Emerging Sounds for Disappearing Computers
暂无分享,去创建一个
[1] Helge J. Ritter,et al. AcouMotion - An Interactive Sonification System for Acoustic Motion Control , 2005, Gesture Workshop.
[2] Alfred O. Effenberg,et al. Using Sonification to Enhance Perception and Reproduction Accuracy of Human Movement Patterns , 2004 .
[3] Gregory Kramer,et al. Auditory Display: Sonification, Audification, And Auditory Interfaces , 1994 .
[4] Thomas B. Sheridan,et al. Sensory Substitution for Force Feedback in Teleoperation , 1992, Presence: Teleoperators & Virtual Environments.
[5] R. M. Schafer,et al. The tuning of the world , 1977 .
[6] William W. Gaver. How Do We Hear in the World?: Explorations in Ecological Acoustics , 1993 .
[7] Albert S. Bregman,et al. The Auditory Scene. (Book Reviews: Auditory Scene Analysis. The Perceptual Organization of Sound.) , 1990 .
[8] J. C. Schelleng,et al. The bowed string and the player , 1973 .
[9] C. Krumhansl. An exploratory study of musical emotions and psychophysiology. , 1997, Canadian journal of experimental psychology = Revue canadienne de psychologie experimentale.
[10] Liam J. Bannon,et al. HCI Design and Interactive for Fingers and Ears , 2005 .
[11] Anders Friberg,et al. Expressive musical icons , 2001 .
[12] Shumin Zhai,et al. Performance evaluation of input devices in trajectory-based tasks: an application of the steering law , 1999, CHI '99.
[13] Anders Friberg,et al. Emotional Coloring of Computer-Controlled Music Performances , 2000, Computer Music Journal.
[14] Carl Gutwin,et al. A Descriptive Framework of Workspace Awareness for Real-Time Groupware , 2002, Computer Supported Cooperative Work (CSCW).
[15] G. Johansson. Visual perception of biological motion and a model for its analysis , 1973 .
[16] Davide Rocchesso,et al. The Sounding Object , 2002 .
[17] Daniel J Tollin,et al. Cats exhibit the Franssen Effect illusion. , 2004, The Journal of the Acoustical Society of America.
[18] Sergi Jordà,et al. Dynamic patches for live musical performance , 2004 .
[19] Brett R Fajen,et al. Behavioral dynamics of steering, obstacle avoidance, and route selection. , 2003, Journal of experimental psychology. Human perception and performance.
[20] Bruno L. Giordano. Material categorization and hardness scaling in real and synthetic impact sounds , 2003 .
[21] Pierre Schaeffer. Traité des objets musicaux , 1966 .
[22] Jonathan G. Fiscus,et al. Measurements in support of research accomplishments , 2000, CACM.
[23] Rudolf Rasch,et al. Timing and synchronization in ensemble performance. , 1988 .
[24] Roy Want,et al. Embodied user interfaces for really direct manipulation , 2000, CACM.
[25] Andy Hunt,et al. Guest Editors' Introduction: An Introduction to Interactive Sonification , 2005, IEEE Multim..
[26] Davide Rocchesso,et al. Controlling Material Properties in Physical Models of Sounding Objects , 2001, ICMC.
[27] M. Kubovy,et al. Auditory and visual objects , 2001, Cognition.
[28] Nicolas Courty,et al. Gesture in Human-Computer Interaction and Simulation , 2006 .
[29] Anders Friberg,et al. Affect, Attitude and Evaluation of Multisensory Performances , 2005 .
[30] K. Scherer,et al. Emotion Inferences from Vocal Expression Correlate Across Languages and Cultures , 2001 .
[31] P. Laukka,et al. Communication of emotions in vocal expression and music performance: different channels, same code? , 2003, Psychological bulletin.
[32] Norbert A. Streitz,et al. Roomware: computers disappear and interaction evolves , 2004, Computer.
[33] A. Michotte. The perception of causality , 1963 .
[34] Abderrahmane Kheddar,et al. Pseudo-haptic feedback: can isometric input devices simulate force feedback? , 2000, Proceedings IEEE Virtual Reality 2000 (Cat. No.00CB37048).
[35] Richard Wilkie,et al. Controlling steering and judging heading: retinal flow, visual direction, and extraretinal information. , 2003, Journal of experimental psychology. Human perception and performance.
[36] Bruce H. Thomas,et al. Applying cartoon animation techniques to graphical user interfaces , 2001, TCHI.
[37] Daniel Fallman,et al. Wear, point, and tilt: designing support for mobile service and maintenance in industrial settings , 2002, DIS '02.
[38] Bruno L. Giordano,et al. Walking and playing: what's the origin of emotional expressiveness in music? , 2006 .
[39] Stephen Barrass,et al. SONIFICATION DESIGN PATTERNS , 2003 .
[40] Giovanni B Vicario,et al. Experimental phenomenology , 2018, Paolo Bozzi’s Experimental Phenomenology.
[41] Paul Dourish,et al. Where the action is , 2001 .
[42] Warren Brodsky,et al. The effects of music tempo on simulated driving performance and vehicular control , 2001 .
[43] Robert J. Logan,et al. Perception of acoustic source characteristics: walking sounds. , 1991, The Journal of the Acoustical Society of America.
[44] S. C. Masin. Foundations of perceptual theory , 1993 .
[45] Antonio Camurri,et al. Gesture-Based Communication in Human-Computer Interaction , 2003, Lecture Notes in Computer Science.
[46] Koert van Mensvoort,et al. What you see is what you feel: exploiting the dominance of the visual over the haptic domain to simulate force-feedback with cursor displacements , 2002, DIS '02.
[47] Sofia Dahl,et al. Playing the accent : comparing striking velocity and timing in an ostinato rhythm performed by four drummers , 2004 .
[48] Kjetil Falkenberg Hansen,et al. Analysis of a Genuine Scratch Performance , 2003, Gesture Workshop.
[49] William W. Gaver. What in the World Do We Hear? An Ecological Approach to Auditory Event Perception , 1993 .
[50] Davide Rocchesso,et al. Continuous sonic feedback from a rolling ball , 2005, IEEE MultiMedia.
[51] Björn Lindblom,et al. Explaining Phonetic Variation: A Sketch of the H&H Theory , 1990 .
[52] Liam J. Bannon,et al. Shaping experiences in the hunt museum: a design case study , 2004, DIS '04.
[53] Constantine Stephanidis,et al. Human-computer interaction : theory and practice , 2003 .
[54] Liam J. Bannon,et al. HCI design and interactive sonification for fingers and ears , 2005, IEEE MultiMedia.
[55] E. Reed. The Ecological Approach to Visual Perception , 1989 .
[56] J. Sloboda. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition , 1985 .
[57] Sofia Dahl,et al. Experiments on gestures: walking, running, and hitting. , 2003 .