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Andersen, A. This is how the fantastical sound of Game Of Thrones is made. August 13, 2014, http://www.asoundeffect ... und-of-game-of-thrones/  
Added by: Mark Grimshaw 13 Aug 2014 12:46:00 Europe/Copenhagen
Back, M., & Des, D. (1996) Micro-narratives in sound design: Context and caricature in waveform manipulation. January 7, 2008, http://www.icad.org/web ... ICAD96/proc96/back5.htm  
Last edited by: Mark Grimshaw 07 Jan 2008 13:54:59 Europe/Copenhagen
Breitsameter, S. (2003). Acoustic ecology and the new electroacoustic space of digital networks. Soundscape, 4(2), 24–30.  
Last edited by: Mark Grimshaw 06 Dec 2006 10:41:12 Europe/Copenhagen
Crisinel, A.-S., & Spence, C. (2009). Implicit association between basic tastes and pitch. Neuroscience Letters, 464(1), 39–42.  
Added by: Mark Grimshaw 04 May 2016 07:17:25 Europe/Copenhagen
Designing sound. (n.d.). Retrieved October 27, 2010, from http://designingsound.org/  
Added by: Mark Grimshaw 27 Oct 2010 07:12:37 Europe/Copenhagen
Garner, T. A., & Grimshaw, M. (2013) The physiology of fear and sound: Working with biometrics toward automated emotion recognition in adaptive gaming systems. IADIS International Journal on WWW/Internet, 11(2) February 5, 2014, http://www.iadisportal. ... i/papers/2013112106.pdf  
Added by: Mark Grimshaw 05 Feb 2014 14:02:55 Europe/Copenhagen
Georgantzas, N. C. Self-organization dynamics. November 21, 2006, http://www.systemdynami ... apers/Georgantzas_2.pdf  
Last edited by: Mark Grimshaw 28 Nov 2006 15:29:24 Europe/Copenhagen
Grimshaw, M., & Garner, T. 2014, October 1—3 Imagining sound. Paper presented at 9th Audio Mostly Conference.  
Last edited by: Mark Grimshaw 30 Oct 2014 09:00:42 Europe/Copenhagen
LvL: Q3A custom maps. (n.d.). Retrieved July 24, 2006, from http://lvlworld.com/top.php?v=40  
Last edited by: Mark Grimshaw 23 Sep 2006 08:26:20 Europe/Copenhagen
Markosian, N. (2002) Time. Stanford Encyclopedia of Philosophy, WinterMarch 6, 2006, http://plato.stanford.e ... s/win2002/entries/time/  
Added by: Mark Grimshaw 06 Mar 2006 10:32:39 Europe/Copenhagen
McDonald, G. A brief timeline of video game music. September 18, 2003, http://www.gamespot.com ... eatures/video/vg_music/  
Added by: Mark Grimshaw 17 Sep 2004 07:52:15 Europe/Copenhagen
Moncrieff, S., Dorai, C., & Venkatesh, S. (2001). Analysis of environmental sounds as indexical signs in film. Lecture Notes in Computer Science, 2195, 538–545.  
Added by: Mark Grimshaw 24 Aug 2005 14:36:26 Europe/Copenhagen
Naito, T. 2005Interview with Hideo Nakata, specter director. Kateigaho, Winter,  
Added by: Mark Grimshaw 20 Nov 2008 10:45:20 Europe/Copenhagen
Paul, L. J. (2003) Audio prototyping with pure data. GamasutraSeptember 15, 2003, http://www.gamasutra.co ... /20030528/paul_01.shtml  
Added by: Mark Grimshaw 17 Sep 2004 09:30:29 Europe/Copenhagen
Redström, J. (1998) Is acoustic ecology about ecology? Reflections on the International Conference on Acoustic Ecology “Stockholm, Hey Listen!” 1998. November 20, 2008, http://www.tii.se/play/ ... ations/1998/ecology.pdf  
Added by: Mark Grimshaw 21 Nov 2008 10:56:27 Europe/Copenhagen
Rinman, M.-L., Friberg, A., Bendiksen, B., Cirotteau, D., Dahl, S., & Kjellmo, I., et al. (2004). Ghost in the cave -- an interactive collaborative game using non-verbal communication. Lecture Notes in Artificial Intelligence, 2915, 549–556.  
Added by: Mark Grimshaw 06 Jun 2005 12:08:52 Europe/Copenhagen
Savitt, S. (2002) Being and becoming in modern physics. The Stanford Encyclopedia of Philosophy, SpringMarch 6, 2006, http://plato.stanford.e ... ies/spacetime-bebecome/  
Added by: Mark Grimshaw 06 Mar 2006 10:37:43 Europe/Copenhagen
Slater, M. (2003). A note on presence terminology. Presence Connect, 3(3).  
Added by: Mark Grimshaw 27 Nov 2015 18:33:29 Europe/Copenhagen
de Valck, M. (2005). Sound gag: The use of sound for comic effect in the films of Jacques Tati. New Review of Film and Television Studies, 3(2), 223–235.  
Last edited by: Mark Grimshaw 21 Oct 2005 14:46:45 Europe/Copenhagen
Wang, Q. J., Wang, S., & Spence, C. (2016). "Turn up the taste": Assessing the role of taste intensity and emotion in mediating crossmodal correspondences between basic tastes and pitch. Chemical Senses, 41, 345–356.  
Last edited by: Mark Grimshaw 06 May 2016 06:35:39 Europe/Copenhagen
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wikindx 5.2.1 ©2017 | Total resources: 862 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: American Psychological Association (APA) | Database queries: 26 | DB execution: 0.20870 secs | Script execution: 0.36677 secs