Emotion, Content, and Context in Sound and Music - Game Sound Technology and Player Interaction: Concepts and Developments - page 259

Figure 10. Simplified Overview of TSK-type FRBS Used in Playlist Generation

For the budding researcher interested in
these areas, we suggest the following broad,
non-exhaustive, list of some of the key research
themes and areas that would greatly benefit from
further investigation:

tual data and output a robust, truly reflec-
tive emotional state for the majority of a
sample user population.

Above all, we hope that in reading this chapter
we have stimulated intellectual thought and got
the creative juices flowing. Our aim here is not
to provide a cast-in-stone set of data and instruc-
tions for the budding developer and researcher
to follow and obey: far from it! By all means
question, criticise and make up your own mind.
Anyone working in the field of computer game
and multimedia development that involves sound
will not only be aware of the technical, computing,
and engineering issues of their field (the logical
ones) but they will doubtless have opinions and
their own tastes and creativity. If there is a lesson
to be learned from this chapter, it is that we hope
you will consider the bigger picture, the wider
implications, the external factors and the notion
of a user-centred design process. We feel that
the three areas of emotion, content and context

• Explore the commonly perceived emo-

tions of users playing computer games and
determine the most reliable methods with
which to record and model these emotions

• Develop a common software toolbox to

allow audio content analysis to be easily
bolted into a range of software products

• Further examine the value of environmen-

tal context for users playing computer
games compared with user-centred contex-
tual data

• Assess gameplay parameters that are best

influenced and reflected in the emotion,
content and context of the user

• Develop fuzzy logic systems that can accu-

rately read a range of content and contex-