Compilation of References - Game Sound Technology and Player Interaction: Concepts and Developments - page 437

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

Eijkman, E., & Vendrik, J. H. (1965). Can a sensory
system be specified by its internal noise? The Journal
of the Acoustical Society of America , 37 , 1102-1109.
doi:10.1121/1.1909530

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

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)

Dretzka, G. (2004, December 12). Casinos, celebrities bet
on our love for pop culture icons. Seattle Times . Retrieved
July 15, 2009, from http://community.seattletimes.nw-
source.com/archive/?date=20041212&slug=casinos12. Ekman, P. (1992). An argument for basic emo-

tions. Cognition and Emotion , 6 (3/4), 169-200.
doi:10.1080/02699939208411068

Drobnick, J. (2004). Aural cultures . Toronto: YYZ Books.

Droumeva, M. (2011). An acoustic communication frame-
work for game sound: Fidelity, verisimilitude, ecology
. In Grimshaw, M. (Ed.), Game Sound Technology and
Player Interaction: Concepts and Developments . Hershey,
PA: IGI Global.

Ekman, P., & Friesen, W. V. (1978). Facial action coding
system: A technique for the measurement of facial move-
ment . Palo Alto, CA: Consulting Psychologists Press.

Ekman, I., & Lankoski, P. (2009). Hair-raising entertain-
ment: Emotions, sound, and structure in Silent Hill 2 and
Fatal Frame . In Perron, B. (Ed.), Horror video games:
Essays on the fusion of fear and play (pp. 181-199). Jef-
ferson, NC: McFarland.

Duda, R. O., Algazi, V. R., & Thompson, D. M. (2002).
The use of head-and-torso models for improved spatial
sound synthesis. In Proceedings of the 113th Audio En-
gineering Society Convention.

Ekman, I. (2005). Meaningful noise: Understanding sound
effects in computer games. In Proceedings of Digital Arts
and Cultures 2005 . Copenhagen, Denmark.

Dyson. (2009). Kremers & May.

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.

Ekman, I. (2008). Comment on the IEZA: A framework
for game audio. Gamasutra. Retrieved January 13, 2010,
from http://www.gamasutra.com/view/feature/3509/
ieza_a_framework_for_game_audio.php Ebcioglu, K. (1992). An expert system for harmoniz-

ing chorales in the style of J. S. Bach . In Balaban, M.,
Ebcioglu, K., & Laske, O. (Eds.), Understanding music
with AI: Perspectives on music cognition (pp. 294-334).
Cambridge, MA: MIT Press.

Ekman, I. (2008). Psychologically motivated techniques
for emotional sound in computer games. In Proceedings
of the 3rd Conference on Interaction with Sound, Audio
Mostly 2008 (pp. 20-26). Piteå, Sweden.

Edworthy, J., Loxley, S., & Dennis, I. (1991). Improving
auditory warning design: Relationship between warning
sound parameters and perceived urgency. Human Fac-
tors , 33 (2), 205-231.

Ekman, I. (2009). Modelling the emotional listener: Mak-
ing psychological processes audible. In Proceedings of
Audio Mostly 2009: 4th Conference on Interaction with
Sound (pp. 33-40). Glasgow, Scotland: Glasgow Caledo-
nian University, Interactive Institute/Sonic Studio Piteå. Effrat, J., Chan, L., Fogg, B. J., & Kong, L. (2004). What

sounds do people love and hate? Interaction , 11 (5), 64-66.
doi:10.1145/1015530.1015562