Auditory Display: SystemMonitoring, SituationalAwareness (original) (raw)

Pattern Design in the Context Space A Methodological Framework for Auditory Display Design

2007

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. [

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. [

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 COMMUNAL MAP OF DESIGN IN AUDITORY DISPLAY

icad.org, 2009

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 shows the overlap with related disciplines such as auditory neuroscience, product design, sound arts, semiotics, and interface design. The Environment theme raised the need for future research to include contextual issues. The outcome of the workshop has been to produce a collaborative understanding of the current state of design knowledge in the Auditory Display community, and to identify future directions for research into the design of Auditory Displays.

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...

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.

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...

Sound design and auditory display

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.