Difference between revisions of "Entrainment"

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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 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"/>.
  
Specific examples of sound explorations that are commonly used in games to implement Entrainment include  
+
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]]. 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]]: being the hearthbeat and breath two of the human body's resonant systems (see [[:#additional information]])  Again, this techniques also have been long explored in the domain of music and cinema.
 +
 
 +
through music has been successfully 
 +
, Heartbeat
  
 
Experiencing emotions is an individual and very context dependent process. Emotion cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions. Comparing to other means of influencing a player’s emotion state (e.g through [[Dialogue]], for instance), [[Entrainment]] constitutes a technique that, despite being less trivial in terms of design, creates opportunities that are less dependent on context.
 
Experiencing emotions is an individual and very context dependent process. Emotion cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions. Comparing to other means of influencing a player’s emotion state (e.g through [[Dialogue]], for instance), [[Entrainment]] constitutes a technique that, despite being less trivial in terms of design, creates opportunities that are less dependent on context.

Revision as of 19:02, 18 August 2011

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Synopsis

Changing the player’s internal rhythms through acoustic stimulation, eventually inducing emotions and behaviour.

Relationships

Contexts:
Emotional Script , Trance , R-A-E-D Iterations , Relaxation , Anticipation , Engagement , Decay , Window of Opportunity , Hurry Up! .
May use:
Music , Play the Beat File:M385px-PlayTheBeat-front-v20.png, Heartbeat , Breath , Footsteps , Foley , Ambiance .

Description

Entrainment[1][2][3] is a technique that enables tackling emotions at a physiological level, i.e. 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[1][2][3].

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. 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 [4].
  • Heartbeat and Breath: being the hearthbeat and breath two of the human body's resonant systems (see #additional information) Again, this techniques also have been long explored in the domain of music and cinema.

through music has been successfully

, Heartbeat

Experiencing emotions is an individual and very context dependent process. Emotion cannot be designed: a designer can only create conditions for players to reach themselves the intended emotions. Comparing to other means of influencing a player’s emotion state (e.g through Dialogue, for instance), Entrainment constitutes a technique that, despite being less trivial in terms of design, creates opportunities that are less dependent on context.

Examples

Far Cry 2:
Beat Hazard:
Papa Sangre:
[show less examples...]
Sonic the Hedgehog:
Patapon:

Additional Comments

Entrainment refers to the synchronization of resonant systems. Breath, heartbeat, and brainwaves are examples of resonant systems for which entrainment may be explored as studied in psychoacoustics. There are two types of entrainment: internal-to-internal and external-to-internal. Internal-to-internal refers to entrainment among one person’s pulse systems, namely heart, breath, and brain. For instance, when heartbeat increases so does breath rate. External-to-internal has to do with the changing of internal rhythms through external stimulation, in our case, through sound. The latter is what allows for entrainment through design; the former augments the opportunities regarding the system at which that entrainment is target.

External Resources

  • First presentation of the pattern Entrainment[5]
  • On the concept and physics of entrainment[1][2][3]
  • Entrainment in Sound Design in Games[6][7]

References

  1. 1.01.11.2 Augoyard, J. F., & Torgue, H. Eds.. 2005. Sonic experience: A guide to everyday sounds. Montreal, Canada: McGill-Queens University Press.
  2. 2.02.12.2 Leeds, J. 2001. The power of sound. Rochester, VT: Inner Traditions.
  3. 3.03.13.2 Sonnenschein, D. 2001. Sound design: The expressive power of music, voice and sound effects in cinema. Seattle, WA: Michael Wiese Productions.
  4. [pending reference]
  5. Alves, V. and Roque, L. 2010. A Pattern Language for Sound Design in Games. In Proceedings of Audio Mostly 2010, 88-95.
  6. Alves, V. and Roque, L. 2009. A proposal of soundscape design guidelines for user experience enrichment. In Proceedings of Audio Mostly 2009, 27–32.
  7. Alves, V. and Roque, L. 2011. Guidelines for sound design in computer games. In Game sound technology and player interaction: Concepts and developments, M. Grimshaw, Ed. IGI Global.

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