2022
Koskela, Oskari; Tissari, Heli; Tuuri, Kai
Käsitemetaforan näkökulma pelimusiikin henkilökohtaiseen merkityksellisyyteen Journal Article
In: Musiikki, vol. 52, iss. 4, 2022, ISSN: 2669-8625.
Abstract | Links | Tags: Conceptual metaphor, Game music, Game music memories, Käsitemetafora, Kokemukset, Merkitys (tärkeys), Muistot, Musiikki, Musiikkifilosofia, Pelimusiikki
@article{Koskela2022,
title = {Käsitemetaforan näkökulma pelimusiikin henkilökohtaiseen merkityksellisyyteen},
author = {Oskari Koskela and Heli Tissari and Kai Tuuri},
url = {https://musiikki.journal.fi/article/view/125643
https://musiikki.journal.fi/article/view/125643/75694},
doi = {https://doi.org/10.51816/musiikki.125643},
issn = {2669-8625},
year = {2022},
date = {2022-12-21},
urldate = {2022-12-21},
issuetitle = {Pelimusiikin tutkimus Suomessa},
journal = {Musiikki},
volume = {52},
issue = {4},
publisher = {Suomen musiikkitieteellinen seura},
abstract = {The perspective of conceptual metaphor on personal meaningfulness of game music
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.},
keywords = {Conceptual metaphor, Game music, Game music memories, Käsitemetafora, Kokemukset, Merkitys (tärkeys), Muistot, Musiikki, Musiikkifilosofia, Pelimusiikki},
pubstate = {published},
tppubtype = {article}
}
The perspective of conceptual metaphor on personal meaningfulness of game music
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.
2019
Kankainen, Ville; Arjoranta, Jonne; Nummenmaa, Timo
Games as Blends: Understanding Hybrid Games Journal Article
In: Journal of Virtual Reality and Broadcasting, vol. 14, iss. 4, 2019, ISSN: 1860-2037.
Abstract | Links | Tags: Augmented reality games, Conceptual blending, Conceptual metaphor, Hybridity, Mixed reality, Pervasive games
@article{Kankainen2019,
title = {Games as Blends: Understanding Hybrid Games},
author = {Ville Kankainen and Jonne Arjoranta and Timo Nummenmaa},
url = {https://www.jvrb.org/past-issues/14.2017/4694},
doi = {10.20385/1860-2037/14.2017.4},
issn = { 1860-2037},
year = {2019},
date = {2019-01-17},
journal = {Journal of Virtual Reality and Broadcasting},
volume = {14},
issue = {4},
abstract = {The meaning of what hybrid games are is often fixed to the context in which the term is used. For example, hybrid games have often been defined in relation to recent developments in technology. This creates issues in the terms usage and limitations in thinking. This paper argues that hybrid games should be understood through conceptual metaphors. Hybridity is the blending of different cognitive domains that are not usually associated together. Hybrid games usually blend domains related to games, for example digital and board games, but can blend also other domains. Through viewing game experiences as blends from different domains, designers can understand the inherent hybridity in various types of games and use that understanding when building new designs.},
keywords = {Augmented reality games, Conceptual blending, Conceptual metaphor, Hybridity, Mixed reality, Pervasive games},
pubstate = {published},
tppubtype = {article}
}
The meaning of what hybrid games are is often fixed to the context in which the term is used. For example, hybrid games have often been defined in relation to recent developments in technology. This creates issues in the terms usage and limitations in thinking. This paper argues that hybrid games should be understood through conceptual metaphors. Hybridity is the blending of different cognitive domains that are not usually associated together. Hybrid games usually blend domains related to games, for example digital and board games, but can blend also other domains. Through viewing game experiences as blends from different domains, designers can understand the inherent hybridity in various types of games and use that understanding when building new designs.
2018
Koskela, Oskari; Tuuri, Kai
Investigating Metaphors of Musical Involvement: Immersion, Flow, Interaction and Incorporation Proceedings Article
In: AM'18: Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion, pp. 1–8, 2018, ISBN: 9781450366090.
Abstract | Links | Tags: Conceptual metaphor, Enactive perception, Experience, Image schema, Immersion, Music
@inproceedings{Koskela2018,
title = {Investigating Metaphors of Musical Involvement: Immersion, Flow, Interaction and Incorporation},
author = {Oskari Koskela and Kai Tuuri},
doi = {10.1145/3243274.3243293},
isbn = {9781450366090},
year = {2018},
date = {2018-09-01},
urldate = {2018-09-01},
booktitle = {AM'18: Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion},
pages = {1–8},
series = {AM'18},
abstract = {The concept of immersion, despite being relatively unknown within music research, presents a potentially productive way for understanding the well acknowledged phenomenon of “being drawn into music”. This paper 1) discusses immersion as a metaphor for conceptualizing musical involvement by drawing on the research into video games and virtual reality and 2) aims to clarify the metaphor of immersion by utilizing the concept of image schema to analyze it in relation to alternative metaphors of flow, interaction and incorporation. The theoretical stance of the paper is based on the paradigm of enactive cognitive sciences, which stresses the bodily, constructive and interactive nature of experience. As a conclusion, the paper suggest several ways to consider the differences between the chosen metaphors based on their image schematic structures. In line with the enactive approach, it is suggested that the experience of immersion should be considered as a constructive activity of using music, thereby highlighting the view of experience as a skillful activity. All in all, the paper aims to offer one kind of approach for considering different experiences with media and to stress the role of metaphors in how we understand experiences.},
keywords = {Conceptual metaphor, Enactive perception, Experience, Image schema, Immersion, Music},
pubstate = {published},
tppubtype = {inproceedings}
}
The concept of immersion, despite being relatively unknown within music research, presents a potentially productive way for understanding the well acknowledged phenomenon of “being drawn into music”. This paper 1) discusses immersion as a metaphor for conceptualizing musical involvement by drawing on the research into video games and virtual reality and 2) aims to clarify the metaphor of immersion by utilizing the concept of image schema to analyze it in relation to alternative metaphors of flow, interaction and incorporation. The theoretical stance of the paper is based on the paradigm of enactive cognitive sciences, which stresses the bodily, constructive and interactive nature of experience. As a conclusion, the paper suggest several ways to consider the differences between the chosen metaphors based on their image schematic structures. In line with the enactive approach, it is suggested that the experience of immersion should be considered as a constructive activity of using music, thereby highlighting the view of experience as a skillful activity. All in all, the paper aims to offer one kind of approach for considering different experiences with media and to stress the role of metaphors in how we understand experiences.