Making gamers cry: mirror neurons and embodied interaction with game sound

Authors:
Karen Collins
Affiliations:
University of Waterloo, ON
Venue:
Proceedings of the 6th Audio Mostly Conference: A Conference on Interaction with Sound
Year:
2011

Citing 8
Cited 2

Virtualities: Television, Media Art, and Cyberculture

Virtualities: Television, Media Art, and Cyberculture
What Video Games Have to Teach Us About Learning and Literacy

What Video Games Have to Teach Us About Learning and Literacy
Theses on liveness

Organised Sound
Embodied Music Cognition and Mediation Technology

Embodied Music Cognition and Mediation Technology
Does Body Movement Engage You More in Digital Game Play? and Why?

ACII '07 Proceedings of the 2nd international conference on Affective Computing and Intelligent Interaction
Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design

Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design
Self-produced sound: tightly binding haptics and audio

HAID'07 Proceedings of the 2nd international conference on Haptic and audio interaction design
Spaces of interaction

Proceedings of the 2010 ACM-BCS Visions of Computer Science Conference

The blindfold soundscape game: a case for participation-centered gameplay experience design and evaluation

Proceedings of the 8th Audio Mostly Conference
Procedural audio in computer games using motion controllers: an evaluation on the effect and perception

International Journal of Computer Games Technology

Quantified Score

Hi-index	0.02

Visualization

Abstract

In this paper, I draw on an embodied cognition approach to describe how sound mediates our identification with and empathy for video game characters. This identification is discussed in terms of mirror neurons and body schema, drawing on theoretical and empirical research to explore ways in which identity is created from our embodied interaction with sound. I conclude by suggesting ways in which sound designers and composers can use this information to create more empathy and identification between players and their game characters.