Compilation of References - Game Sound Technology and Player Interaction: Concepts and Developments - page 444

Hirsch, A. R. (1995). Effects of ambient odors on slot-
machine usage in a Law Vegas casino. Psychology and
Marketing , 12 (7), 585-594. doi:10.1002/mar.4220120703

Hudlicka, E. (2008). Affective computing for game
design. In Proceedings of the 4th International North
American Conference on Intelligent Games and Simula-
tion (GAMEON-NA). Montreal, Canada.

Hitchcock, A. (1963). The birds . Universal Pictures.

Hug, D. (2011). New wine in new skins: Sketching the
future of game sound design . In Grimshaw, M. (Ed.),
Game sound technology and player interaction: Concepts
and developments . Hershey, PA: IGI Global.

Hitchcock, A. (1956). The Man Who Knew Too Much
[Motion picture]. Hollywood, CA: Paramount.

Hitchcock, A. (Director) (1960). Psycho . Hollywood,
CA: Paramount.

Hug, D. (2007). Game sound education at ZHdK: Be-
tween research laboratory and experimental education.
In Proceedings of Audio Mostly 2007 - 2nd Conference
on Interaction with Sound .

Hitman. (2002). Io Interactive. Eidos Interactive.

Ho, C. C., MacDorman, K., & Pramono, Z. A. D. (2008,).
Human emotion and the uncanny valley. A GLM, MDS,
and ISOMAP analysis of robot video ratings. In Proceed-
ings of the Third ACM/IEEE International Conference on
Human-Robot Interaction , 169-176.

Hug, D. (2008a). Towards a hermeneutics and typology
of sound for interactive commodities. In Proceedings of
the CHI 2008 Workshop on Sonic Interaction Design .

Hug, D. (2008b). Genie in a bottle: Object-sound recon-
figurations for interactive commodities. In Proceedings
of Audiomostly 2008, 3rd Conference on Interaction
With Sound.

Hodgkinson, G. (2009). The seduction of realism. In
Proceedings of ACM SIGGRAPH ASIA 2009 Educators
Program (pp. 1-4). Yokohama, Japan: The Association
for Computing Machinery.

Huizinga, J. (1955). Homo ludens: A study of the play
element in culture . Boston: Beacon Press.

Hoeger, L., & Huber, W. (2007). Ghastly multiplication:
Fatal Frame II and the videogame Uncanny. In Proceed-
ings of Situated Play, DiGRA 2007 Conference , Tokyo,
Japan, 152-156.

Ihde, D. (1976). Listening and voice: A phenomenology
of sound . Athens, OH: Ohio University Press.

Hopson, J. (2001). Behavioral game design. Gamasutra .
Retrieved October 23, 2009, from http://www.gamasutra.
com/view/feature/3085/behavioral_game_design.php.

IJsselsteijn, W., Poels, K., & de Kort, Y. A. W. (2008).
The Game Experience Questionnaire: Development of
a self-report measure to assess player experiences of
digital games. FUGA Deliverable D3.3 . Eindhoven, The
Netherlands: TU Eindhoven.

Hörnel, D. (2000). Lernen musikalischer Strukturen und
Stile mit neuronalen Netzen . Karlsruhe, Germany: Shaker.

Hörnel, D., & Menzel, W. (1999). Learning musical
structure and style with neural networks. Computer Music
Journal , 22 (4), 44-62. doi:10.2307/3680893

Ion Storm Inc (Developer). (2004). Thief: Deadly Shadows
[Computer game]. Eidos Interactive.

ITU-R BT.1359-1. (1998). Relative timing of sound and
vision for broadcasting. Question ITU-R, 35 (11).

Howard, D. M., & Angus, J. (1996). Acoustics and psy-
choacoustics . Oxford: Focal Press.

Ivory, J. D., & Kalyanaraman, S. (2007). The effects of
technological advancement and violent content in video
games on players' feelings of presence, involvement,
physiological arousal, and aggression. The Journal of
Communication , 57 (3), 532-555. doi:10.1111/j.1460-
2466.2007.00356.x

Howard, I. P. (1982). Human visual orientation . New
York: Wiley.