Sound design and auditory display (original) (raw)
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Sound Design and Auditory Displays
The goal of this chapter is to define the state of the art of research in sound design and auditory display. The aim is to provide a wide overview of the extremely different fields, where these relatively new disciplines find application. These fields range from warning design and computer auditory display to architecture and media.
2008
Sonic Interaction Design (SID) is an emerging field that is positioned at the intersection of auditory display, ubiquitous computing, interaction design, and interactive arts. SID can be used to describe practice and inquiry into any of various roles that sound may play in the interaction loop between users and artifacts, services, or environments, in applications that range from the critical functionality of an alarm, to the artistic significance of a musical creation. This field is devoted to the privileged role the auditory channel can assume in exploiting the convergence of computing, communication, and interactive technologies. An overemphasis on visual displays has constrained the development of interactive systems that are capable of making more appropriate use of the auditory modality. Today the ubiquity of computing and communication resources allows us to think about sounds in a proactive way. This workshop puts a spotlight on such issues in the context of the emerging domain of SID.
Research to Auditory Display Design
2015
A persistent concern in the field of auditory display design has been how to effectively use environmental sounds, which are naturally occurring familiar non-speech, non-musical sounds. Environmental sounds represent physical events in the everyday world, and thus they have a semantic content that enables learning and recognition. However, unless used appropriately, their functions in auditory displays may cause problems. One of the main considerations in using environmental sounds as auditory icons is how to ensure the identifiability of the sound sources. The identifiability of an auditory icon depends on both the intrinsic acoustic properties of the sound it represents, and on the semantic fit of the sound to its context, i.e., whether the context is one in which the sound naturally occurs or would be unlikely to occur. Relatively recent research has yielded some insights into both of these factors. A second major consideration is how to use the source properties to represent eve...
Auditory displays and auditory user interfaces: art, design, science, and research
Journal on Multimodal User Interfaces
For almost 3 decades, research on auditory displays and sonification has been well advanced. Now, the auditory display community has arrived at the stage of sonic information design with a more systematic, refined necessity, going beyond random mappings between the referents and sounds. Due to its innate transdisciplinary nature of auditory display, it would be difficult to unify the methods to study it. This special issue covers a diverse collection of approaches to auditory displays, involving art, design, science, and research. Accordingly, the works in the present special issue included new theories, frameworks, methods, and applications about auditory displays and auditory user interfaces. We hope that this special issue can provide the state of art of auditory display research and auditory user interface design, offering fresh inspiration and motivation to researchers and designers for their future works.
Advances in auditory display research
Journal on Multimodal User Interfaces, 2016
The research community on Auditory Design has been active and organized now for almost 25 years. Work in Auditory Display is pluri-disciplinary/inter-disciplinary in nature, and involves disciplines such as perception, acoustics, digital signal processing, multimodality, ergonomics, aesthetics, cognition, etc. Published works have spanned fundamental, phenomenological, theoretical, applicative, and artistic studies. Over the years, various journals have had special issues related to such work. The range of the associated journals reflects the variety of implicated domains. This current special issue presents a collection of extended works that were selected from papers presented at the 2015 International Conference on Auditory Display. We present here an overview of the selection process and the accepted papers.
ICAD09-1 a Communal Map of Design in Auditory Display
2015
The workshop on Recycling Auditory Displays at ICAD 2008 aimed to capture knowledge about the design of auditory displays from the participants in a manner that would be easy to understand and reuse. The participants introduced themselves by providing examples of a good and a bad sound design. These examples raised issues of culture, identity, aesthetics and context that are more usually associated with product sound design than auditory display. Based on these discussions the themes Users, Applications, Techniques, and Environments were chosen to focus the further development of ideas. A mindmapping session was used to collect over 150 entries under these themes, and more than 30 references. An additional Others theme was needed for ideas that did not fit neatly into the existing categories. The information that has been collected shows that most research in auditory display falls under the themes of Applications and Techniques. The information under the themes of Users and Others ...
A Methodological Framework for Auditory Display Design
2013
Common practice in the design of auditory display is hardly ever based on any structured design methodology. This leaves audio being widely underused or used inappropriately and inefficiently. We analyse the current status of research in this context and develop requirements for a methodological framework for auditory display design. Based on these requirements, we have created a framework of methods to capture, transfer and apply design knowledge based on design patterns paco ad. We present the context space as the organising principle to conceptualise the design space facilitating the matching of design knowledge with solutions and the workflow. Finally, we elaborate on how we intend to evaluate the framework and how it can be supported by tools. [
Barrass 1 Some golden rules for designing auditory displays
2015
Information sizzles and rustles, it can whooosh or splash, or rumble. You can hear information in the natural environment, but can you hear information in digital data? The soundtracks of computer games demonstrate that synthetic sounds can provide information that may be difficult to see, and that sounds may enhance enjoyment and performance in an activity. However game design is not driven by issues of faithful representation that are primary for the designer of an auditory display of data structure. The design of sounds to support information processing activities is a new challenge because of the types of information involved, and the need for a consistent understanding by a cross-section of people. This chapter introduces some principles for designing auditory information that address these challenges. These principles are demonstrated by individual examples, and then applied as a whole to the design of an auditory display that can allow a listener to quickly answer the questio...