Product Sound Design (original) (raw)
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How do we hear? Why do we listen? From religious chant to village bells to elevator muzak to noise pollution, sound has played a major role in human cultures and human experience since time immemorial. In this course, students will approach and engage critically with sound, listening, hearing, and aurality as categories of analysis. In addition to weekly readings, students will be asked to write papers, partake in listening/sound exercises, and confect creative projects that engage with the themes of the class.
Designing with Sound to Enhance Learning: Four Recommendations from the Film Industry
2012
While we rely heavily upon sound to understand our environments, instructional designers often overlook using sound to facilitate learners' selection, analysis, and synthesis of material under study. This neglect appears to be a matter of just not knowing how to sonify instructional designs to enhance learning. In contrast, increasingly more advanced and refined degree of film sound use has changed the way audiences experience and understand spectacle and storytelling in contemporary cinema. This paper explores what recommendations the film industry might have for instructional designers about ways sound can be designed to help enhance learning from their products.
Open Book Publishers, 2022
Engaging With Everyday Sounds is a rich and inspiring exploration of the role of sounds in everyday life, including their impact on human actions, emotions, and imagination. Marcel Cobussen intertwines sonic studies with philosophy, sound art, sociology and more to create an impressively lucid and innovative guide to sonic materialism, calling for a re-sensitization to our acoustic environment and arguing that everyday sounds have (micro)political, social, and ethical impact to which we should attend. Exploring the intellectual history of sound studies as well as local, global, and temporal sonic geographies, Cobussen weaves audio files, images, and journal excerpts into his work to create a multimodal monograph that explores the relationships of humans, nonhumans, and their environments through sound. This accessible and interdisciplinary collection of short, powerful essays will be valuable reading for both academics and the general reader interested in sound studies, sound art, philosophy, or the sociology of everyday life—and for anyone keen to think about the sonic in new and engaging ways.
2009
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 events in the auditory display. This entails parameterizing the environmental sounds so the acoustics will both relate to source properties familiar to the user and convey meaningful new information to the user. Finally, particular considerations come into play when designing auditory displays for special populations, such as hearing impaired listeners who may not have access to all the acoustic information available to a normal hearing listener, or to elderly or other individuals whose cognitive resources may be diminished. Some guidelines for designing displays for these populations will be outlined.
Proceedings of the 23rd International Conference on Auditory Display - ICAD 2017, 2017
Sound is a neglected subject of today's products and services. The new technologies changed the way we interact with the people, objects and the world around us, thus, designers should aim at all senses, contemplating a multi sensorial experience. In this scenario sound becomes an important aspect to be considered during the project phase in a design process. Sound becomes part of the product identity and expression, the way the product talks to us. To foster this scenario designers should be aware of the possibilities and attributes of sound and how to explore them in a creative way. In this short paper we investigated published articles, workshops and publications to collect sound methods and techniques to be used into a design process. As a result, we proposed twenty essential sound methods that could be applied in a design thinking context. This is an ongoing research, part of a thesis experiment, since further methods and refinement could be added in the future.