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Abstract In this paper several meaningful audio icons of classic arcade games such as Pong, Donkey Kong, Mario World and Pac-Man are analyzed, using the PRAAT software for speech analysis and musical theory. The analysis results are used to describe how these examples of best practice sound design obtain their meaning in the player's perception. Some aspects can be related to the use of tonal hierarchy (e.g. Donkey Kong and Mario World) which is a western culture related aspect of musical meaning. Other aspects are related to universal expressions of meaning such as the theory of misattribution, prosody, vocalization and cross-modal perceptions such as brightness and the uncanny valley hypothesis. Recent studies in the field of cognitive neuroscience support the universal and meaningful potential of all these aspects. The relationship between language related prosody, vocalization and phonology, and music seems to be an especially successful design principle for universally meaningful music icons in game sound design.
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EU president Ursula von der Leyen wants Europe to tap into its inner avant-garde. In her inaugural State of the Union speech from September 16, 2020, she pledged to revive the historical Bauhaus - the experimental art school that married artistic form with functional design, founded a century ago in Weimar, Germany. Their objective was to democratize the experience of aesthetics and design through affordable commodity objects for the masses. Today, the European Union sees a chance to create a new common aesthetic born out of a need to renovate and construct more energy-efficient buildings. “I want NextGenerationEU to kickstart a European renovation wave and make our Union a leader in the circular economy,” von der Leyen said. The new Bauhaus is not just an environmental or economic project, “it needs to be a new cultural project for Europe. Every movement has its own look and feel. And we need to give our systemic change its own distinct aesthetic—to match style with sustainability. This is why we will set up a New European Bauhaus—a co-creation space where architects, artists, students, engineers, designers work together to make that happen. This is shaping the world we want to live in. A world served by an economy that cuts emissions, boosts competitiveness, reduces energy poverty, creates rewarding jobs and improves quality of life. A world where we use digital technologies to build a healthier, greener society.”
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Een groeiend aantal dienstverlenende organisaties zet humanoïde servicerobots in voor klantontvangst. Zo maken gemeenten, hotels, restaurants en winkels gebruik van servicerobots om klanten te verwelkomen, in te checken, en de weg te wijzen. Alhoewel klanten de inzet van servicerobots steeds meer waarderen blijkt tegelijkertijd dat veel klanten nog drempelvrees hebben om de interactie met een robot aan te gaan. Hierdoor wordt de potentie van servicerobots om een belangrijke rol in de dienstverlening te spelen onderbenut. Voor dienstverlenende organisaties die een robot (willen) inzetten is dit een gemiste kans. De grote vraag is hoe service robots meer interactie met klanten tot stand kunnen brengen. Wij verkenden de mogelijkheden van een aantal openingsstrategieën die servicerobots kunnen gebruiken om (meer) interacties met klanten aan te gaan.
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Now that collaborative robots are becoming more widespread in industry, the question arises how we can make them better co-workers and team members. Team members cooperate and collaborate to attain common goals. Consequently they provide and receive information, often non-linguistic, necessary to accomplish the work at hand and coordinate their activities. The cooperative behaviour needed to function as a team also entails that team members have to develop a certain level of trust towards each other. In this paper we argue that for cobots to become trusted, successful co-workers in an industrial setting we need to develop design principles for cobot behaviour to provide legible, that is understandable, information and to generate trust. Furthermore, we are of the opinion that modelling such non-verbal cobot behaviour after animal co-workers may provide useful opportunities, even though additional communication may be needed for optimal collaboration. Marijke Bergman, Elsbeth de Joode, +1 author Janienke Sturm Published in CHIRA 2019 Computer Science
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Extinction Internet is not merely an end-of-the-world phantasy of digital technology that one day will be wiped out by an electromagnetic pulse or the cutting of cables. Rather, Extinction Internet marks the end of an era of possibilities and speculations, when adaptation is no longer an option. During the internet’s Lost Decade, we’ve been rearranging the deck chairs on the Titanic under the inspirational guidance of the consultancy class. What’s to be done to uphold the inevitable? We need tools that decolonize, redistribute value, conspire and organize. Join the platform exodus. It’s time for a strike on optimization. There is beauty in the breakdown.Extinction Internet is Geert Lovink’s inaugural lecture, held on November 18, 2022 as Professor of Art and Network Cultures, within Modern and Contemporary Art History, Faculty of Humanities, University of Amsterdam.
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