electronic games that utilise data sonification and audio interaction techniques to express all narrative and gameplay content, have been proven to enhance players' skills, such as concentration, memory, fantasy, emotional response, perception, data management and cooperation. Electronic games and augmented reality environments are two such media that can shape powerful modes of interactive and immersive experiences. Echoing Eno’s own processes of appropriation, remix and collaboration the authors wrote the paper through exchanges dictated by the turn of a card selected from the third edition of the Oblique Strategies deck, issued by Eno and Peter Schmidt in 1979.Įducational practices are constantly adjusting to technological advances, in order to improve their effectiveness in delivering knowledge and preparing students for the challenges of modern digital society.
#Gang beasts controls pda software
We will demonstrate how Apple’s App Store global distribution platform has further disseminated Eno’s ideas of ‘generative music’ to a wider audience through he and Chilvers’ Bloom (2008), Trope (2009/2015), Scape (2012) and Reflection (2017a) software applications for Apple’s iPhone and iPad, and the impact on the distribution and reception of Eno’s own music. This paper explores how Eno has used simple but innovative ideas and processes to inform his music over the course of his career, and considers how his work with collaborators – specifically the musician and software designer Peter Chilvers – has converged with the emergence of touchscreen technologies and modes of distribution. With the recent publication of the edited collection Brian Eno: Oblique Music (Albiez & Pattie, 2016) and the distribution of Brian Eno’s 26th solo studio album Reflection in 2017 on vinyl, CD and as an innovative software application, the time is ripe for a reconsideration of the way in which software has been used by the musician, composer, record producer and visual artist Brian Eno. All three approaches employ similar mechanics, but each one addresses a different topic: acoustics, music, and even non- music respectively, suggesting that the application of educational AG can extend to a variety of subject matters. The first one aims at raising users’ awareness about the harmful impact of noize on the acoustic environment, the second one introduces players to concepts and techniques of electronic music composition, whereas the third one informs them about the layers of Earth’s atmosphere. In that context, three different audio gamification approaches developed by the authors are discussed as suggestions for incorporation into formal education. In this paper the authors attempt to establish the theoretical frame for the design of educational AG by arguing that their features comply with the goals of music education, as these are formulated in the official Program of Music Studies by the Greek Ministry of Education, and in the Primary Years Program on learning Arts by the International Baccalaureate Institution, on local and global level respectively.
Even though research findings have shown that both game and audio interaction have positive effects on the user, there has been no systematic approach in designing educational AG and implementing them in the learning process. Thus, players need to employ their sense of hearing to understand and accomplish the necessary tasks, a process that promotes their concentration, memory, fantasy, emotion, perception, data management and cooperation. Audio Games (AG) are a particular genre of electronic games, in which all information is conveyed mainly or exclusively through sound. By combining entertaining elements with interactive technologies to deliver the respective curricula they can enhance the development of various skills, as well as serve as platforms for the application of modern educational theories. Electronic computer games used for educational purposes currently constitute an essential component of the learning process.
0 kommentar(er)
