New Wine in New Skins - Game Sound Technology and Player Interaction: Concepts and Developments - page 410

Clair, R. (1985). The art of sound. Excerpts
from a series of letters . In Weis, E., & Belton,
J. (Eds.), Film sound: Theory and practice . New
York: Columbia University Press. (Original work
published 1929)

Eisenstein, S. M., Pudovkin, V. I., & Alexandrov,
G. V. (1985). Statement on the sound film . In Weis,
E., & Belton, J. (Eds.), Film sound: Theory and
practice . New York: Columbia University Press.
(Original work published 1928)

Collins, K. (2008). Game sound: An introduc-
tion to the history, theory, and practice of video
game music and sound design . Cambridge, MA:
MIT Press.

FableII. (2008). Microsoft.

Farnell, A. (2007). An introduction to procedural
audio and its application in computer games.
Retrieved May 20, 2009, from http://www.obi-
wannabe.co.uk/html/papers/proc-audio Connor, S. (1994). Edison's teeth: Touching hear-

ing . In Erlmann, V. (Ed.), Hearing cultures: Essays
on sound, listening and modernity . Oxford: Berg.

Farnell, A. (2011). Behaviour, structure and causal-
ity in procedural audio . In Grimshaw, M. (Ed.),
Game sound technology and player interaction:
Concepts and developments . Hershey, PA: IGI
Global.

Coppola, F. F. (1979). Apocalypse now . Zoetrope
Studios.

Curtis, S. (1992). The sound of the early Warner
Bros. cartoons . In Altman, R. (Ed.), Sound theory
sound practice . New York: Routledge.

Fleming, J. (2009). Planet of sound: Talking art,
noise, and games with EA's Robi Kauker . Retrieved
June 3, 2009, from http://www.gamasutra.com/
view/feature/3978/planet_of_sound_talking_art_.
php

Darwinia . (2007). Ambrosia Software.

Deutsch, S. (2001). Harnessing the power of
music and sound design in interactive media . In
Earnshaw, R., & Vince, J. (Eds.), Digital content
creation . New York: Springer.

Flückiger, B. (2001). Sound design, die virtuelle
Klangwelt des Films . Marburg, Country: Schüren.

Grey matter. (2008). McMillen, Refenes, & Ba-
ranowsky.

Dig dug. (1983). Atari.

Doom 3. (2004). Activision, 2004.

Grigg, C., Whitmore, G., Azzarello, P., Pilon, J.,
Noel, F., Snyder, S., et al. (2006, May). Group
report: Providing a high level of mixing aesthetics
in interactive audio and games. Paper developed at
the Annual Interactive Music Conference Project
Bar-B-Q.

Drescher, P. (2006a). GAC(k!) . Retrieved June
8, 2009, from http://blogs.oreilly.com/digitalme-
dia/2006/09/gack-1.html

Drescher, P. (2006b). THE Homunculonic AES-
theticator. Retrieved June 8, 2009, from http://
blogs.oreilly.com/digitalmedia/2006/11/the-
homunculonic-aestheticator-1.html

Grimshaw, M. (2007). The acoustic ecology of
the first person shooter. Unpublished doctoral
dissertation. University of Waikato, New Zealand.

Dyson, F. (1996). When is the ear pierced? The
clashes of sound, technology and cyberculture . In
Moser, M. A., & MacLeod, D. (Eds.), Immersed
in technology: Art and virtual environments .
Cambridge, MA: MIT Press.

Grimshaw, M. (2008). Per un'analisi comparata
del suono nei videogiochi e nel cinema . In Bit-
tanti, M. (Ed.), Schermi interattivi saggi critici
su videogiochi e cinema (pp. 95-121). (Bittanti,
M., Trans.). Roma: Meltemi.

Dyson. (2009). Kremers & May.