headphone-based listening via Apple’s spatial audio. Perceptual immersion, narrative immersion, and certain dimensions of presence are aligned with praxis, resulting in findings from across production processes and the playback system. We propose that these individual parts form a synergy to enhance immersiv

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

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

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Yang, Hengran, and Tiankuo Hong. "Auditory Atmospherics in Games: Beyond the Visuocentric Paradigm." 人文与社会科学学刊 1, no. 2 (2025): 434–44. https://doi.org/10.70693/rwsk.v1i2.647.

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The videogame industry has always put visual components at the forefront in its design and analytical processes while following a visuocentric approach. This paper contends that a new perspective is needed to appreciate how auditory atmospherics play a vital yet underestimated role in creating immersive and captivating gaming experiences. This study demonstrates how sound can create player presence and evoke emotions to guide them through video game environments confirming sound design as essential for developing immersive virtual worlds. According to existing research the paper investigates h

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Williams, Joseph, Jon Francombe, and Damian Murphy. "Camera-Sourced Heart Rate Synchronicity: A Measure of Immersion in Audiovisual Experiences." Applied Sciences 14, no. 16 (2024): 7228. http://dx.doi.org/10.3390/app14167228.

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Audio presentation is often attributed as being capable of influencing a viewer’s feeling of immersion during an audiovisual experience. However, there is limited empirical research supporting this claim. This study aimed to explore this effect by presenting a clip renowned for its immersive soundtrack to two groups of participants with either high-end or basic audio presentation. To measure immersion, a novel method is applied, which utilises a camera instead of an electroencephalogram (ECG) for acquiring a heart rate synchronisation feature. The results of the study showed no difference in t

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

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Augmented Reality Audio Games (ARAG) enrich the physical world with virtual sounds to express their content and mechanics. Existing ARAG implementations have focused on exploring the surroundings and navigating to virtual sound sources as the main mode of interaction. This paper suggests that gestural activity with a handheld device can realize complex modes of sonic interaction in the augmented environment, resulting in an enhanced immersive game experience. The ARAG “Audio Legends” was designed and tested to evaluate the usability and immersion of a system featuring an exploration phase base

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Febri, I. Wayan Nain. "The Effect of Binaural Audio Technology on Audience Immersion in Horror Films." Journal of Dialogos 2, no. 1 (2025): 25–33. https://doi.org/10.62872/2hsp2x27.

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This research aims to explore the influence of binaural audio technology on the audience's level of immersion in horror films. The background to this research is based on the development of increasingly sophisticated audio technology and its potential to improve the film watching experience. The aim of this research is to measure how much influence binaural audio technology has on the audience's perception and emotional response when watching horror films. The research method used was an experimental design with a population consisting of students majoring in Film and Media at a university in

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He, Jun. "Quartet: Designing for an Experimental Audio Game in Mixed Reality Environments." Lecture Notes in Education Psychology and Public Media 5, no. 1 (2023): 482–90. http://dx.doi.org/10.54254/2753-7048/5/20220673.

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Applying sonic interaction to game design has gained momentum in recent year. This paper proposes a novel approach to design an experimental audio game Quartet that is immersive and highly interactive in the mixed reality environment. The chief aims of designing this game are to explore the music improvisation techniques by using the software Touchdesigner and to create a new spectatorship of sonic interaction in immersive experiences. To achieve the goals, several methods were presented: interactive storytelling, audio visualization, ceding control, sonic interaction, etc. The research has al

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

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Hättich, Achim, and Martina Schweizer. "I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people." British Journal of Visual Impairment 38, no. 3 (2020): 284–98. http://dx.doi.org/10.1177/0264619620911429.

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For people with disabilities being part of social life is essential for well-being. To accomplish this there are two possibilities: through interaction in person and through access to culture. One way to enjoy both possibilities is the cinema. For people with sight loss (people that are blind or visually impaired), there exists audio description which allows enjoying a film in a cinema. Project FASEA examined if this audience is as much immersed and could enjoy it as much as sighted people while watching a film with audio description, received through an app called ‘Greta’. Twenty-five people

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Hättich, Achim, and Martina Schweizer. "I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people." British Journal of Visual Impairment, 2020, Sage 38, no. 3 (2020): 284–98. https://doi.org/10.1177/0264619620911429.

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For people with disabilities being part of social life is essential for well-being. To accomplish this there are two possibilities: through interaction in person and through access to culture. One way to enjoy both possibilities is the cinema. For people with sight loss (people that are blind or visually impaired), there exists audio description which allows enjoying a film in a cinema. Project FASEA examined if this audience is as much immersed and could enjoy it as much as sighted people while watching a film with audio description, received through an app called ‘Greta’. Twenty-

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Geronazzo, Michele, Amalie Rosenkvist, David Sebastian Eriksen, et al. "Creating an Audio Story with Interactive Binaural Rendering in Virtual Reality." Wireless Communications and Mobile Computing 2019 (November 14, 2019): 1–14. http://dx.doi.org/10.1155/2019/1463204.

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The process of listening to an audiobook is usually a rather passive act that does not require an active interaction. If spatial interaction is incorporated into a storytelling scenario, can open. Possibilities of a novel experience which allows an active participation might affect the user-experience. The aim of this paper is to create a portable prototype system based on an embedded hardware platform, allowing listeners to get immersed in an interactive audio storytelling experience enhanced by dynamic binaural audio rendering. For the evaluation of the experience, a short story based on the

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Mozhenko, Mykola, and Lev Riazantsev. "The Evolution of Spatial Sound Formats in Cinema and Streaming Service." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 54–63. https://doi.org/10.31866/2410-1176.49.2023.293285.

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<strong>The aim of the article</strong> is to study the development of spatial and immersive sound formats in the cinema, music industry, and streaming services, the means of their aesthetic expression, and their impact on the audience. <strong>Results.</strong> Spatial sound has now become the standard for use in contemporary cinema and various streaming services. It provides audiovisual works with new creative means of expression, enriching the film’s sound palette with depth and brightness. Immersive sound allows for a complete immersion of the audience in the film’s s

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

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Virtual reality and 360° video are some of the latest technological developments within the media and communications industry. These technologies, which are designed to facilitate viewer immersion, are currently being used to create fictional and non-fictional content, thus giving rise to a new audio-visual narrative. On the basis of these premises, this research article analyses how immersive narratives are applied to the social documentary genre in its social dimension. To this end, qualitative content analysis was performed on a sample of 49 immersive documentaries published on the WITHIN p

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

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

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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of mu

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

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Sound design with the goal of immersion is not new. However, sound design for immersive media experiences (IMEs) utilizing spatial audio can still be considered a relatively new area of practice with less well-defined methods requiring a new and still emerging set of skills and tools. There is, at present, a lack of formal literature around the challenges introduced by this relatively new content form and the tools used to create it, and how these may differ from audio production for traditional media. This article, through the use of semi-structured interviews and an online questionnaire, loo

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Nosenko, Oleksiy. "Immersive technologies in the formation of musical audio space." Collection of scientific works “Notes on Art Criticism” 24, no. 1 (2024): 23–32. http://dx.doi.org/10.63009/noac/1.2024.23.

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Immersive audio technology is increasingly used in music, with devices like cell phones and televisions replicating formats. The increasing adoption of immersive audio technologies by both consumers and professionals in the music industry has made this topic more relevant. The purpose of the research is to analyse immersive technologies that contribute to the creation of the musical audio environment. The research employed methods: literature and historical review, technical analysis, practical cases, statistical method, and the author’s personal empirical experience. The article examines the

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Li, Xiang, Haoyuan Cao, Shijie Zhao, Junlin Li, Li Zhang, and Bhiksha Raj. "Panoramic Video Salient Object Detection with Ambisonic Audio Guidance." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 2 (2023): 1424–32. http://dx.doi.org/10.1609/aaai.v37i2.25227.

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Video salient object detection (VSOD), as a fundamental computer vision problem, has been extensively discussed in the last decade. However, all existing works focus on addressing the VSOD problem in 2D scenarios. With the rapid development of VR devices, panoramic videos have been a promising alternative to 2D videos to provide immersive feelings of the real world. In this paper, we aim to tackle the video salient object detection problem for panoramic videos, with their corresponding ambisonic audios. A multimodal fusion module equipped with two pseudo-siamese audio-visual context fusion (AC

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LYSAK, HALYNA. "IMPLEMENTATION OF IMMERSIVE TECHNOLOGIES IN FOREIGN LANGUAGE LEARNING: ANALYSIS OF FOREIGN AND DOMESTIC (UKRAINIAN) EXPERIENCE." Comparative Professional Pedagogy 12, no. 1 (2022): 78–85. http://dx.doi.org/10.31891/2308-4081/2022-12(1)-8.

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The use of modern immersive technologies in the educational process is due to changes in the development of information and communication technologies and the challenges of the pandemic, which forced learning and working remotely. The article summarizes the Ukrainian and foreign experience of using immersive technologies in education in general and in the process of learning foreign languages in particular. A general description of the concepts “virtual reality”, “immersion” and “immersive technologies” in the context of their use in the educational process has been presented. The advantages o

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Keyrouz, Fakheredine, and Klaus Diepold. "Binaural Source Localization and Spatial Audio Reproduction for Telepresence Applications." Presence: Teleoperators and Virtual Environments 16, no. 5 (2007): 509–22. http://dx.doi.org/10.1162/pres.16.5.509.

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Telepresence is generally described as the feeling of being immersed in a remote environment, be it virtual or real. A multimodal telepresence environment, equipped with modalities such as vision, audition, and haptic, improves immersion and augments the overall perceptual presence. The present work focuses on acoustic telepresence at both the teleoperator and operator sites. On the teleoperator side, we build a novel binaural sound source localizer using generic Head Related Transfer Functions (HRTFs). This new localizer provides estimates for the direction of a single sound source given in t

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

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

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

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

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

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visu

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Zhang, Shufeng, Xuelei Feng, and Yong Shen. "Quantifying Auditory Presence Using Electroencephalography." Applied Sciences 11, no. 21 (2021): 10461. http://dx.doi.org/10.3390/app112110461.

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Presence is used to assess the subjective experience of being in one place when physically situated in another. Recently, the research on presence has gained increasing attention due to the wide use of immersive audio technologies. Currently, the most widely-used measurement of presence is based on post-experiment self-report questionnaires. It is reliable but imperfect due to the psychological changes caused by the act of answering the questionnaire when immersed in the virtual environment. Therefore, the present work aims to find an objective way to measure presence, and electroencephalograp

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Xiaodong Wang, Yang Qiao, Jianting Liu,. "Novel Multimedia Feature Fusion Classification (Mffc) Model for Sports Game Design Enhancement." Journal of Electrical Systems 20, no. 3s (2024): 1681–92. http://dx.doi.org/10.52783/jes.1708.

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Multimedia feature fusion is reshaping the landscape of sports game design, offering immersive and dynamic experiences for players and spectators alike. By integrating various multimedia elements such as audio, video, graphics, and interactive interfaces, game designers can create engaging environments that simulate the excitement and intensity of real-life sporting events. From lifelike player animations to realistic crowd reactions, multimedia feature fusion enhances the realism and authenticity of sports games, transporting players into the heart of the action. Furthermore, interactive inte

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Madison, T. Phillip. "Immersion: The New Frontier in Parasocial Relationships." Korean Journal of Communication 1, no. 2 (2024): 166–71. http://dx.doi.org/10.1353/kjc.2024.a932424.

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abstract: Once relegated to a subfield of academic communication research, discussions of parasocial relationships (PSRs) are increasingly diffusing through popular media for consumption and pondering by much larger audiences. In the same technological moment, virtual reality (VR) represents a transformative technology that immerses users in computer-generated environments, offering multisensory experiences through video, audio, and haptic feedback. This essay explores some of the avenues in which traditional parasocial research might intersect and be applied to immersive VR experiences. PSRs

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Bruschi, Valeria, Loris Grossi, Nefeli A. Dourou, et al. "A Review on Head-Related Transfer Function Generation for Spatial Audio." Applied Sciences 14, no. 23 (2024): 11242. https://doi.org/10.3390/app142311242.

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A head-related transfer function (HRTF) is a mathematical model that describes the acoustic path between a sound source and a listener’s ear. Using binaural synthesis techniques, HRTFs play a crucial role in creating immersive audio experiences through headphones or loudspeakers, using binaural synthesis techniques. HRTF measurements can be conducted either with standardised mannequins or with in-ear microphones on real subjects. However, various challenges arise in, for example, individual differences in head shape, pinnae geometry, and torso dimensions, as well as in the extensive number of

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Wingsky, Monica, Zahara Nadinda Viola, Firman Saputra, et al. "Analisis Virtual Reality Pada Game VR Lounge Room Resident Evil 8 di Game Blink Playstation Padang." Journal of Computer Science and Information System(JCoInS) 5, no. 3 (2024): 151–60. http://dx.doi.org/10.36987/jcoins.v5i3.5950.

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Virtual Reality (VR) technology has changed the paradigm in the video gaming industry by providing immersive immersive experiences to users. One prominent implementation is in the VR game Lounge Room Resident Evil 8, offered by Blink Playstation Padang. This research aims to analyze the impact of using VR technology on the experience of playing this game at Blink Playstation Padang, especially regarding the level of player satisfaction, level of immersion, and acceleration in improving the playing experience. The research method used is a qualitative approach with a case study design, involvin

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

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Venues designed to create immersive audio experiences may include adjustable active acoustics and spatial audio mixing. One such venue is National Sawdust in Brooklyn, New York, which has presented many spatial audio events. For one of these, the electronic music duo “Mouse on Mars,” comprised of Jan St. Werner and Andi Thoma, collaborated with the late Jamaican record producer Lee “Scratch” Perry to create an immersive audio experience presented in March 2022. This audio production presented a challenge, as the content was prepared in Berlin and delivered in Brooklyn using audio systems with

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Mohanapriya, Dr M. "Campus Navigator Pro." International Journal for Research in Applied Science and Engineering Technology 12, no. 3 (2024): 1008–19. http://dx.doi.org/10.22214/ijraset.2024.58845.

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Abstract: The Campus Navigator Pro project represents a significant advancement in how users navigate and engage with campus environments. At its core lie two pivotal components: the Virtual Tour and Around Campus Guide, meticulously crafted to offer users an immersive and enlightening journey. Powered by cutting-edge 360-degree imagery, the Virtual Tour beckons users to delve into campus locales through mobility and information hotspots, embellished with audio embedding and card popups for a truly engaging experience. Concurrently, the Around Campus Guide streamlines navigation by providing s

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

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

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Audio monitoring in recording studio control rooms has evolved continuously since the beginning of multitrack systems. In recent years, control rooms have adapted to using multiple audio monitors (loudspeakers) needed for the immersive audio experience. The primary technical recommendations for determining the acoustical quality of a control room are given in EBU-TECH-3276 and ITU BS.1116. The results of measuring the Operational Room Response Curve (ORRC) can differ significantly for only one audio monitor operating compared to the two monitors required for stereo. For multichannel immersive

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

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Kim, Ji-young, and Gewon Kim. "Applying Audio Drama to Immersive Environment." Korean Journal of animation 19, no. 3 (2023): 96–107. http://dx.doi.org/10.51467/asko.2023.09.19.3.96.

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Sherry, J. Selleck. "Second Language Immersion Experience." European Journal of Teacher Education 2017, no. 10 (2017): 4. https://doi.org/10.5281/zenodo.1000895.

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The movie selected is Viva Maria 1965. In the beginning, audio in French language made it difficult to understand what the film is about. Audio and visuals helped to understand that the film is about the war. With the visual, understanding of the release timings of the movie, it appeared that a man was trying to use a little girl to explode many places. The video of the film appeared as if the actress (Bridget Bardot) is trying to escape. She was disguised as boy and she hides in a circus van. Still many things were not clear and it was difficult o make connection with certain things. Watching

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Riionheimo, Janne, and Tapio Lokki. "Spatial Sound, Part 1: Exploring the Impact of Listening Room on Perceptual Immersion." Journal of the Audio Engineering Society 72, no. 12 (2024): 913–29. https://doi.org/10.17743/jaes.2022.0179.

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Room acoustics and sound reproduction systems shape the spatial sound character in a listening room, influencing sound quality. This study introduces a novel technique to assess the spatial character of room acoustics and sound reproduction systems, addressing a research gap in understanding spatial differences between listening environments. The technique was employed in a listening test where 15 assessors evaluated the impact of three listening rooms on perceptual immersion for music in 2.0 and 7.1 configurations using loudspeakers and binaural audio for headphones. The results indicate room

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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 (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 wi

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

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Due to the impact of the COVID-19 pandemic in recent years, remote communication has become increasingly common, which has also spawned many online solutions. Compared with an in-person scenario, the feeling of immersion and participation is lacking in these solutions, and the effect is thus not ideal. In this study, we focus on two typical virtual reality (VR) application scenarios with immersive audio and video experience: VR conferencing and panoramic live broadcast. We begin by introducing the core principles of traditional video conferencing, followed by the existing research results of V

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

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(1) Background: Many young adults spend their time playing games and watching television. This type of spending time should be used effectively, so it’s worth adding exercise and immersion to them. Bearing in mind that the video games and physical exercise also improve postural stability, motor time (MT) and reaction time (RT), it is worth reaching for new technologies with immersion that are widely available and can be used, for example, as a remote intervention. This study aimed to compare the effects of a low vs. high-immersive exercise environment on postural stability, RT and MT in young

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Boot, Tim, Frederic Roskam, Phil Coleman, Simon Brown, and Julien Laval. "Greater artistic and technological performance through the converged technologies of architectural acoustics, electroacoustic enhancement, and immersive audio technologies." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A168. http://dx.doi.org/10.1121/10.0023155.

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Producing meaningful, creative, and engaging experiences for audiences requires highly integrated acoustics and audio technologies. The fields of architectural acoustics, electro acoustic enhancement and immersive audio technologies have converged, altering the way we approach entertainment venue design. Globally, demand has increased for immersive audio in live and reproduced sound, and electro acoustic enhancement technologies are becoming more widespread. We will discuss how architecturally integrated end devices, multi-function signal processing, and architectural acoustical design should

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Cairns, Patrick, Tomasz Rudzki, Jacob Cooper, et al. "Singer and Audience Evaluations of a Networked Immersive Audio Concert." Journal of the Audio Engineering Society 72, no. 7/8 (2024): 467–78. http://dx.doi.org/10.17743/jaes.2022.0145.

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At the 2023 AES International Conference on Spatial and Immersive Audio, a networked immersive audio concert was performed. A vocal octet connected over the Internet between York and Huddersfield and provided a performance that was auralized in the acoustics of BBC Maida Vale Studio 2. A live audience in Huddersfield experienced the concert with local singers on stage, remote singers auralized alongside, and virtual acoustics rendered on a multichannel array. Another audience in York listened to the concert on headphones. An evaluation of the networked concert experience of the performers and

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

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Virtual Reality leverages our cognitive and perceptual abilities to provide immersive experiences that recreate both the visual and aural elements of real spaces with a high degree of realism making it a suitable delivery platform for conveying narratives through games and films. Spatial sound is useful in enhancing immersion and presence of the user in a virtual world. This audio design allows the game designer to place audio cues that appropriately match with the visual cues in a virtual game environment. These localized audio cues placed in a story based game environment also help to evoke

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Abdo, Sandy, Bill Kapralos, KC Collins, and Adam Dubrowski. "A Review of Recent Literature on Audio-Based Pseudo-Haptics." Applied Sciences 14, no. 14 (2024): 6020. http://dx.doi.org/10.3390/app14146020.

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Immersive virtual learning environments (iVLEs), particularly serious games and virtual simulations, typically ignore psychomotor skills development, partly due to the difficulty and cost associated with accurately replicating touch. Simulating touch, also known as haptics, requires specialized haptic devices that are not widely accessible at the consumer-level. Using visual (and/or auditory) cues, pseudo-haptics aims to mimic touch sensations without haptic devices. Although pseudo-haptics has predominantly focused on visual cues, a 2019 review by Collins and Kapralos on pseudo-haptics emphas

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Hashimoto, Dai, Hideo Miyazaki, Ron Bakker, and Sungyoung Kim. "Sound environment control using an immersive audio system—Advancing sound experience for creators and listeners using Active Field Control." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A169. http://dx.doi.org/10.1121/10.0023158.

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Spatial and immersive systems have gained popularity in recent years and are broadly used in various types of applications to realize natural or augmented sound environment. To create a variety of sound environment freely and flexibly, Yamaha immersive audio system, known as Active Filed Control (AFC), has two functions. One is “sound source control” based on object-based audio rendering technique and another is “sound field control” based on acoustic enhancement technology. This paper presents several unique solutions applying immersive audio systems that use either or both sound source contr

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