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Robb, James, Tom Garner, Karen Collins, and Lennart E. Nacke. "The Impact of Health-Related User Interface Sounds on Player Experience." Simulation & Gaming 48, no. 3 (February 1, 2017): 402–27. http://dx.doi.org/10.1177/1046878116688236.
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Background. Understanding how sound functions on informational and emotional levels within video games is critical to understanding player experience of games. User interface sounds, such as player-character health, are a pivotal component of gameplay across many video game genres, yet have not been studied in detail. Method. To address this research gap in user interface sounds, we present two studies: The first study examines the impact of the presence or absence of player-health sounds on player experience. The second study explores the impact of the types of sound used to indicate player health. We use mixed methods with qualitative and physiological measures. Results. Our results reveal that despite the presence of visual cues, sound is still important to game design for conveying health-related information and that the type of sound affects player experience.
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Parker, J. R., and John Heerema. "Audio Interaction in Computer Mediated Games." International Journal of Computer Games Technology 2008 (2008): 1–8. http://dx.doi.org/10.1155/2008/178923.
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The use of sound in an interactive media environment has not been advanced, as a technology, as far as graphics or artificial intelligence. This discussion will explore the use of sound as a way to influence the player of a computer game, will show ways that a game can use sound as input, and will describe ways that the player can influence sound in a game. The role of sound in computer games will be explored some practical design ideas that can be used to improve the current state of the art will be given.
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Gärdenfors, Dan. "Designing sound-based computer games." Digital Creativity 14, no. 2 (June 2003): 111–14. http://dx.doi.org/10.1076/digc.14.2.111.27863.
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Petchauer, Emery. "“Oh boy, I ain’t playin’ no games!”: making sense with youth in the aural imaginary." English Teaching: Practice & Critique 19, no. 3 (May 15, 2020): 365–79. http://dx.doi.org/10.1108/etpc-08-2019-0103.
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Purpose This paper aims to explore how sounds and attunements to particular organizations of sound collide across an English language community learning space. The activities in the paper come from a six-week summer initiative that connected middle school youth with community artists for writing songs and rap lyrics, making beats and hip-hop DJing. Design/methodology/approach This paper draws from the interdisciplinary field of sound studies and, specifically, the concept of aural imaginary to explore the collisions alive and in-motion across the learning space. The paper uses qualitative and ethnographic approaches to explore the research questions. Findings The findings focus on how youth hear certain sounds and organizations of sound in music as “old” and “new,” and how these shifting listening entangle talk, claims and interactions in the learning space. The findings also trace the ways that youth use sound as an active, aural resource to make competing distinctions between rapping, singing and talking. Originality/value This paper reasserts the role of sound in multiliteracies, hip-hop and English education work, keying into the ways it collides with other aspect of the learning space. The paper raises questions about what educators might attune themselves to by considering English education as already taking place in a youth aural imaginary.
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Fernandez-Luque, L., T. Tøllefsen, and E. Brox. "Healthy Gaming – Video Game Design to promote Health." Applied Clinical Informatics 02, no. 02 (2011): 128–42. http://dx.doi.org/10.4338/aci-2010-10-r-0060.
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Summary Background: There is an increasing interest in health games including simulation tools, games for specific conditions, persuasive games to promote a healthy life style or exergames where physical exercise is used to control the game. Objective: The objective of the article is to review current literature about available health games and the impact related to game design principles as well as some educational theory aspects. Methods: Literature from the big databases and known sites with games for health has been searched to find articles about games for health purposes. The focus has been on educational games, persuasive games and exergames as well as articles describing game design principles. Results: The medical objectives can either be a part of the game theme (intrinsic) or be totally dispatched (extrinsic), and particularly persuasive games seem to use extrinsic game design. Peer support is important, but there is only limited research on multiplayer health games. Evaluation of health games can be both medical and technical, and the focus will depend on the game purpose. Conclusion: There is still not enough evidence to conclude which design principles work for what purposes since most of the literature in health serious games does not specify design methodologies, but it seems that extrinsic methods work in persuasion. However, when designing health care games it is important to define both the target group and main objective, and then design a game accordingly using sound game design principles, but also utilizing design elements to enhance learning and persuasion. A collaboration with health professionals from an early design stage is necessary both to ensure that the content is valid and to have the game validated from a clinical viewpoint. Patients need to be involved, especially to improve usability. More research should be done on social aspects in health games, both related to learning and persuasion.
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Rooney, Pauline. "A Theoretical Framework for Serious Game Design." International Journal of Game-Based Learning 2, no. 4 (October 2012): 41–60. http://dx.doi.org/10.4018/ijgbl.2012100103.
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It is widely acknowledged that digital games can provide an engaging, motivating and “fun” experience for students. However an entertaining game does not necessarily constitute a meaningful, valuable learning experience. For this reason, experts espouse the importance of underpinning serious games with a sound theoretical framework which integrates and balances theories from two fields of practice: pedagogy and game design (Kiili, 2005; Seeney & Routledge, 2009). Additionally, with the advent of sophisticated, immersive technologies, and increasing interest in the opportunities for constructivist learning offered by these technologies, concepts of fidelity and its impact on student learning and engagement, have emerged (Aldrich, 2005; Harteveld et al., 2007, 2010). This paper will explore a triadic theoretical framework for serious game design comprising play, pedagogy and fidelity. It will outline underpinning theories, review key literatures and identify challenges and issues involved in balancing these elements in the process of serious game design.
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McLaren, Bruce M., Deanne M. Adams, Richard E. Mayer, and Jodi Forlizzi. "A Computer-Based Game that Promotes Mathematics Learning More than a Conventional Approach." International Journal of Game-Based Learning 7, no. 1 (January 2017): 36–56. http://dx.doi.org/10.4018/ijgbl.2017010103.
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Excitement about learning from computer-based games has been papable in recent years and has led to the development of many educational games. However, there are relatively few sound empirical studes in the scientific literature that have shown the benefits of learning mathematics from games as opposed to more traditional approaches. The empirical study reported in this paper provides evidence that a mathematics educational game can provide superior learning opportunities, as well as be more engaging. In a study involving 153 students from two middle schools, 70 students learned about decimals from playing an educational game—Decimal Point—whereas 83 students learned the same content by a more conventional, computer-based approach. The game led to significantly better gain scores in solving decimal problems, on both an immediate (d = .43) and delayed (d = .37) posttest and was rated as significantly more enjoyable (d = .95). Low prior knowledge students especially benefitted from the game. This paper also summarizes the game's design characteristics.
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DiNardo, Carl O., and Mary J. Snyder Broussard. "Commercial tabletop games to teach information literacy." Reference Services Review 47, no. 2 (June 10, 2019): 106–17. http://dx.doi.org/10.1108/rsr-10-2018-0066.
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Purpose This paper aims to demonstrate how commercially available tabletop games can be effective tools to teach information literacy and present a list of best practices to improve instructor’s chances of success with this pedagogical method. Design/methodology/approach Librarians from two separate institutions with complementary experiences analyze the theory of game-based learning with tabletop games, present an example of game-based information literacy instruction in practice and suggest four best practices for this method of instruction. Findings This paper demonstrates that educators by combining sound pedagogical practices to connect the educational content to what rules of games ask of students can effectively find a balance between enthusiastic engagement and higher-order information literacy learning outcomes. Practical implications This paper can be used to guide librarians looking for creative and sound methods to engage students using tabletop games to teach information literacy. Originality/value The authors have unique theoretical and practical knowledge with joining pedagogy and tabletop games in the information literacy classroom. While there is a lot of literature on games in academic libraries, there is only one other paper on using a commercially available tabletop game to teach information literacy.
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Bayir, Eylem, and Sefanur Evmez. "The effects of inquiry-based experiment-integrated science games among secondary school students." International Journal of Evaluation and Research in Education (IJERE) 8, no. 3 (September 1, 2019): 434. http://dx.doi.org/10.11591/ijere.v8i3.20244.
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<span>This study aimed to investigate how inquiry-based experiment-integrated science games affect the achievement and scientific process skills of 5th grade students. The topics of “Light and Sound” and “Electricity in Our Lives” were selected for the experiment. Two groups totaling 41 students participated. The research method consisted of a quasi-experimental design utilizing an experimental and control group. While 21 students in the experimental group played inquiry-based experiment-integrated science games developed by the researchers, no educational game was included in the lessons of the control group of 20 students. “Light and Sound Achievement Test”, “Electricity Achievement Test” and “Science Process Assessment” were applied to both groups in the form of a pre- and post-test. To analyze the data, independent t-test was used. Students in the experimental group were more successful than the control group in their scores for both achievement and scientific process skills. It can be inferred from the results that students develop better achievement and scientific process skills by playing science games. It is recommended that such games should be integrated into the science classroom.</span>
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Martins, Raiane Santos, Filipe Raulino, Aquiles Burlamaqui, and Akynara Burlamaqui. "SGDDEdu: A Model of Short Game Design Document for Digital Educational Games." International Journal of Innovation Education and Research 7, no. 2 (February 28, 2019): 167–80. http://dx.doi.org/10.31686/ijier.vol7.iss2.1335.
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The use of games in education has become an increasingly present practice in contemporary society. For so-called "digital natives", learning through electronic games becomes more significant. Digital educational games are often seen as boring, non-motivational, that fail to bring in some essential elements that promote engagement, making the learning goal is not achieved either. Game Design is a game project. It describes how the game should be, defining its mechanics and interactions between player and the virtual world of the game and how they can affect the game environment. In order to document the design of a game, there is the Game Design Document (GDD), whose one of the main objectives, besides registration, is to help in communication between the different production teams of a game, allowing the game designer a broad view of that is being produced. However, because it is a large document that brings in detail all the main elements for the production of a game, it turns out to be little used, especially if the focus is the elaboration of small games, which are the majority of the digital educational games that exist. For these short games, which can often be worked out within a few hours, there are Short Game Design Document (SGDD). The SGDD, unlike GDD, will describe the elements of the game in a simplified way possible, whereas the game to be drawn from it is also a simple game. Thus, the proposal of this work is to elaborate a model of SGDD for educational games (the SGDDEdu), specifying elements of art, sound, mechanics and game programming, as well as educational elements in accordance with the new BNCC (National Curricular Common Base) of Elementary School, so that there is a standardization and better categorization of educational games aligned with the proposed pedagogical objectives and the skills and competences described in each level of education. This work will be developed from the study and analysis of some models of already existing SGDD and the BNCC of Elementary School in general, causing in SGDDEdu. The research will be applied with teachers and educators requesting that they specify an educational game in the SGDDEdu template. With this, we intend to verify if the SGDDEdu has relevance and if it facilitates in the production of digital educational games, providing the teaching and learning process through the games, as well as trying to identify how the NCCB can contribute in the development of educational games.
Keywords: Educational games, Game Design, SGDD, BNCC
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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 musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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Droumeva, Milena. "Audible Efforts: Gender and Battle Cries in Classic Arcade Fighting Games." Media and Communication 7, no. 4 (December 20, 2019): 186–97. http://dx.doi.org/10.17645/mac.v7i4.2300.
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Video games are demanding work indeed. So demanding that our screen heroes and heroines are constantly making sounds of strife, struggle, or victory while conducting surrogate labor for us running, fighting, saving worlds. These sounds also represent the very real demanding labor of voice actors, whose burnout and vocal strain have recently come to the fore in terms of the games industries’ labor standards (Cazden, 2017). But do heroes and she-roes sound the same? What are the demands—virtual, physical, and emotional—of maintaining sexist sonic tropes in popular media; demands that are required of the industry, the game program, and the player alike? Based on participatory observations of gameplay (i.e., the research team engaging with the material by playing the games we study), close reading of gendered sonic presence, and a historical content analysis of three iconic arcade fighting games, this article reports on a notable trend: As games self-purportedly and in the eyes of the wider community improve the visual representation of female playable leads important aspects of the vocal representation of women has not only lagged behind but become more exaggeratedly gendered with higher-fidelity bigger-budget game productions. In essence, femininity continues to be a disempowering design pattern in ways far more nuanced than sexualization alone. This media ecology implicates not only the history of best practices for the games industry itself, but also the culture of professional voice acting, and the role of games as trendsetters for industry conventions of media representation. Listening to battle cries is discussed here as a politics of embodiment and a form of emotionally demanding game labor that simultaneously affects the flow and immersion of playing, and carries over toxic attitudes about femininity outside the game context.
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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.
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Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.
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Mussies, Martine. "A Ludomusicologist Goes to the Museum." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 125–32. http://dx.doi.org/10.1525/jsmg.2020.1.1.125.
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From September 2018 to February 2019, the famous Victoria and Albert Museum in London hosted Videogames: Design/Play/Disrupt, a major exhibition on contemporary video game design and culture. Announced as “a unique insight into the design process behind a selection of groundbreaking contemporary videogames,” this immersive exhibition was the end presentation of a project that took four years to undertake. Dutch PhD student Martine Mussies went over the Channel to take a look and write down her experiences for this first issue of the Journal of Sound and Music in Games.
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Cheek, Colleen, Theresa Fleming, Mathijs FG Lucassen, Heather Bridgman, Karolina Stasiak, Matthew Shepherd, and Peter Orpin. "Integrating Health Behavior Theory and Design Elements in Serious Games." JMIR Mental Health 2, no. 2 (April 21, 2015): e11. http://dx.doi.org/10.2196/mental.4133.
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Background Internet interventions for improving health and well-being have the potential to reach many people and fill gaps in service provision. Serious gaming interfaces provide opportunities to optimize user adherence and impact. Health interventions based in theory and evidence and tailored to psychological constructs have been found to be more effective to promote behavior change. Defining the design elements which engage users and help them to meet their goals can contribute to better informed serious games. Objective To elucidate design elements important in SPARX, a serious game for adolescents with depression, from a user-centered perspective. Methods We proposed a model based on an established theory of health behavior change and practical features of serious game design to organize ideas and rationale. We analyzed data from 5 studies comprising a total of 22 focus groups and 66 semistructured interviews conducted with youth and families in New Zealand and Australia who had viewed or used SPARX. User perceptions of the game were applied to this framework. Results A coherent framework was established using the three constructs of self-determination theory (SDT), autonomy, competence, and relatedness, to organize user perceptions and design elements within four areas important in design: computer game, accessibility, working alliance, and learning in immersion. User perceptions mapped well to the framework, which may assist developers in understanding the context of user needs. By mapping these elements against the constructs of SDT, we were able to propose a sound theoretical base for the model. Conclusions This study’s method allowed for the articulation of design elements in a serious game from a user-centered perspective within a coherent overarching framework. The framework can be used to deliberately incorporate serious game design elements that support a user’s sense of autonomy, competence, and relatedness, key constructs which have been found to mediate motivation at all stages of the change process. The resulting model introduces promising avenues for future exploration. Involving users in program design remains an imperative if serious games are to be fit for purpose.
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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 (November 13, 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 based on auditory navigation, as well as an action phase, in which players aim at virtual sonic targets and wave the device to hit them or hold the device to block them. The results of the experiment provide evidence that players are easily accustomed to auditory navigation and that gestural sonic interaction is perceived as difficult, yet this does not affect negatively the system’s usability and players’ immersion. Findings also include indications that elements, such as sound design, the synchronization of sound and gesture, the fidelity of audio augmentation, and environmental conditions, also affect significantly the game experience, whereas background factors, such as age, sex, and game or music experience, do not have any critical impact.
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Böttcher, Niels, Héctor P. Martínez, and Stefania Serafin. "Procedural Audio in Computer Games Using Motion Controllers: An Evaluation on the Effect and Perception." International Journal of Computer Games Technology 2013 (2013): 1–16. http://dx.doi.org/10.1155/2013/371374.
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A study has been conducted into whether the use of procedural audio affects players in computer games using motion controllers. It was investigated whether or not (1) players perceive a difference between detailed and interactive procedural audio and prerecorded audio, (2) the use of procedural audio affects their motor-behavior, and (3) procedural audio affects their perception of control. Three experimental surveys were devised, two consisting of game sessions and the third consisting of watching videos of gameplay. A skiing game controlled by a Nintendo Wii balance board and a sword-fighting game controlled by a Wii remote were implemented with two versions of sound, one sample based and the other procedural based. The procedural models were designed using a perceptual approach and by alternative combinations of well-known synthesis techniques. The experimental results showed that, when being actively involved in playing or purely observing a video recording of a game, the majority of participants did not notice any difference in sound. Additionally, it was not possible to show that the use of procedural audio caused any consistent change in the motor behavior. In the skiing experiment, a portion of players perceived the control of the procedural version as being more sensitive.
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JEDWILLAT, LUISA, and NATALIA NOWACK. "A GAME WITH MUSIC OR MUSIC WITH A GAME? ABOUT THE VIDEO GAME KARMAFLOW." Art and Science of Television 16, no. 4 (2020): 85–108. http://dx.doi.org/10.30628/1994-9529-2020-16.4-85-108.
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Over 70 years ago, Theodor W. Adorno and Hanns Eisler philosophized about functional music in their programmatic script Composing for the Films. In spite of all the social criticism that the authors practiced with relish, it was already about the essential—the determination of a meaningful coexistence of synergetically connected art events. With the spread of video games, the question arises again and again: how to combine action and sound without falling prey to Mickey Mousing effect? As one of the youngest branches of music studies, ludomusicology describes a number of musical application scenarios, systematized according to effects and techniques. Their principles are comprehensible—under normal circumstances. With the Karmaflow—The Rock Opera Videogame, however, a project was started that leads to a new configuration between the media: in this game you play, in a manner of speaking, with or against the music itself. Because of its design, Karmaflow deserves to be considered on its own. Additionally, outside the subgroup of “music-based games”, heavy metal music is an exception among video games. The present essay illustrates the specific concept of the game which indeed can be placed in a range between video games and rock operas. The insights gained through (self-) observation are compared with the results of an exploratory survey. The survey was aimed at revealing the influence of sound on the gaming experience. The majority of respondents confirmed the connection between music and gameplay and the effect of musical characterization on some specific decisions. Test subjects, who, due to their preferences, belonged to the target group of game developers, judged differently than the other experiment participants.
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Toprak Yallıhep, Emine Sena, Hakan Akcay, and Hasan Ozgur Kapici. "Impacts of Serious Games on Middle School Students’ Science Achievement and Attitudes towards Science." International Journal of Technology in Education and Science 5, no. 2 (March 17, 2021): 203–12. http://dx.doi.org/10.46328/ijtes.203.
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Developing students’ attitudes toward science is an important issue because societies need individuals who can contribute to scientific and technological developments. That’s why using various and different instructional tools in science education may have an impact on students’ attitudes towards science positively. Within this respect, the goal of the study is to investigate the effects of serious games on primary school students’ (fifth-grade) science achievement related to the topic of light and sound, and attitudes towards science. A quasi-experimental research design was used in the study. Fifth-grade students from two different classes were the participants in the current study. The data was gathered by the science achievement test and the attitude scale. The findings revealed that whereas students in the experimental group, who were taught by serious games, developed their attitudes towards science significantly positive, their counterparts did not. There was no significant effect of serious game on students’ achievement. This result showed that serious games as a different instructional tool may have crucial impacts on primary students’ attitudes toward science.
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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 (December 15, 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 an emotional response from the user and construct the narrative of the game by capturing the user’s attention towards the guiding action events in the game. Our work currently involves a thorough literature study on the significance of debating the usefulness of spatial sound. Our future work involves conducting a user study for analyzing the same i.e., understanding how spatial sound improves user performance and user experience in a virtual game environment. Furthermore, with the help of the relevant subjective and objective inferences that will be collected from the user study conducted on four different evaluation models, our work will also analyze and establish the potential of spatial sound as a powerful storytelling tool in a virtual game environment.
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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 world spatiality through acoustic shading, but the ideas presented here provide a framework to explore other immersive possibilities for game audio through real-time synthesis.
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Gao, Xin Rui, De Qing Zhao, and Ping Ping Yao. "The 3D Computer Game Design Using Java 3D." Advanced Engineering Forum 6-7 (September 2012): 1041–44. http://dx.doi.org/10.4028/www.scientific.net/aef.6-7.1041.
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In this thesis, the two 3D computer games were designed by Java 3D. In the first game, by using 3DMax, one aircraft carrier, one helicopter, submarines, warships, and destroyer escorts etc were designed. By using Loader3DS of MicrocrowLoader in Loader3DS1_2.jar or ModelLoader of Java 3D, these 3D models are loaded into the Java 3D. The second 3D game displays the 3D fighting and collision of tanks. This function is very important for the 3D game design. By using textures, the different appearances of 3D models were designed. By using Java 3D classes such as Alpha and PositionPathInterpolator and Sounds etc, the motions of 3D models and interactions and the sounds were defined.
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Lee, Lai-Chung, and Kuang-Chung Hao. "Designing and Evaluating Digital Game-Based Learning with the ARCS Motivation Model, Humor, and Animation." International Journal of Technology and Human Interaction 11, no. 2 (April 2015): 80–95. http://dx.doi.org/10.4018/ijthi.2015040105.
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Multimedia teaching applications have been widely utilized in various subjects. The presentation of teaching materials with animations and games helps to stimulate the visual sense and enhance the learning motivation of learners. Successful learning, however, requires the stimulation of learning motivation that can inspire learners to achieve the desired learning objectives. This study combines the ARCS (Attention, Relevance, Confidence, Satisfaction) motivation model, and humor to design a set of multimedia applications that include teaching animations and games for sixth graders' natural science and technology course, called the Cat's Cradle Multimedia Learning System (CCMLS). The scenario stories of anthropomorphic characters introduce four units of natural science: levers, axles, pulleys and gears. Additionally, games are designed to impress learners even more. After the applications were prepared, tests for learning effectiveness, learning motivation and perceived fun associated with teaching materials were conducted with 106 students at the Qishan Elementary School in Kaohsiung. The experimental group used CCMLS, while the control group used videos of the textbook as the applications. A pre-test and post-test, ARCS Learning Motivation Questionnaire, Smileyometer and interviews were conducted with both groups. According to the statistical analysis, significance was detected in regard to learning effectiveness between the experimental group and the control group. Significance was also found in ARCS learning motivation and perceived fun of teaching materials. Moreover, there is a significant positive correlation between the perceived fun related to the teaching materials and learning motivation. The contribution of this study lies in the proposal of the digital game-based learning (DGBL) from the design perspective: to enhance students' learning motivation and use willingness regarding the teaching materials of the drama and the cartoon characters in humorous dialogues. The proper sound and light effects and examples that are close to daily life will also be taken into consideration in the design of the multimedia applications.
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Caltenco, Héctor, Charlotte Magnusson, Bitte Rydeman, Sara Finocchietti, Giulia Cappagli, Elena Cocchi, Lope Ben Porquis, Gabriel Baud-Bovy, and Monica Gori. "Co-Designing Wearable Technology Together with Visually Impaired Children." International Journal of Mobile Human Computer Interaction 8, no. 4 (October 2016): 68–84. http://dx.doi.org/10.4018/ijmhci.2016100104.
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This paper presents the process and results of a set of studies within the ABBI EU project, with the general aim to co-design wearable technology (an audio bracelet) together with visually impaired children, starting at a young age. The authors discuss user preferences related to sounds and tactile materials and present the results of a focus group with very young visually-impaired children under the age of 5, together with their parents. They find that multisensory feedback (visual, tactile/haptic, auditory) is useful and that preferences vary - also the drastic and potentially unpleasant sounds and materials may have a role. Further studies investigate the possibilities of using the ABBI wearable technology for social contexts and games. In a series of game workshops children with and without visual impairments created games with wearable technology employing very simple interactivity. The authors report the created games, and note that even with this simple interactivity it is possible to create fun, inclusive and rich socially co-located games.
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Sel Franco, Marisa, Felipe Raposo, João Vitor Vale, Flávia Carvalho, and André Demaison. "SOUND DESIGN EM GAMES E UX: ESTUDO DE CASO DA RELAÇÃO ENTRE EFEITOS SONOROS E AÇÕES DE JOGO NO SUPER MARIO BROS." Ergodesign & HCI 8, no. 2 (December 31, 2020): 1. http://dx.doi.org/10.22570/ergodesignhci.v8i2.1460.
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Considerados como mídias interativas, os jogos eletrônicos têm suas características sonoras como fortes auxiliadoras para se obter uma UX (experiência de usuário) expandida: quer como feedback de ações dos jogadores ou como elemento construtor da atmosfera imersiva. As interfaces auditivas são pontes de comunicação designer-usuário que extrapolam os elementos visuais das telas. Os efeitos sonoros e trilhas têm ainda um papel importante para construção identitária do jogo, possibilitando ao jogador ter pleno conhecimento das ações. O presente trabalho buscou avaliar a capacidade do usuário de identificar ações do jogo apenas por seus respectivos efeitos sonoros, com o objetivo de estudar o papel do sound design na UX. Para isso, optou-se pelo estudo de caso da interface sonora do jogo Super Mario Bros., lançado pela Nintendo para o console NES, em 1985, e que deu origem a uma das mais importantes franquias de games da história. O estudo é relevante para o desenvolvimento de novos projetos sonoros em videogames, principalmente levando em consideração a possibilidade de se trabalhar aspectos inclusivos por meio da interface sonora.
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Wahyuni, Sri Ngudi, and Cia Andiyoko. "PEMBUATAN GAME BERBASIS PEMBELAJARAN MENGGUNAKAN RPG MAKER MV." Journal Of Computer Networks, Architecture and High Performance Computing 1, no. 1 (December 18, 2018): 24–28. http://dx.doi.org/10.47709/cnapc.v1i1.5.
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The RPG game is one of the games are in great demand by the public because they are able to sharpen their right brain. One method used in game development is GDLC which consists of 6 phases, where each phase is arranged systematically. The aimed of this study is how to develop RPG maker game based learning for children cognitive. The analysis method is used SWOT analysis and testing method used ? and ? testing methods on 36 respondents who were taken by random and the response rate was 99.8%. The testing instrument used a questionnaire with testing parameters (1) Design consisting of music, sound, and color (2) Moral Message (3) Storyline. The test of results were 42.5% of respondents said that the development design was considered good, 44.3% of respondents said the game had a good storyline, and 56.3% of respondents stated that the Rise of the Zokai Clan game using RPG Maker MV had a good moral message.
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Chen, Weiyun, Kristin Hendricks, and Weimo Zhu. "Development and Validation of the Basketball Offensive Game Performance Instrument." Journal of Teaching in Physical Education 32, no. 1 (January 2013): 100–109. http://dx.doi.org/10.1123/jtpe.32.1.100.
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The purpose of this study was to design and validate the Basketball Offensive Game Performance Instrument (BOGPI) that assesses an individual player’s offensive game performance competency in basketball. Twelve physical education teacher education (PETE) students playing two 10-minute, 3 vs. 3 basketball games were videotaped at end of a basketball unit in one physical education teaching methods course. Two investigators independently coded each player’s offensive game behaviors with BOGPI. The interrater reliability of the BOGPI was 99% and the alpha reliability coefficient for the total scale of the BOGPI was .95. The content validity evidence of the BOGPI was established by six experienced experts’ judgment. The results of this study indicate that the BOGPI is a theoretically sound and psychometrically supported measure that can be used by researchers and teacher educators to assess the preservice teachers’ offensive game performance ability in basketball.
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Webb, Michael. "Music analysis down the (You) tube? Exploring the potential of cross-media listening for the music classroom." British Journal of Music Education 24, no. 2 (July 2007): 147–64. http://dx.doi.org/10.1017/s0265051707007401.
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School students' immersion in a rich entertainment media environment has implications for classroom listening. Increasing interaction among media, design, games, communications and arts fields has led to a growing trend in the creative alignment of music and moving image. Video sharing sites such as YouTube are assisting in the proliferation and dissemination of such material, and are a source for the stimulation of creative and artistic activity from which music education can benefit. In this article I explore some of the possibilities of cross-media listening, which considers music from (variously) aural, visual, spatial and kinaesthetic orientations. Cross-media listening centres on visual musical works, pieces from moving image genres that are structured according to the codes, materials, devices and processes of music. Grounded in sound pedagogical principles and expounded through a series of analyses, cross-media listening advocates a reintegrated, multi-domain approach to encountering music in educational settings.
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Weber, Andreas Christoph, Veerle De Bosscher, Simon Shibli, and Hippolyt Kempf. "Strategic analysis of medal markets at the Winter Olympics." Team Performance Management: An International Journal 25, no. 3/4 (June 10, 2019): 229–52. http://dx.doi.org/10.1108/tpm-10-2018-0068.
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Purpose This paper aims to propose the concept of market potential analysis, which is commonly applied in economics, as a method to enable these investment decisions to be based on sound evidence. Design/methodology/approach The markets for Olympic awards, i.e. medals (top three places) and diplomas (i.e. top eight places) are compared in alpine skiing, biathlon, cross country, speed skating, freestyle skiing, short track and snowboarding from 1992 to 2018. Findings The most notable changes are identified in cross country (2002), biathlon (2006), freestyle skiing (2014), snowboarding (2006 and 2014) and speed skating (2018). Originality/value In spite of the evidence of nations investing strategically in their elite sport systems to produce Olympic success, there is a lack of knowledge on how national-level decision makers can use a strategy to analyse the competitive environment concerning sports contested in the Olympic Winter Games.
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Mani, Lara, Paul D. Cole, and Iain Stewart. "Using video games for volcanic hazard education and communication: an assessment of the method and preliminary results." Natural Hazards and Earth System Sciences 16, no. 7 (July 22, 2016): 1673–89. http://dx.doi.org/10.5194/nhess-16-1673-2016.
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Abstract. This paper presents the findings from a study aimed at understanding whether video games (or serious games) can be effective in enhancing volcanic hazard education and communication. Using the eastern Caribbean island of St. Vincent, we have developed a video game – St. Vincent's Volcano – for use in existing volcano education and outreach sessions. Its twin aims are to improve residents' knowledge of potential future eruptive hazards (ash fall, pyroclastic flows and lahars) and to integrate traditional methods of education in a more interactive manner. Here, we discuss the process of game development including concept design through to the final implementation on St. Vincent. Preliminary results obtained from the final implementation (through pre- and post-test knowledge quizzes) for both student and adult participants provide indications that a video game of this style may be effective in improving a learner's knowledge. Both groups of participants demonstrated a post-test increase in their knowledge quiz score of 9.3 % for adults and 8.3 % for students and, when plotted as learning gains (Hake, 1998), show similar overall improvements (0.11 for adults and 0.09 for students). These preliminary findings may provide a sound foundation for the increased integration of emerging technologies within traditional education sessions. This paper also shares some of the challenges and lessons learnt throughout the development and testing processes and provides recommendations for researchers looking to pursue a similar study.
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Charrieras, Damien, and Nevena Ivanova. "Emergence in video game production: Video game engines as technical individuals." Social Science Information 55, no. 3 (July 9, 2016): 337–56. http://dx.doi.org/10.1177/0539018416642056.
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This article is interested in the creative practices in video game production. More specifically, the research focuses on the ways in which the use of game engines – a toolkit that offers a set of functionalities to automatize the handling of a range of processes (graphics, sound, game physics, networks, artificial Intelligence) – make possible or impossible certain forms of emergences in video games production. The manipulation of objects in these game engines is done according to a certain programming paradigm. Two main programming paradigms currently govern the internal design of game engines: object-oriented/inheritance-based deep-class hierarchical design and component-based data-driven design. We will describe how different programming paradigms lend themselves to certain affordances to explore the ways in which game workers can interface with game engines. We will use the framework developed by Gilbert Simondon on the artisanal and industrial stage or mode of production. This will enable a better understanding of the technogenesis of different kinds of game engines and the ways in which they can be conceptualized as technical individuals enduring through their associated milieus. This way of describing game engines emphasizes non-anthropocentric forms of creativity and specific modalities of emergent techno-human processes that are too often underestimated in various accounts of cultural production processes.
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Pasnak, Robert, Elise MacCubbin, and Melissa Ferral-Like. "Using Developmental Principles to Assist Preschoolers in Developing Numeracy and Literacy." Perceptual and Motor Skills 105, no. 1 (August 2007): 163–76. http://dx.doi.org/10.2466/pms.105.1.163-176.
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In a yoked control design, 4-yr.-olds ( N = 39) in a Head Start program played numerous structured games involving either the oddity principle or letter identification and letter sounds. The children's mean age was 53.2 mo.; SD = 4.1 mo. Three were Middle Eastern, 14 were Latino, 7 were East African, and 15 were African American. Children showed better mastery of oddity after playing games directed at this concept, and numeracy scores on the Woodcock-Johnson III were better for children who had played this type of game. Woodcock-Johnson III Letter-Word scores for children who had played the oddity and seriation or letter games were equivalent. These results are consistent with other research indicating that the understanding of oddity relations may be a key transitional thinking which supports quantitative and verbal development at the preschool-kindergarten interface. The standardized test scores indicate that guided play directed at this aspect of cognitive growth or more narrowly directed at early literacy can produce equivalent knowledge of letters.
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RANYUK, OKSANA, and SVITLANA VOYTALYUK. "FORMATION OF PHONETIC COMPETENCE AT CLASSES IN DISCIPLINE OF “MODERN POLISH”." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 1 (July 7, 2021): 116–22. http://dx.doi.org/10.25128/2415-3605.21.1.14.
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The article analyzes the concept of phonetic competence. It is noted that in the formation of foreign language communicative competence, one of the components is phonetic competence. It is determined that there is no consensus among researchers on the definition of “phonetic competence”. After all, some scientists understand phonetic competence as the correct pronunciation of sounds and sound combinations, correct stress and mastery of intonation language models. Others – as the ability to normative phonetic design of personal foreign speech and understanding the speech of others. It is emphasized that phonetic competence is directly related to speech technique, the elements of which are breathing, voice, diction, orthoepy. Phonetic skills are distinguished: to pronounce the sounds of the Polish language correctly, to have a clear diction, to emphasize words according to norms, to modulate the voice, to change its intonation, to adjust the tempo of speech in accordance with the situation, listeners, the purpose of the statement, to breathe correctly. It is indicated that the effectiveness of the phonetic competence formation depends on the use of effective methods. Among the methods, the following have been highlighted: explanatory-illustrative method of learning, observation of text and speech, problem method, role playing, exercises and so forth. There have been suggested exercises aimed at formation of phonetic competence. It is noted that role playing should be used in addition to exercises. It is emphasized that conduction of Polish language classes with the use of game material activates students, contributes to high performance in knowledge and motivates to learn Polish. Rhetorical games have been highlighted – conversational games that develop skills of interpersonal and collective effective communication. The article describes the articulatory rhetorical game “Phonetic warm-up”, the purpose of which is to form the skills of clear, quick and error-free speech, the development of students' creative skills. An example of an intonation rhetorical game has been also given. The article emphasizes that when learning the Polish language, it is important to use the authentic text as often as possible and constantly work on improving of phonetic competence of future philologists.
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Aruna, Helarius Panji, Albertus Dwiyoga Widiantoro, and Bernardinus Harnadi. "Designing Android Based Game to Educate The Central Java Traditional Music Instrument for Children." SISFORMA 7, no. 2 (November 23, 2020): 90. http://dx.doi.org/10.24167/sisforma.v7i2.1926.
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This research was held to design & create games that can provide children with knowledge of traditional musical instruments in Central Java.The initial design of the game is done by collecting data by interviewing the speakers. The game was created using Construct 2. This game has 5 different gameplay and when completing each stage you will get 3 traditional musical instruments except stage 5. Players can get information about traditional musical instruments and the sounds they produce. The game was tested on 41 respondents and the results of the game had a positive impact on players and provided new knowledge about traditional musical instruments.
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Manurung, Mika Meitriana, Hening Windria, and Samsul Arifin. "Desain Pembelajaran Materi Himpunan Dengan Pendekatan Realistic Mathematics Education (RME) Untuk Kelas VII." Jurnal Derivat: Jurnal Matematika dan Pendidikan Matematika 5, no. 1 (March 28, 2019): 19–29. http://dx.doi.org/10.31316/j.derivat.v5i1.143.
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The topic of the set is a basic concept in mathematics and its relationship is close to our daily life. However, some studies in Indonesia have found that the students have difficulties in solving the set problem. This can be due to the pattern of mathematics teaching in schools. This study aims to provide a design of learning in the set topic with Realistic Mathematics Education (RME) approach. The research questions are: (1) How is the design of mathematics learning in the topic of the set using the RME approach? (2) How do students learn the topic of the set by using the RME approach? This research method is design research with one cycle in SMP Dasana Indah Tangerang. The subjects were 24 students with one focus group, 5 students who had no errors in the initial test. Data of research obtained from sound recording, video, photos, and Student Activity Sheet, then be analyzed by comparing the Hypothesis of Trajectory Learning and Trajectory of Actual Learning. This study produces the Theory of Local Instruction, with four lessons, namely: (1) Determining the set and not the set; (2) Finding the concept of set of universe, subsets, empty set, and describing the models; (3) Finding the concept of intersection, union, and illustrating the models; (4) Find the concept of complement, difference, and describe the models, and use the models to solve the story problem. In the learning process, through grouping games and describe the model, student learning the notion of set enthusiastically and actively. Keywords: design research, set, realistic mathematics education approach
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Henderson, Thryn. "Positioning in Personal Games: Perspectives of the Author-Player Persona in Memoir En Code: Reissue." Persona Studies 6, no. 2 (March 16, 2021): 88–100. http://dx.doi.org/10.21153/psj2020vol6no2art969.
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In creating autobiographical narratives through games, there exists a new theoretical problem in the game-player tension: how may a game creator relate their own story through a medium that relies primarily on another (the player) to execute? The blurring and shifting lines between the game creator and player resemble the same death knell Roland Barthes sounds for the literary Author in “La mort de l’auteur” (1967). This paper proposes a more nuanced theory for understanding the ‘player positioning’ of autobiographical games with a triangulated framework. The player position is a player/author persona collaboration that facilitates a shared presence in the game space through various ratios of three positions: the player as the protagonist, protagonist-proxy, and witness. Through a close reading of the autobiographical game Memoir En Code: Reissue by Alex Camilleri, the paper explores how the player may perceive the autobiographical game. Viewed through the protagonist, protagonist-proxy, and witness lens, the paper interrogates how the player position alters the nature of player-author identity within the game. It offers an approach for considering how the different perspectives of the author-player persona offer meaningful game(play), and argues for the shifting presentation of the author-player persona as an effective negotiation of a shared experience in the design of autobiographical games.
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Balaji, M. S., and Rajdeep Chakraborti. "Stadium atmosphere: scale development and validation in Indian context." Journal of Indian Business Research 7, no. 1 (March 16, 2015): 45–66. http://dx.doi.org/10.1108/jibr-05-2014-0029.
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Purpose – This paper aims to develop a scale for stadium atmosphere in the Indian context. This is considered as a key area for sports managers, as stadium attendance contributes toward the teams revenues. Moreover, while the importance of environment is well-established in the marketing literature, stadium atmosphere has received limited attention. Design/methodology/approach – Through qualitative and quantitative studies in five different phases, a 14-item four-dimension stadium atmosphere scale was developed that included physical layout, facility aesthetics, entertainment experience and social interaction. Findings – The stadium atmosphere scale developed in this study demonstrates sound psychometric properties based on various reliability and validity tests as well as scale replications using different samples. Practical implications – The stadium atmosphere scale developed will be of particular use for sports marketers and management. It could be inferred that the stadium managers could expect high spectator attendance and satisfaction by focusing on stadium atmosphere factors such as the accessibility of seats and allocation of seat spaces, stadium architecture, the game characteristics and the attitudes and behaviors of stadium employees during live games. Originality/value – The present study addresses a key gap identified in the sports marketing and management area. The study adds to the conceptual understanding of the stadium atmosphere construct and empirically demonstrates the measurement scale for the construct.
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Utami, Dina Salsabella, and Agustina Tyas Asri Hardini. "Pengembangan Media Belajar Literasi Digital Berbasis Game Edukasi untuk Siswa Kelas 2 SD." JIKAP PGSD: Jurnal Ilmiah Ilmu Kependidikan 5, no. 2 (May 2, 2021): 218. http://dx.doi.org/10.26858/jkp.v5i2.20162.
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The purpose of this study is to increase the interest in reading from the problem of low interest in reading in grade 2 elementary students, with several factors of problems from low interest in reading and low reading skills of students are still lacking, the rise of types of entertainment such as playing games and watching TV so as to influence the attention of students choosing not to read. Researcher develop digital literacy learning media based on educational games by developing students to be able to play puzzles and read. With the media design created by Researcher, namely the collaboration between writing, images, and sounds, it is very important in communication and conveying messages to students, if students still do not know the word, they can see pictures and sounds that can help children in visualizing stories in reading. Researcher designed this media so that students can be interested and motivated and more enjoyable in digital literacy. Researcher used a type of development research (R&D) and a qualitative descriptive approach to percentage. For data analysis techniques that have been conducted consists of preliminary studies, product development, validity tests and conclusion drawing. The results of this study after analysis of the data of the assessment of material expert validation test by 100% and media experts by 84.2%, with the results have been qualified and eligible to be tested after improvement according to the advice of experts.
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Della Sala, Lucio, Rosario Cerone, Alberto Gennari Santori, and Mauro Tommasini. "Assessment, Strengthening and Validation of Prestressed Damaged Beams." Key Engineering Materials 413-414 (June 2009): 359–66. http://dx.doi.org/10.4028/www.scientific.net/kem.413-414.359.
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The paper describes the evaluation of the actual conditions, the repairing design criteria and procedures, and the final validation tests carried out on a severely damaged prestressed bridge in southern Italy. In the first phases several release tests have been performed on damaged and, for comparison, on sound beams, with the aim of evaluating the residual prestressing stress acting both on concrete and on tendons. In particular, the tests on concrete have been carried out by extracting cores which have been previously instrumented with strain-gages; in a similar way, the strands were tested by gluing a micro strain-gage on a singular wire of a strand and the cutting the wire itself. The test results were used for optimising the design of an adjunctive prestressing system, consisting in 6 external unbounded cables and in a continuous FRC reinforcing of the bottom wing. The tensioning procedure of the external cables of each beam was then monitored by means of 12 strain-gages installed on concrete at mid span and at the two support sections, and by measuring the vertical deflection using laser optical levels. The validation of the repairing works was finally performed by a static load acceptance test, performed using the same apparatus previously adopted for the tensioning monitoring.
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Ariningsih, Paulina K., Yun P. Mulyani, Kristianto A. Nugroho, and Chandra S. Rahardjo. "Penilaian Atribut Usabilitas oleh Gamer First Person Shooter (FPS) Indonesia." Jurnal Rekayasa Sistem Industri 5, no. 2 (November 30, 2016): 96. http://dx.doi.org/10.26593/jrsi.v5i2.2217.96-105.
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<p>Computer games, especially First Person Shooter (FPS) have become one of the fastest growing and most economically sucessful software in Indonesia. Given the potential economic benefits of the FPS games, it is important to design its user interface as usable as possible to win the market. In accordance, it is crucial to find out what user interface factors should be considered in designing an FPS game. These factors can be used as a designing guide for game developers in Indonesia. The purpose of this paper is to discover the main user interface factors that should be considered in designing an FPS game especially from usability point of view and to suggest improvement of the user interface in current FPS game.</p><span>Fourty (40) usabilty attributes from literature review are qualitatively grouped into 5 factors. Those factors are: Basic FPS Feature (BFF), Basic Game Feature (BGF), Display & Sounds (D&S), Help & Hints (H&H), and Enjoyment (E). Usability testing on the factors is conducted in three different groups of players: Novice, Experienced, and Expert. Mann-Withney Test are conducted to understand performance difference for each group. The result shows that BGF and H&H are not significantly difference for all groups. While for BFF, the novice group tend to have different preference rather than other groups since there is not enough time duration given on novice users accessing the FPS feature. For D&S, expert tend to have different preference rather than other groups. Some future research potentials are also proposed in this paper.</span>
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Navarro, Peter. "How Economics Faculty Can Survive (and Perhaps Thrive) in a Brave New Online World." Journal of Economic Perspectives 29, no. 4 (November 1, 2015): 155–76. http://dx.doi.org/10.1257/jep.29.4.155.
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The academy in which we toil is moving rapidly towards a greater role for online delivery of higher education, and both fans and skeptics offer strong reasons to believe this technological shock will have substantial disruptive effects on faculty. How can we as economic educators continue to provide sufficient value-added to justify our role in a world where much of what we now do is effectively being automated and commoditized? In this brave new online world, many successful and resilient faculty will add value (and differentiate their product) not by producing costly and elaborate multimedia lectures in which they become a superstar professor-celebrity, but rather through careful, clever, and innovative choices regarding both the adoption of the online content of other providers and the forms of online interactions they integrate into their course designs. Possible forms of faculty-to-student and student-to-student interactions run the digital gamut from discussion boards and electronic testing to peer assessments, games and simulations, and virtual office hours. This article explores basic descriptive and prescriptive questions economic educators and their administrators are likely to face as the online education tide rises. For example, how much does it cost to develop online content and how much time does it take? What are the key “ingredients” for a pedagogically sound online course? Throughout, I will draw on both the extant literature as well as my own experience at the University of California, Irvine, where the online evolution is advancing rapidly.
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Sarratore, Steven T. "Design Games." Theatre Topics 9, no. 1 (1999): 51–67. http://dx.doi.org/10.1353/tt.1999.0007.
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Kocherzhuk, D. V. "Sound recording in pop art: differencing the «remake» and «remix» musical versions." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 229–44. http://dx.doi.org/10.34064/khnum2-14.15.
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Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios. Research methodology. In the course of the study two concepts – «remake» and «remix» – were under consideration and comparison, on practical examples of some works of famous pop vocalists from Ukraine and abroad. So, the research methodology includes the methods of analysis for consideration of the examples from the Ukrainian, Russian and world show business and the existing definitions of the concepts “remake” and “remix”; as well as comparison, checking, coordination of the latter; formalization and generalization of data in getting the results of our study. The modern strategies of the «remake» invariance development in the work of musicians are taken in account; also, the latest trends in the creation of versions of «remix» by world class artists and performers of contemporary Ukrainian pop music are reflected. The results of the study. The research results reveal the significance of terminology pair «remix» and «remake» in the activities of the pop singer. It found that the differences of two similar in importance terms not all artists in the music industry understand. The article analyzes the main scientific works of specialists in the audiovisual and musical arts, in philosophical and sociological areas, which addressed this issue in the structure of music, such as the studies by V. Tormakhova, V. Otkydach, V. Myslavskyi, I. Tarasova, Yu. Koliadych, L. Zdorovenko and several others, and on this basis the essence of the concepts “remake” and “remix” reveals. The phenomenon of the “remake” is described in detail in the dictionary of V. Mislavsky [5], where the author separately outlined the concept of “remake” not only in musical art, but also in the film industry and the structure of video games. The researcher I. Tarasovа also notes the term “remake” in connection with the problem of protection of intellectual property and the certification of the copyright of the performer and the composer who made the original version of the work [13]. At the same time, the term “remix” in musical science has not yet found a precise definition. In contemporary youth pop culture, the principle of variation of someone else’s musical material called “remix” is associated with club dance music, the principle of “remake” – with the interpretation of “another’s” music work by other artist-singers. “Remake” is a new version or interpretation of a previously published work [5: 31]. Also close to the concept of “remake” the term “cover version” is, which is now even more often uses in the field of modern pop music. This is a repetition of the storyline laid down by the author or performer of the original version, however, in his own interpretation of another artist, while the texture and structure of the work are preserving. A. M. Tormakhova deciphered the term “remake” as a wide spectrum of changes in the musical material associated with the repetition of plot themes and techniques [14: 8]. In a general sense, “a wide spectrum of changes” is not only the technical and emotional interpretation of the work, including the changes made by the performer in style, tempo, rhythm, tessitura, but also it is an aspect of composing activity. For a composer this is an expression of creative thinking, the embodiment of his own vision in the ways of arrangement of material. For a sound director and a sound engineer, a “remix” means the working with computer programs, saturating music with sound effects; for a producer and media corporations it is a business. “Remake” is a rather controversial phenomenon in the music world. On the one hand, it is training for beginners in the field of art; on the other hand, the use of someone else’s musical material in the work can neighbor on plagiarism and provoke the occurrence of certain conflict situations between artists. From the point of view of show business, “remake” is only a method for remind of a piece to the public for the purpose of its commercial use, no matter who the song performed. Basically, an agreement concludes between the artists on the transfer or contiguity of copyright and the right to perform the work for profit. For example, the song “Diva” by F. Kirkorov is a “remake” of the work borrowed from another performer, the winner of the Eurovision Song Contest 1998 – Dana International [17; 20], which is reflected in the relevant agreement on the commercial use of musical material. Remix as a music product is created using computer equipment or the Live Looping music platform due to the processing of the original by introducing various sound effects into the initial track. Interest in this principle of material processing arose in the 80s of the XXth century, when dance, club and DJ music entered into mass use [18]. As a remix, one can considers a single piece of music taken as the main component, which is complemented in sequence by the components of the DJ profile. It can be various samples, the changing of the speed of sounding, the tonality of the work, the “mutation” of the soloist’s voice, the saturation of the voice with effects to achieve a uniform musical ensemble. To the development of such a phenomenon as a “remix” the commercial activities of entertainment facilities (clubs, concert venues, etc.) contributes. The remix principle is connected with the renewal of the musical “hit”, whose popularity gradually decreased, and the rotation during the broadcast of the work did not gain a certain number of listeners. Conclusions. The musical art of the 21st century is full of new experimental and creative phenomena. The process of birth of modified forms of pop works deserves constant attention not only from the representatives of the industry of show business and audiovisual products, but also from scientists-musicologists. Such popular musical phenomena as “remix” and “remake” have a number of differences. So, a “remix” is a technical form of interpreting a piece of music with the help of computer processing of both instrumental parts and voices; it associated with the introduction of new, often very heterogeneous, elements, with tempo changes. A musical product created according to this principle is intended for listeners of “club music” and is not related to the studio work of the performer. The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version. The texture of the original composition, in the base, should be preserved, but it can be saturated with new sound elements, the vocal line and harmony can be partially changed according to interpreter’s own scheme. The introduction of the scientific definitions of these terms into a common base of musical concepts and the further in-depth study of all theoretical and practical components behind them will contribute to the correct orientation in terminology among the scientific workers of the artistic sphere and actorsvocalists.
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Chen, Timmy Chih-Ting. "Sound design." Journal of Chinese Cinemas 10, no. 1 (January 2, 2016): 34–37. http://dx.doi.org/10.1080/17508061.2016.1142729.
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Venema, Yde. "Rectangular games." Journal of Symbolic Logic 63, no. 4 (December 1998): 1549–64. http://dx.doi.org/10.2307/2586666.
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AbstractWe prove that every rectangularly dense diagonal-free cylindric algebra is representable. As a corollary, we give finite, sound and complete axiomatizations for the finite-variable fragments of first order logic without equality and for multi-dimensional modal S5-logic.
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Khairulin, Oleg. "The range of developmental potential of the game as a subject program." Psihologìâ ì suspìlʹstvo 1, no. 83 (March 30, 2021): 82–116. http://dx.doi.org/10.35774/pis2021.01.082.
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The modern terms of existential development of man and society are characterized by a brindle and dynamics of variations for possibilities and risks, influences and situations, in what take place social co-operating of person with her vital environment. Such influences and situations contain powerful potentials of personality development, but does not promise his lightness, safety, simplicity and unambiguity. Such terms are investigation of features of psycho-cultural development in the period of postmodern which begins more to answer game modus. On this basis a social subject almost always appears before the existential necessity of conscious choice of game (playing) mechanics of the life – to stick to simple, pleasant, however insidious facilities which often conduct in a trap, in particular to pathological playing dependence, gambling, or to elect the heavy, but interesting, difficult, but useful invariant of game as a functional attribute of lines of personality and public development. The ontological brindle of influences of environment, ponderability of cultural risks which are contained by postmodern, pulls out before scientific psychology the task of sound research of adaptive-developing potential of game as a psycho-social program of human vital functions in the conditions of his existential development. This task it is expedient to execute on methodological basis of integration phenomenological, formally-ontological (ontological modeling) and systemgenesis approaches. The corresponding model of manifestation of adaptive-developing potential of game it is expedient to construct as an ontogenetic signature. This signature has universal character and gives possibility to analyse any social events, situations and to design (to forecast) their forming and development in a prospect. The table of contents of ontogenetic signature of game is based on conformities to law of systemgenesis of psychical human activity, taxonomical system of types of leading activity, general conformities to law of development of higher psychical human functions and conformities to law of cyclic-canonical act. Architectonics the signature over brought in research, formulations and structure of her components, answer methodological terms phenomenological, formally-ontological and системогенетичного approaches. It allows to position a signature the canonical method of the pragmatic use of game as a subject program of vital functions of man. It is suggested to choose a logical-semantic triplet – elementary ontological abstract system бA subject (S) is Object (О) is Relation/Action (R)с the universal cellular structure of any forms of game action. A triplet is an universal psychological mechanism due to which the display of any game structure gets organized on any stage or phase of motion of such display. A key mechanism, matrix modus of subjects existence, is a game (playing), social role. It is systemgenesis appears and takes place as activity of Subject (S) in relation to Object (О) with Relation/by Action (R). The action (R) of subject will be realized through: а) thought activity in form deductions, b) verbal and c) kinematics praxis. In realization of social role it is expedient to distinguish: а) maximin motivation and b) minimax motivation. Within the limits of scientific psychology game-theoretical principle of minimax-maximin and usefulness principle as a general system-forming factor of situation is acquired fundamental multidisciplinary value. Qualificatory character for stability of mechanisms of development of subject potential is acquired by age of early youth (from 15 to 17-18 years). Such age contains terminal importance of ability of subject for co-operative mutually beneficial activity from application by him game (playing) program. This stage determines the prevailing orientation of further vital functions – adaptive or developing. The vital situations of subject it is expedient to profile on criteria: «usual – unique», «difficult – dynamic – uncertainty»; on the degree of vagueness «unstable – risky – full uncertainty». The game program of actions of subject in the situation of certain type can carry or stereotype, or unique character. The stereotype game (playing) program answers signs adaptive, finitary, iterative, with obvious rules is in basis of adaptation. The unique game (playing) program has subject-developing character because the terms of her realization compel a subject not only to adapt oneself but also initiative to influence on a situation, create or modify her under own aims and necessities. Coming from the rich in content features of two fundamental classes of playing forms are games as forms of adaptation and game as active programs of vital human functions, objective differentiation of game situations on the basis of their finitary and iterativeness, level of evidence of terms of situation for a subject, the class of games which take place as finitary and iterative forms of subject adaptation is offered, to determine igroid or game similar form. The game forms of unique genesis it is suggested to determine an existential game. Igroid is the optimal mean of generalization, transferrableness and translation of cultural experience. It is a class of game and playing simulation, which is characterized by the fixed functional, rules, scenarios, strategies, limitations, by axioms set to beginning of game. Prevailing of igroid forms of behavior can conduce to development of playing dependence. An existential game is the phenomenon, rules and scenario of which for a subject appear in the process of his motion. Ontological, systemgenesis descriptions (by attributes) of existential game are signs of the canonically accomplished act. Igroid is a separable or simplified existential game. Igroid is orientated on gaining experience of social co-operation, adaptation of subject. An existential game is orientated on development of creative attitude toward reality. Due to probabilistic character of the real life adaptive-developing potential of game gets the aspect-tensor of ontogenetic existential complication as an attributive condition of phylogenesis and ontogenetic evolutional development of man. Ontogenetic the signature of game answers essence and functionals of such development. Topological ontosignature of games are embraced by six levels: a 1) level of the phenomena of game; 2) level of game specieses, in a civilized manner withstand mechanic and scenarios; 3) level of genuses of game (branch on the criterion of public, social specific of game); 4) level of families of game (appears on the game-theoretical criteria of classification and on the unicity of tool of game); 5) level of types of game (differentiation on the criterion of connection of game with a kind leading activity); 6) the greatest level of domens (appears two separate classes of game – igroid and existential game and differentiated on the basis of type of strategic complication of terms. For today there is possibility empiric to investigate the phenomena of game only. The conceptual levels of ontosignature are intended for the sound and comprehensive theoretical design of corresponding games manifestation.
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Habraken, N. John, and Mark D. Gross. "Concept design games." Design Studies 9, no. 3 (July 1988): 150–58. http://dx.doi.org/10.1016/0142-694x(88)90044-0.
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Kjaersgaard, Mette Gislev, Eva Knutz, and Thomas Markussen. "Design games as fieldwork: Re-visiting design games from a design anthropological perspective." Design Studies 73 (March 2021): 100994. http://dx.doi.org/10.1016/j.destud.2021.100994.
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Machin, David, and Theo van Leeuwen. "Sound, music and gender in mobile games." Gender and Language 10, no. 3 (September 26, 2016): 412–32. http://dx.doi.org/10.1558/genl.v10i3.32039.
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Gaspar, Juliano De Souza, Eura Martins Lage, Fernando José Da Silva, Érico Mineiro, Isaias José Ramos De Oliveira, Igor Oliveira, Rayner Guilherme De Souza, Juan Rodrigues Oliveira Gusmão, Camila Fernanda Donadoni De Souza, and Zilma Silveira Nogueira Reis. "A Mobile Serious Game About the Pandemic (COVID-19 - Did You Know?): Design and Evaluation Study." JMIR Serious Games 8, no. 4 (December 22, 2020): e25226. http://dx.doi.org/10.2196/25226.
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Background No treatment for COVID-19 is yet available; therefore, providing access to information about SARS-CoV-2, the transmission route of the virus, and ways to prevent the spread of infection is a critical sanitary measure worldwide. Serious games have advantages in the dissemination of reliable information during the pandemic; they can provide qualified content while offering interactivity to the user, and they have great reach over the internet. Objective This study aimed to develop a serious game with the purpose of providing science-based information on the prevention of COVID-19 and personal care during the pandemic while assessing players’ knowledge about COVID-19–related topics. Methods The study was conducted with the interdisciplinary collaboration of specialists in health sciences, computing, and design at the Federal University of Minas Gerais, Brazil. The health recommendations were grouped into six thematic blocks, presented in a quiz format. The software languages were based on the progressive web app development methodology with the Ionic framework, JavaScript, HTML5, cascading style sheets, and TypeScript (Angular). Open data reports of how users interact with the serious game were obtained using the Google Analytics application programming interface. The visual identity, logo, infographics, and icons were carefully developed by considering a selection of colors, typography, sounds, and images that are suitable for young audiences. Cards with cartoon characters were introduced at the end of each thematic topic to interact with the player, reinforcing their correct answers or alerting them to the need to learn more about the disease. The players’ performance was assessed by the rate of incorrect and correct answers and analyzed by linear correlation coefficient over 7 weeks. The agile SCRUM development methodology enabled quick and daily interactions of developers through a webchat and sequential team meetings. Results The game “COVID-19–Did You Know?” was made available for free on a public university website on April 1, 2020. The game had been accessed 17,571 times as of September 2020. Dissemination actions such as reports on social media and television showed a temporal correspondence with the access number. The players’ error rate in the topic “Mask” showed a negative trend (r=–.83; P=.01) over the weeks of follow-up. The other topics showed no significant trend over the weeks. Conclusions The gamification strategy for health education content on the theme of COVID-19 reached a young audience, which is considered to be a priority in the strategy of orientation toward social distancing. Specific educational reinforcement measures were proposed and implemented based on the players’ performance. The improvement in the users’ performance on the topic about the use of masks may reflect an increase in information about or adherence to mask use over time.