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Books on the topic 'Immersive interaction'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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1

Immersive multimodal interactive presence. London: Springer, 2012.

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2

Cai, Yiyu. 3D Immersive and Interactive Learning. Singapore: Springer Singapore, 2013.

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3

Peer, Angelika, and Christos D. Giachritsis, eds. Immersive Multimodal Interactive Presence. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-2754-3.

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4

Cai, Yiyu, ed. 3D Immersive and Interactive Learning. Singapore: Springer Singapore, 2013. http://dx.doi.org/10.1007/978-981-4021-90-6.

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5

Building the Realtime User Experience: Creating Immersive and Interactive Websites. Cambridge: O'Reilly Media, Incorporated, 2010.

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6

Obadia, Lionel. L'ethnographie comme dialogue: Immersion et interaction dans l'enquête de terrain. Paris: PubliSud, 2003.

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7

Char Davies' immersive virtual art and the essence of spatiality. Toronto: University of Toronto Press, 2007.

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8

McRobert, Laurie. Char Davies' immersive virtual art and the essence of spatiality. Toronto: University of Toronto Press, 2007.

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9

Inc, ebrary, ed. Flash multiplayer virtual worlds: Build Immersive, full featured interactive worlds for games, online communities, and more. Birmingham, U.K: Packt, 2010.

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10

Griffiths, Alison. Shivers down your spine: Cinema, museums, and the immersive view. New York: Columbia University Press, 2008.

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11

Narrative as virtual reality: Immersion and interactivity in literature and electronic media. Baltimore: Johns Hopkins University Press, 2001.

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12

1951-, Aylett Ruth, ed. Interactive storytelling: Third Joint Conference on Interactive Digital Storytelling, ICIDS 2010, Edinburgh, UK, November 1-3, 2010 : proceedings. Berlin: Springer, 2010.

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13

Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. [Toronto, ON: s.n.], 1994.

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14

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. [Ontario: s.n.], 1990.

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15

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. [Ontario: s.n.], 1991.

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16

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. [Toronto, Ont: s.n, 1993.

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17

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. [Toronto, ON: s.n.], 1989.

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18

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. [Toronto, ON: s.n.], 1988.

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19

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. [Toronto, ON: s.n.]., 1986.

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20

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. [Ontario: s.n.], 1992.

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21

Peer, Angelika, and Christos D. Giachritsis. Immersive Multimodal Interactive Presence. Springer, 2012.

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22

Cai, Yiyu. 3D Immersive and Interactive Learning. Springer, 2013.

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23

Cai, Yiyu. 3D Immersive and Interactive Learning. Springer, 2013.

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24

Prasad, Ramjee, and Sudhir Dixit. Human Bond Communication: The Holy Grail of Holistic Communication and Immersive Experience. Wiley & Sons, Incorporated, John, 2017.

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25

Prasad, Ramjee, and Sudhir Dixit. Human Bond Communication: The Holy Grail of Holistic Communication and Immersive Experience. Wiley & Sons, Incorporated, John, 2017.

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26

Security In Virtual Worlds 3d Webs And Immersive Environments Models For Development Interaction And Management. Information Science Publishing, 2010.

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27

Clasen, Mathias. The Future of Horror. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0014.

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This chapter discusses recent and future developments in horror entertainment. It argues that future horror media will give consumers access to a wider range of experiences, some of which are more immersive and much more emotionally powerful than those offered by traditional horror media. The chapter analyzes horror videogames such as Until Dawn (2015), as well as so-called survival horror games such as Amnesia: The Dark Descent (2010), which foster immersion through interaction, and immersive virtual reality, which increases the sense of presence in a frightening computer-generated world. The chapter also analyzes haunted attractions and live-action horror experiences which situate consumers as protagonists in horror stories that unfold around them. Finally, the chapter argues that horror research needs to engage more actively with science, in theory as well as method.
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28

Gajo, l. Immersion, bilinguisme et interaction en classe. Didier, 2001.

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29

Pablo, Cesar, Geerts David 1973-, and Chorianopoulos Konstantinos 1975-, eds. Social interactive television: Immersive shared experiences and perspectives. Hershey, PA: Information Science Reference, 2009.

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30

Pablo, Cesar, Geerts David 1973-, and Chorianopoulos Konstantinos 1975-, eds. Social interactive television: Immersive shared experiences and perspectives. Hershey, PA: Information Science Reference, 2009.

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31

Pablo, Cesar, Geerts David 1973-, and Chorianopoulos Konstantinos 1975-, eds. Social interactive television: Immersive shared experiences and perspectives. Hershey, PA: Information Science Reference, 2009.

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32

Interactive Narratives and Transmedia Storytelling: Creating Immersive Stories Across New Media Platforms. Taylor & Francis Group, 2018.

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33

McErlean, Kelly. Interactive Narratives and Transmedia Storytelling: Creating Immersive Stories Across New Media Platforms. Taylor & Francis Group, 2018.

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34

Carlson, Laurie D. Observing communication & interaction patterns in French immersion classrooms: Implications for consultation. 1992.

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35

Observing communication & interaction patterns in french immersion classrooms: Implications for consultation. Ottawa: National Library of Canada, 1992.

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36

Victoria, Lynn, Art Gallery of New South Wales., and Australian Centre for the Moving Image., eds. Space odysseys: Sensation & immersion. Sydney: Art Gallery of New South Wales, 2001.

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37

(Editor), Kurt Lancaster, and Thomas J. Mikotowicz (Editor), eds. Performing the Force: Essays on Immersion into Science-Fiction, Fantasy and Horror Environments. McFarland & Company, 2001.

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38

Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media. Taylor & Francis Group, 2020.

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39

Sinclair, Jean-Luc. Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media. Taylor & Francis Group, 2020.

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40

Sinclair, Jean-Luc. Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media. Taylor & Francis Group, 2020.

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41

Sinclair, Jean-Luc. Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media. Taylor & Francis Group, 2020.

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42

Sinclair, Jean-Luc. Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media. Taylor & Francis Group, 2020.

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43

Sinclair, Jean-Luc. Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media. Taylor & Francis Group, 2020.

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44

Kellman, Noah. The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.001.0001.

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Writing music for games is an art that requires conceptual forethought, specialized technical skill, and a deep understanding of how players interact with games and game audio. The Game Music Handbook embarks on a journey through numerous soundscapes throughout video game history, exploring a series of concepts and techniques that are key to being a successful game music composer. This book organizes key game music scoring concepts into an applicable methodology, describing them with memorable distinctions that leave readers with a clear picture of how to apply them to creating music and sound. Any music composer or musician who wishes to begin a career in game composition can pick up this text and quickly gain a solid understanding of the core techniques for composing video game music, as well as the conceptual differences that separate it from any other compositional field. Some of these topics include designing emotional arcs for nonlinear timelines, the relationship between music and sound design, discussion of the player’s interaction with audio, and more. There is also much to be gained by advanced readers or game audio professionals, who will find detailed discussion of game state and its effect on player interaction, a composer-centric lesson on programming, how to work with version control, information on visual programming languages, emergent audio, music for virtual reality (VR), procedural audio, and other indispensable knowledge about advanced reactive music concepts. The text often explores the effect that music has on a player’s interaction with a game. It discusses the practical application of this interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.
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45

Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
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46

Interactive Storytelling Second Joint International Conference On Interactive Digital Storytelling Icids 2009 Guimares Portugal December 911 2009 Proceedings. Springer, 2010.

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47

Cain, Victoria, and Karen A. Rader. Science Communication and Museums’ Changing Roles. Edited by Kathleen Hall Jamieson, Dan M. Kahan, and Dietram A. Scheufele. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190497620.013.23.

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This chapter outlines museums’ historical and contemporary approaches to science communication, detailing how they have used exhibits and public programming to balance their twinned missions of scientific research and public education. It describes the history of these institutions, and the various forms—natural history museum, science museum, and science center—they assumed in the twentieth century. It explains how and why approaches to exhibition changed, discussing the rise of hands-on, interactive, and immersive displays, and museums’ shifting attitudes toward the visitors in their halls. It also reviews longstanding and current challenges museums face as they strive to communicate with diverse audiences about scientific process, practice, and discoveries.
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48

Weinel, Jonathan. Virtual Unreality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0008.

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This chapter explores altered states of consciousness in interactive video games and virtual reality applications. First, a brief overview of advances in the sound and graphics of video games is provided, which has led to ever-more immersive capabilities within the medium. Following this, a variety of games that represent states of intoxication, drug use, and hallucinations are discussed, in order to reveal how these states are portrayed with the aid of sound and music, and for what purpose. An alternative trajectory in games is also explored, as various synaesthetic titles are reviewed, which provide high-adrenaline experiences for ravers, and simulate dreams, meditation, or psychedelic states. Through the analysis of these, and building upon the previous chapters of Inner Sound, this chapter presents a conceptual model for ‘Altered States of Consciousness Simulations’: interactive audio-visual systems that represent altered states with regards to the sensory components of the experience.
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49

Griffiths, Alison. Shivers Down Your Spine: Cinema and the History of the Immersive View (Film and Culture Series). Columbia University Press, 2008.

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50

Ryan, Marie-Laure. Narrative As Virtual Reality: Immersion and Interactivity in Literature and Electronic Media (Parallax (Baltimore, MD.).). Johns Hopkins Univ Pr, 2000.

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