Influence of the Graphical Levels of Detail of a Virtual Thrower on the Perception of the Movement

Virtual reality has a number of advantages for analyzing sports interactions such as the standardization of experimental conditions, stereoscopic vision, and complete control of animated humanoid movement. Nevertheless, in order to be useful for sports applications, accurate perception of simulated movement in the virtual sports environment is essential. This perception depends on parameters of the synthetic character such as the number of degrees of freedom of its skeleton or the levels of detail (LOD) of its graphical representation. This study focuses on the influence of this latter parameter on the perception of the movement. In order to evaluate it, this study analyzes the judgments of immersed handball goalkeepers that play against a graphically modified virtual thrower. Five graphical representations of the throwing action were defined: a textured reference level (L0), a nontextured level (L1), a wire-frame level (L2), a moving point light display (MLD) level with a normal-sized ball (L3), and a MLD level where the ball is represented by a point of light (L4). The results show that judgments made by goalkeepers in the L4 condition are significantly less accurate than in all the other conditions (p

Meaning in Electroacoustic Music and the Everyday Mind

The key question posed here is how listeners experience meaning when listening to electroacoustic music, especially how they experience it as art. This question is addressed by connecting electroacoustic listening with the ways that the mind constructs meaning in everyday life. Initially, the topic of the everyday mind provides a framework for discussing cognitive schemas, mental spaces, the Event schema and auditory gist. Then, specific idioms of electroacoustic music are examined that give rise to artistic meaning. These include the creative binding of circumstances with events and the conceptual blending that creates metaphorical meaning. Finally, the listener's experience of long-term events is discussed is relation to the location event-structure metaphor.

Juxtaposition and Non-Motion: Varese Bridges Modernism and Electroacoustic Music

Edgard Vare` se’s Poe` me e´ lectronique can be viewed as a bridge between early twentieth-century modernism and electroacoustic music. This connection to early modernism is most clearly seen in its use of musical juxtaposition, a favoured technique of early modernist composers, especially those active in Paris. Juxtaposition and non-motion are considered here, particularly in relationship to Smalley’s exposition of spectromorphology (Smalley 1986), which in its preoccupation with motion omits any significant consideration of non-motion. Juxtaposition and non-motion have an important history within twentieth-century music, and as an early classic of electroacoustic music, Poe` me e´ lectronique is a particularly striking example of a composition that is rich in juxtapositions similar to those found in passages of early modernist music. Examining Poe` me e´ lectronique through the lens of juxtaposition and non-motion reveals how the organisation of its juxtaposed sounds encourages the experience of sound structure suspended time.

Fairground Music; Augustine Sleeping Before He Can Talk; Telegraph; Cathedral

Four poems.

Four articles on Irish traditional music

Four sole-authored entries in this Encyclopedia under the titles "Belfast", "Music and Politics," and "Traditional Music Revivals" and "Traditional Music, Aesthetics" totalling 6000 words.

I also served on the Editorial Advisory Committee for this Encyclopedia.