binaural audio games
Moreover, a map of all created audio objects depicts the complexity of the virtual auditory scene designed following such a storyboard. Regarding technical requirements for a head-tracking implementation, Hess [22] argued that the latency from head movement to virtual feedback can be maximum 62 ms. Binaural techniques usually refer to methods for recording and reproducing sound with the intent to construct an immersive auditory sensation. In Figure 2(b), a shortened white PVC pipe contained the movement sensor and the button. Oppositely, if happiness or sadness was measured, the participant would be biased about this emotion according to how their day was going and other trivial aspects of their life that could influence these emotions [38]. The nonparametric one-way Kruskal–Wallis ANOVA test is used to test for significant differences between the conditions in DEQ for each emotion in the questionnaire: anger ((2) = 1.21, ), sad ((2) = 0.3, ), grossed out ((2) = .19, ), happy ((2) = 3.0, ), terror ((2) = 5.8, ), rage ((2) = 1.8, ), grief ((2) = .06, ), anxiety ((2) = 8.4, ), nervous ((2) = 4.8, ), scared ((2) = 3.8, ), sickened ((2) = 0.19, ), fear ((2) = 6.7, ), calm ((2) = 2.5, ), and panic ((2) = 10.2, ). The discrete emotions questionnaire supported the result of the IMX questionnaire. This could be done by using the interactive remote as a selection tool, pointing in the story direction that they want to follow. In this context, an important feature of fear is that the test participants were unlikely to be biased by this emotion when starting the experiment, given that they were not aware of the potentially fear-inducing experience they were about to participate. Four 30 minute spatial audio masterclasses (via video or audio chat), given by lead developer of Pitch Black- Harry Cooper MA, either on a specific topic of your choosing, or an overview of how and why the binaural audio in-game works. The bitrate for the serial communication between Arduino and Unity was set to 9.6 kbit/s. However, the Empatica E4 wristband was used for monitoring the heart rate in a more practical way for the participants.

A similar approach was successfully adopted in [8] with the idea of music rooms for enhancing music genre learning with minimal visual feedback. [49]. One can identify three common methods to manipulate user orientation in VEs: head-, body-, and device-tracking.

The aim of this paper is to create a portable prototype system based on an embedded hardware platform, allowing listeners to get immersed in an interactive audio storytelling experience enhanced by dynamic binaural audio rendering. The caveat was that Senua suffered from psychosis, meaning that she suffered from hallucinations, and as such, the world you visit was a manifestation of her mind. Furthermore, this peculiar aspect demands the user to be active in listening, and cannot passively walk away from the narration. In [28], Huber et al. M. Furini, “Beyond passive audiobook: how digital audiobooks get interactive,” in, R. Nordahl and N. C. Nilsson, “The sound of being there: presence and interactive audio in immersive virtual reality,”, S. Serafin, M. Geronazzo, C. Erkut, N. C. Nilsson, and R. Nordahl, “Sonic interactions in virtual reality: state of the art, current challenges and future directions,”, P. Coleman, A. Franck, J. Francombe et al., “An audio-visual system for object-based audio: from recording to listening,”, C. Kim, R. Mason, and T. Brookes, “Head movements made by listeners in experimental and real-life listening activities,”, E. Degli Innocenti, M. Geronazzo, D. Vescovi et al., “Mobile virtual reality for musical genre learning in primary education,”, I. M. Konstantakos, “The magical transformation contest in the ancient storytelling tradition,”, M. O. Riedl and R. M. Young, “From linear story generation to branching story graphs,”, S. M. Lwin, “Narrativity and creativity in oral storytelling: co-constructing a story with the audience,”, M. Geronazzo, F. Avanzini, and F. Fontana, “Auditory navigation with a tubular acoustic model for interactive distance cues and personalized head-related transfer functions,”, M. Geronazzo, E. Peruch, F. Prandoni, and F. Avanzini, “Applying a single-notch metric to image-guided head-related transfer function selection for improved vertical localization,”, T. R. Agus, S. J. Thorpe, and D. Pressnitzer, “Rapid formation of robust auditory memories: insights from noise,”, D. Hammershøi and H. Møller, “Methods for binaural recording and reproduction,”, S. Paul, “Binaural recording technology: a historical review and possible future developments,”, J. Lewald, “Exceptional ability of blind humans to hear sound motion: implications for the emergence of auditory space,”, M. Geronazzo, A. Bedin, L. Brayda, C. Campus, and F. Avanzini, “Interactive spatial sonification for non-visual exploration of virtual maps,”, F. Heller, A. Krämer, and J. Borchers, “Simplifying orientation measurement for mobile audio augmented reality applications,” in, W. Hess, “Head-tracking techniques for virtual acoustics applications,” in, J. Traer and J. H. McDermott, “Statistics of natural reverberation enable perceptual separation of sound and space,”, A. Andreasen, M. Geronazzo, N. C. Nilsson, J. Zovnercuka, K. Konovalov, and S. Serafin, “Auditory feedback for navigation with echoes in virtual environments: training procedure and orientation strategies,”, G. Riva, F. Mantovani, C. S. Capideville et al., “Affective interactions using virtual reality: the link between presence and emotions,”, A. Gorini and G. Riva, “Virtual reality in anxiety disorders: the past and the future,”, H. Sauzéon, P. Arvind Pala, F. Larrue et al., “The use of virtual reality for episodic memory assessment: effects of active navigation,”, C. Huber, N. Rober, K. Hartmann, and M. Masuch, “Evolution of interactive audio books,” in, E. Marchetti and A. Valente, “Interactivity and multimodality in language learning: the untapped potential of audiobooks,”, S. Rubin and M. Agrawala, “Generating emotionally relevant musical scores for audio stories,” in, D. Hilviu and A. Rapp, “Narrating the quantified self,” in, M. Grimshaw, “Sound and immersion in the first-person shooter,”, E. Gallo and N. Tsingos, “Efficient 3d audio processing with the GPU,” in, R. McGloin, K. Farrar, and M. Krcmar, “Video games, immersion, and cognitive aggression: does the controller matter?”, P. Skalski, R. Tamborini, A. Shelton, M. Buncher, and P. Lindmark, “Mapping the road to fun: natural video game controllers, presence, and game enjoyment, mapping the road to fun: natural video game controllers, presence, and game enjoyment,”, D. Weibel and B. Wissmath, “Immersion in computer games: the role of spatial presence and flow,”, T. Garner, M. Grimshaw, and D. A. Nabi, “A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game,” in, D. Spielberger Charles and C. Reheiser Eric, “Assessment of emotions: anxiety, anger, depression, and curiosity,”.


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