Dave Raybould

Leeds Beckett University | LEEDS MET · School of Film, Music and Performing Arts

This article examines how the ‘Battlefield’ (EA Games) series of games generates authenticity in its soundtrack both through a meticulous approach to modelling the physical world and through the appropriation of audio characteristics from our, typically mediated, experience of conflict. It goes on to examine how we might reconcile such ‘authentic’...

A significant factor in the aesthetics of video games is the need to compensate for a lack of, or poor fidelity of, sensory information that would be present in the physical world. Although dialogue, sound and music do play a ludic role, by providing information to compensate for this, in general there remains an over reliance on visual UI (User In...

The question of how interactive music should function in games is perhaps a misleading one, as there are many different types of games and many different types of players. One of the most compelling explanations for the huge popularity of video games is that they meet people's intrinsic psychological needs quickly, with consistency, and with great...

Based on the data from the 2006/7 multimedia exhibition, RePossessed, during which over 400 members of the public watched scenes from Hitchcock's Vertigo, this paper describes the basis of an approach to the use of eye-tracking techniques, visualisations, and metrics to measure the influence of directorial techniques on film viewers' experience. Us...

This paper / presentation will examine creative and artistic uses of technology within a gallery environment with particular reference to the author's involvement with the 'RePossessed' exhibition. In this ongoing public installation a database of viewing experiences is built by asking visitors to the gallery to watch a scene from 'Vertigo' via an...