2022
Tuuri, Kai; Koskela, Oskari; Vahlo, Jukka
In Pursuit of Measuring Pre-reflective Music Listening Experiences Proceedings Article
In: AM '22: Proceedings of the 17th International Audio Mostly Conference, ACM, 2022, ISBN: 978-1-4503-9701-8.
Abstract | Links | Tags: Embodied cognition, Imagination, Listening, Modes of listening, Music, Pre-reflective experience
@inproceedings{Tuuri2022b,
title = {In Pursuit of Measuring Pre-reflective Music Listening Experiences},
author = {Kai Tuuri and Oskari Koskela and Jukka Vahlo},
url = {https://dl.acm.org/doi/10.1145/3561212.3561220
https://dl.acm.org/doi/pdf/10.1145/3561212.3561220
},
doi = {https://doi.org/10.1145/3561212.3561220},
isbn = {978-1-4503-9701-8},
year = {2022},
date = {2022-10-10},
urldate = {2022-10-10},
booktitle = {AM '22: Proceedings of the 17th International Audio Mostly Conference},
publisher = {ACM},
abstract = {While the diverse effects and uses of music and sound have been extensively documented within music psychology, relatively little attention has been paid to the process and experience of listening itself. Previous literature have, however, considered different ways of attending to sounds via the concept of listening modes, which highlights the different ways and strategies through which listeners intentionally orientate themselves to the activity of listening and creating the experiential meaning of the sound. In this paper, we continue on these lines by focusing on the very basic attentional dispositions for listening that often remain unconscious. As op posed to more deliberate and intentional listening strategies, this pre-reflective domain of listening is characterised by its receptive quality, that is, being attuned to sound in a pre-conceptual and pre cognitive manner without cognitive appraisal of its meaning. Based on previous theoretisations and following ideas from embodied and enactive cognition, we re-conceptualise pre-reflective listening through five modes of listening. Moreover, in order to bring these theoretical considerations into dialogue with empirical research we also operationalise the suggested listening modes into prototyped survey items and discuss methodological issues with the aim of building a groundwork for developing psychometric measures of pre-reflective music listening experiences.},
keywords = {Embodied cognition, Imagination, Listening, Modes of listening, Music, Pre-reflective experience},
pubstate = {published},
tppubtype = {inproceedings}
}
While the diverse effects and uses of music and sound have been extensively documented within music psychology, relatively little attention has been paid to the process and experience of listening itself. Previous literature have, however, considered different ways of attending to sounds via the concept of listening modes, which highlights the different ways and strategies through which listeners intentionally orientate themselves to the activity of listening and creating the experiential meaning of the sound. In this paper, we continue on these lines by focusing on the very basic attentional dispositions for listening that often remain unconscious. As op posed to more deliberate and intentional listening strategies, this pre-reflective domain of listening is characterised by its receptive quality, that is, being attuned to sound in a pre-conceptual and pre cognitive manner without cognitive appraisal of its meaning. Based on previous theoretisations and following ideas from embodied and enactive cognition, we re-conceptualise pre-reflective listening through five modes of listening. Moreover, in order to bring these theoretical considerations into dialogue with empirical research we also operationalise the suggested listening modes into prototyped survey items and discuss methodological issues with the aim of building a groundwork for developing psychometric measures of pre-reflective music listening experiences.
2021
Koskela, Oskari; Tuuri, Kai
Hearing (with) the Body: Enactive Conception of Body in Auditory Sensemaking in Games Proceedings Article
In: Blashki, Katherine (Ed.): Proceedings of the International Conferences on Interfaces and Human Computer Interaction 2021 and Game and Entertainment Technologies 2021, pp. 245-248, IADIS Press, 2021, ISBN: 978-989-8704-31-3.
Abstract | Links | Tags: Embodied cognition, Enaction, Game sound, Immersion
@inproceedings{Koskela2021,
title = {Hearing (with) the Body: Enactive Conception of Body in Auditory Sensemaking in Games},
author = {Oskari Koskela and Kai Tuuri},
editor = {Katherine Blashki},
url = {http://www.iadisportal.org/digital-library/hearing-with-the-body-enactive-conception-of-body-in-auditory-sensemaking-in-games
https://www.ihci-conf.org/wp-content/uploads/2021/07/04_202105R034_Koskela.pdf},
doi = {https://doi.org/10.33965/ihci_get2021_202105r034},
isbn = {978-989-8704-31-3},
year = {2021},
date = {2021-07-20},
urldate = {2021-07-20},
booktitle = {Proceedings of the International Conferences on Interfaces and Human Computer Interaction 2021 and Game and Entertainment Technologies 2021},
volume = {Virtual Conference 20.-23.7.2021},
pages = {245-248},
publisher = {IADIS Press},
abstract = {This paper discusses the contrast between the embodied and the representative accounts of bodily presence in the sound and music of videogames. The latter highlights the aspects of experience that are of representations instead of direct presence, such as when the pain of the avatar is interpreted from the audial cues rather than felt as such. The contemporary view of embodied cognition has questioned it as an overly mechanistic and dualistic conception of mind that neglects the bodily and active aspects of lived experience. The view of embodied cognition considers the experience of game as an inherently bodily and world-involving activity, replacing the fundamental role of mental representations with that of direct interaction between the player and the game. In this paper, we aim to provide an outline of an enactive approach to auditory experience of games focusing especially on the role of the body in experiencing and making sense of the gameworld. We relate our discussion to ideas such as player involvement in terms of immersion, the acoustic ecology of videogames and the bodily basis of sensemaking in sensorimotor contingencies between sound and action.},
keywords = {Embodied cognition, Enaction, Game sound, Immersion},
pubstate = {published},
tppubtype = {inproceedings}
}
This paper discusses the contrast between the embodied and the representative accounts of bodily presence in the sound and music of videogames. The latter highlights the aspects of experience that are of representations instead of direct presence, such as when the pain of the avatar is interpreted from the audial cues rather than felt as such. The contemporary view of embodied cognition has questioned it as an overly mechanistic and dualistic conception of mind that neglects the bodily and active aspects of lived experience. The view of embodied cognition considers the experience of game as an inherently bodily and world-involving activity, replacing the fundamental role of mental representations with that of direct interaction between the player and the game. In this paper, we aim to provide an outline of an enactive approach to auditory experience of games focusing especially on the role of the body in experiencing and making sense of the gameworld. We relate our discussion to ideas such as player involvement in terms of immersion, the acoustic ecology of videogames and the bodily basis of sensemaking in sensorimotor contingencies between sound and action.