Entrainment - Revision history

ValterAlves at 21:12, 5 October 2014

2014-10-05T21:12:38Z

ValterAlves at 23:08, 25 August 2012

2012-08-25T23:08:17Z

ValterAlves at 20:52, 24 August 2012

2012-08-24T20:52:20Z

ValterAlves at 18:25, 24 August 2012

2012-08-24T18:25:11Z

ValterAlves at 02:34, 18 July 2012

2012-07-18T02:34:29Z

ValterAlves at 02:27, 18 July 2012

2012-07-18T02:27:46Z

ValterAlves at 02:23, 18 July 2012

2012-07-18T02:23:50Z

ValterAlves at 23:17, 17 July 2012

2012-07-17T23:17:39Z

ValterAlves at 23:11, 17 July 2012

2012-07-17T23:11:30Z

ValterAlves at 22:51, 24 May 2012

2012-05-24T22:51:13Z

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 *Other more subtle – and possibly more complex – instances, such as rhythmic [[Foley]] (e.g., a machine, a “hacked” clock, etc...) or elements in the [[Ambiance]] are also used.
-Although techniques based in [[Entrainment]] create opportunities that are less dependent on context, it should be recognized that experiencing emotions is still an individual and context dependent process. Emotions cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions.
+Although techniques based on [[Entrainment]] create opportunities that are less dependent on context, it should be recognized that experiencing emotions is still an individual and context dependent process. Emotions cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions.
 | additional=

@@ Line 42: / Line 42: @@
 * First presentation of the pattern [[Entrainment]]<ref name="AlvesAM10"/>
 * On the concept and physics of entrainment<ref name="Augoyard"/><ref name="Leeds"/><ref name="Sonnenschein"/>
-** some demonstrations of entrainment, at a mechanical level  <ref name="pending"/>.
+* Some demonstrations of entrainment, at a mechanical level  <ref name="pending"/>.
 * Entrainment in Sound Design in Games<ref name="AlvesAM09"/><ref name="AlvesCh11"/>
 | showrefs=1
 }}

@@ Line 38: / Line 38: @@
 | ex2=<mt p="Entrainment" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">In this game [[Entrainment]] is not only a consequence but also a requisite of the [[Rhythm Gameplay]]. The player voluntary seeks to keep in sync with the beat of the game. The exteriorization of the game’s beat in the player’s body language is a common testimony. The game’s tempo is 120 bpm (4/4).</mt>
 | ex3=<mt p="Entrainment" g="Sonic The Hedgehog" altg="Sonic the Hedgehog" w="{{RPS2W}}" h="{{RPS2H}}">Some power-ups change the characteristics of the [[Music]] and effectively induce a higher arousal level.</mt>
-| ex4=<mt p="Entrainment" g="Pond" w="{{R8by5W}}" h="{{R8by5H}}"></mt>
+| ex4=<mt p="Entrainment" g="Pond" altg="pOnd" w="{{R8by5W}}" h="{{R8by5H}}"></mt>
 | external =
 * First presentation of the pattern [[Entrainment]]<ref name="AlvesAM10"/>

@@ Line 28: / Line 28: @@
 *Other more subtle – and possibly more complex – instances, such as rhythmic [[Foley]] (e.g., a machine, a “hacked” clock, etc...) or elements in the [[Ambiance]] are also used.
-Despite techniques based in [[Entrainment]] create opportunities that are less dependent on context, it should be recognized that experiencing emotions is still an individual and context dependent process. Emotion cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions.
+Although techniques based in [[Entrainment]] create opportunities that are less dependent on context, it should be recognized that experiencing emotions is still an individual and context dependent process. Emotions cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions.
 | additional=

@@ Line 36: / Line 36: @@
 {{NoVideo | '''Beat Hazard''':The output of the cannons is dictated by the intensity of the selected [[Music]]. As a consequence, players adapt behaviour to the variations in [[Music]].}}
 | ex1=<mt p="Entrainment" g="Far Cry 2" w="{{R16by9W}}" h="{{R16by9H}}">Notice in this experiment that the shot is followed by an activation [[Music]] that contributes to achieve an arousal state that is more consonant with the true meaning of firing a gun.</mt>
-| ex2=<mt p="Entrainment" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">In this game [[Entrainment]] is not only a consequence but also a requisite of the [[Rhythm Gameplay]]. The player voluntary seeks to keep in sync with the beat of the game. The exteriorization of the game's beat in the player's body language is a common testimony. The game's tempo is 120 bpm (4/4).</mt>
+| ex2=<mt p="Entrainment" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">In this game [[Entrainment]] is not only a consequence but also a requisite of the [[Rhythm Gameplay]]. The player voluntary seeks to keep in sync with the beat of the game. The exteriorization of the game’s beat in the player’s body language is a common testimony. The game’s tempo is 120 bpm (4/4).</mt>
 | ex3=<mt p="Entrainment" g="Sonic The Hedgehog" altg="Sonic the Hedgehog" w="{{RPS2W}}" h="{{RPS2H}}">Some power-ups change the characteristics of the [[Music]] and effectively induce a higher arousal level.</mt>
 | ex4=<mt p="Entrainment" g="Pond" w="{{R8by5W}}" h="{{R8by5H}}"></mt>

@@ Line 20: / Line 20: @@
 | revisions =Introduced in version 1.0
 | description =
-[[Entrainment]]<ref name="Augoyard"/><ref name="Leeds"/><ref name="Sonnenschein"/> is a technique that enables tackling emotions at a physiological level, and consequently for which no conscious interpretation is required. [[Entrainment]] can be used to support the maintenance or the change of emotional states, by influencing the player to progressively move from one state of resonance into another. Sound is one prominent way to implement entrainment, benefiting from the way humans resonate to auditory stimuli. The principles of entrainment and resonance have been exploited by music through the ages<ref name="Augoyard"/><ref name="Leeds"/><ref name="Sonnenschein"/>. [[Entrainment]] techniques can also be achieved through (or built in) other sound explorations, with the ultimate goal of influencing the [[Emotional Script]].
+[[Entrainment]]<ref name="Augoyard"/><ref name="Leeds"/><ref name="Sonnenschein"/> is a technique that enables tackling emotions at a physiological level, and consequently for which no conscious interpretation is required. [[Entrainment]] can be used to support the maintenance or the change of emotional states, by influencing the player to progressively move from one state of resonance into another. Sound is one prominent way to implement [[Entrainment]], benefiting from the way humans resonate to auditory stimuli. The principles of [[Entrainment]] and resonance have been exploited by music through the ages<ref name="Augoyard"/><ref name="Leeds"/><ref name="Sonnenschein"/>. [[Entrainment]] techniques can also be achieved through (or built in) other sound explorations, with the ultimate goal of influencing the [[Emotional Script]].
 Specific examples of sound explorations in games that are commonly used to implement [[Entrainment]] include:
-* [[Music]]: one major role of [[Music]] in a game is, precisely, to contribute to [[Entrainment]]. For instance, distinctive [[Music]] is typically designed for each of the phases [[Relaxation]], [[Anticipation]], [[Engagement]] and [[Decay]]. The fact that there is a great body of knowledge in this matter in close domains (as music itself, cinema, ...) influences the exploration of [[Music]] in games. Yet, it is important to acknowledge the specificity of games, to adapt and go beyond the "imported" explorations <ref name="pending"/>.
+*[[Music]]: one major role of [[Music]] in a game is, precisely, to contribute to [[Entrainment]]. For instance, distinctive [[Music]] is typically designed for each of the phases [[Relaxation]], [[Anticipation]], [[Engagement]] and Decay. The fact that there is a great body of knowledge in this matter in close domains (as music itself, cinema, ...) influences the exploration of [[Music]] in games. Yet, it is important to acknowledge the specificity of games, to adapt and go beyond the “imported” explorations<ref name="pending"/>.
-* [[Heartbeat]] and [[Breath]]: they are very direct approaches to [[Entrainment]], considering that heartbeat and breath are two of the human body's resonant systems (see [[#additional| below]]). Again, this techniques also have been long explored in the domain of music and cinema.
+*[[Heartbeat]] and [[Breath]]: they are very direct approaches to [[Entrainment]], considering that heartbeat and breath are two of the human body’s resonant systems (see [[#additional| below]]). Again, this techniques also have been long explored in the domain of music and cinema.
-* [[Rhythm Gameplay]]: if the gameplay demands that the player performs an action subject to a beat it is conceivable that such player may entrains with that beat.
+*[[Rhythm Gameplay]]: if the gameplay demands that the player performs an action subject to a beat it is conceivable that such player may entrains with that beat.
-* Other more subtle – and possibly more complex – instances, such as rhythmic [[Foley]] (e.g., a machine, a "hacked" clock, etc...) or elements in the [[Ambiance]] are also used.
+*Other more subtle – and possibly more complex – instances, such as rhythmic [[Foley]] (e.g., a machine, a “hacked” clock, etc...) or elements in the [[Ambiance]] are also used.
 Despite techniques based in [[Entrainment]] create opportunities that are less dependent on context, it should be recognized that experiencing emotions is still an individual and context dependent process. Emotion cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions.