BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20210508T140000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:89a576e3923605428c0a8d3c76f5fd76 CATEGORIES:Séminaire du CREM, CREM CREATED:20210806T204610 SUMMARY:Sound and the Feeling of Presence, avec Mark Grimshaw-Aagaard LOCATION:Lesc – salle 308F (3e étage) - 21\, allée de l’Université\, Nanterre\, \, 9 2000\, France DESCRIPTION:Over the past couple of decades, my interest in computer game sound has led me to formulate ideas regarding the role of sound in immersion in computer game worlds, our perception of sound waves, and the broader questions of w hat is sound? and what is presence? In this talk, I provide a short critiqu e of the standard definition of sound—that sound is a sound wave—and use th is to present the view that sound is a perception; that the sound we percei ve is not the sound wave we sense, and, indeed, that perceiving sound does not necessarily require the presence of a sound wave at all. I then show ho w sound plays a role in the feeling of presence in virtual worlds, highligh ting the problem of realism in the design of such worlds if current theorie s on presence in such worlds are to be believed. I conclude by introducing a conception of presence in the 'real' world that I am currently developing .\nMark Grimshaw-Aagaard is the Obel Professor of Music at Aalborg Universi ty, Denmark. He has published widely across subjects as diverse as sound, b iofeedback in computer games, virtuality, the Uncanny Valley, presence/imme rsion, and IT systems, and he also writes free, opensource software for vir tual research environments (WIKINDX). Mark is series editor for the Palgrav e Macmillan series PalgraveStudies in Sound, and his books include the anth ologies Game Sound Technology & Player Interaction (IGI Global 2011) an d The Oxford Handbook of Virtuality (Oxford University Press 2014), and, wi th co-author Tom Garner, a monograph entitled Sonic Virtuality (Oxford Univ ersity Press 2015). A two-volume co-edited anthology, The Oxford Handbook o f Sound & Imagination, was published in 2019 as was the co-authored The Recording, Mixing & Mastering Reference Handbook, both from Oxford Uni versity Press. He is currently co-editing The Oxford Handbook of Video Game Music & Sound (forthcoming 2023) and, in early 2021, started the proje ct Urban Greening: Ultrasonics and AI for Sustainable Biodiversity in Citie s, which investigates the presence and effects of ultrasound in urban areas .\n X-ALT-DESC;FMTTYPE=text/html:

Over the past couple of decades, my interest in computer game sound has led me to formulate ideas regarding the role of sound in immersion in compu ter game worlds, our perception of sound waves, and the broader questions o f what is sound? and what is presence? In this talk, I pr ovide a short critique of the standard definition of sound—that sound is a sound wave—and use this to present the view that sound is a perception; tha t the sound we perceive is not the sound wave we sense, and, indeed, that p erceiving sound does not necessarily require the presence of a sound wave a t all. I then show how sound plays a role in the feeling of presence in vir tual worlds, highlighting the problem of realism in the design of such worl ds if current theories on presence in such worlds are to be believed. I con clude by introducing a conception of presence in the 'real' world that I am currently developing.

Mark Grimshaw-Aagaard is the Obel Professor of Music at Aalborg University, Denmark. He has published wi dely across subjects as diverse as sound, biofeedback in computer games, vi rtuality, the Uncanny Valley, presence/immersion, and IT systems, and he al so writes free, opensource software for virtual research environments (WIKI NDX). Mark is series editor for the Palgrave Macmillan series Palg raveStudies in Sound, and his books include the anthologies&n bsp;Game Sound Technology & Player Interaction (IGI Global 201 1) and The Oxford Handbook of Virtuality (Oxford University Press 2014), and, with co-author Tom Garner, a monograph entitled Sonic Virtu ality (Oxford University Press 2015). A two-volume co-edited anthology , The Oxford Handbook of Sound & Imagination, was publish ed in 2019 as was the co-authored The Recording, Mixing & Mastering Reference Handbook, both from Oxford University Press. He is currentl y co-editing The Oxford Handbook of Video Game Music & Sound (forthcoming 2023) and, in early 2021, started the project Urban Gr eening: Ultrasonics and AI for Sustainable Biodiversity in Cities, whi ch investigates the presence and effects of ultrasound in urban areas.

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