International Conference on Auditory Display (ICAD)

Series

International Conference on Auditory Display (ICAD)

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https://hdl.handle.net/1853/70916

Series Type

Event Series

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Organizational Unit

Sonification Lab

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Publication Search Results

Now showing 1 - 10 of 1244

EXPLORING SPATIALIZATION: A METHOD FOR SUBJECTIVE ASSESSMENT OF SOUNDSCAPE PREFERENCE USING IMMERSIVE ENVIRONMENTS

(Georgia Institute of Technology, 2024-06) Bem, Milena Jonas ; Chabot, Samuel ; Braasch, Jonas

This research explores the application of immersive environments, like the Panorama Screen System, for perception and psychoacoustic experiments. A system is developed to present architectural scenarios visually and sonically by using panoramic images combined with spatialized sound. These audiovisual results are displayed on a human-scale panoramic display, which is integrated with eight loudspeakers for spatial audio rendering. While immersed in this system, participants use a wireless interface as a controller to interact with the experiment and give subjective ratings for their preferences and perceptions of these scenarios. The findings show consistent patterns in preferences across different spatialized soundscapes, indicating the effectiveness of this method and the potential of immersive environments for gathering subjective assessments. This research demonstrates the practical use of spatialization techniques and how they can enhance immersion and facilitate the communication of sonic environments.
SOMson —SONIFICATION OF MULTIDIMENSIONAL DATA IN KOHONEN MAPS

(Georgia Institute of Technology, 2024-06) Linke, Simon ; Ziemer, Tim

Kohonen Maps, aka. Self-organizing maps (SOMs) are neural networks that visualize a high-dimensional feature space on a lowdimensional map. While SOMs are an excellent tool for data examination and exploration, they inherently cause a loss of detail. Visualizations of the underlying data do not integrate well and, therefore, fail to provide an overall picture. Consequently, we suggest SOMson, an interactive sonification of the underlying data, as a data augmentation technique. The sonification increases the amount of information provided simultaneously by the SOM. Instead of a user study, we present an interactive online example, so readers can explore SOMson themselves. Its strengths, weaknesses, and prospects are discussed.
INFLUENCE OF RECORDING TECHNIQUE AND ENSEMBLE SIZE ON APPARENT SOURCE WIDTH

(Georgia Institute of Technology, 2024-06) Guo, Renzhi

Previous studies have looked at how different concert halls with different lateral reflections affect apparent source width. Yet, the perceptual effects of different source distributions with different recording techniques on apparent source width are not well understood. This study explores how listeners perceive the width of an orchestra by using four stereo and one binaural recording techniques and three wave field synthesis ensemble settings. Subjective experiments were conducted using stereo loudspeakers and headphone to play back the recording clips asking the listeners to rate the perceived wideness of the sound source. Results show that recording techniques greatly influence how wide an orchestra is perceived. The primary mechanism used to judge auditory spatial impression differs between stereo loudspeaker and headphone listening. When western classical symphony is recorded and reproduced by two-channel stereophony, the changes in instrument positions in terms of increasing or reducing the physical source width do not lead to an obvious increase or reduction on the spatial impression of the performing entity.
AUDIO-VISUAL ANALYTICS OF GEOSCIENTIFIC DATA WITH TIMBRAL VARIATIONS AND IMMERSIVE INTERACTIONS

(Georgia Institute of Technology, 2024-06) Yasmin, Shamima ; Jamal, Chowdhury Qaizar

This research investigated audio-visual analytics of geoscientific data in virtual reality (VR)-enhanced implementation, where users interacted with the dataset with a VR controller and a haptic device. Each interface allowed users to explore rock minerals in unimodal and multimodal virtual environments (VE). In the unimodal version, color variations demonstrated differences in minerals. As users navigated the data using different interfaces, visualization options could be switched between the original geographical topology and its color-coded version, signifying underlying minerals. During the multimodal navigation of the dataset, in addition to the visual feedback, an auditory display was performed by playing a musical tone in different timbres. For example, ten underlying minerals in the sample were explored. Among them, anorthite was represented by nylon guitar, the grand piano was used for albite, and so on. Initial findings showed that users preferred the audio-visual exploration of geoscientific data over the visual-only version. Virtual touch enhanced the user experience while interacting with the data.
COROT LIGHT CURVE AMBSONICS/BINAURAL SONIFICATION

(Georgia Institute of Technology, 2024-06) Riber, Adrián García ; Serradilla, Francisco

This work describes the design and implementation strategies used in the development of an interactive spatialized multimodal display for the exploration of the light curves from the Convection, Rotation and planetary Transits (CoRoT) archive from the Institut d’Astrophysique Spatiale (IAS). The application displays the representations in a user-selectable Ambisonics or Binaural configuration based on the actual coordinates of the objects. Each sonification is based on a symbolic spectral-type to musical-note mapping strategy, providing musical aesthetics and auditory spectral differentiation capability. The UI shows the footprint of 474 objects from the CoRoT N2 legacy data release and a sequential representation of its light curves. It is designed to be used in outreach activities and archival accessibility improvement. The work includes a user study with 40 participants experienced and nonexperienced in Astronomy and Music, that analyzes the usefulness of the proposal for auditory stellar spectra classification with the support of training videos. Although the results should be considered indicative, they suggest that non-experienced participants can retrieve useful information through sound to complete the task with an average success rate around 0.47, while experienced participants do it with an average success rate around 0.72.
BRIGHTNESS IS MORE EFFICIENT THAN DELAY TO INDUCE WEIGHT PERCEPTION IN AUGMENTED REALITY

(Georgia Institute of Technology, 2024-06) Lafuma, Louis ; Bouyer, Guillaume ; Didier, Jean-Yves ; Goguel, Olivier

Multimodal feedback is used to convey various and rich information in virtual environments. It can also change users’ perceptions of the haptic properties of objects through the pseudo-haptic illusion. While visual feedback has been extensively examined to induce haptic properties like weight in virtual reality, only a handful of studies have explored the use of audio feedback, and even fewer in augmented reality. Our study aims to extend, in an augmented reality context, previous research findings that used sound to enhance the weight perception of virtual objects. Participants were asked to grab two objects that produced sounds with different audio delays and brightness and to determine which of the two was heavier. The results on 38 participants showed that while the delay did not affect weight perception, the brightness did have a significant impact. This is in line with previous studies and could be used to enhance the perception of hand interactions in AR.
ADAPTING AUDIO MIXING PRINCIPLES AND TOOLS TO PARAMETER MAPPING SONIFICATION DESIGN

(Georgia Institute of Technology, 2024-06) Kantan, Prithvi Ravi ; Dahl, Sofia ; Spaich, Erika G.

Designing a parameter mapping sonification (PMSon) involves defining a mapping function that determines how data variables affect audio signal parameters. The mapping function is represented using mathematical notation and/or characterized in terms of scaling, transfer function and polarity; both approaches manifest in software platforms for PMSon design. Math notation is not always directly relatable to complex design requirements, and simple characterizations lack generality and may be ambiguous - both issues hamper mapping function design, conceptualization, and dissemination. We seek to address them through knowledge transfer from audio mixing, a mature craft with strong parallels to PMSon design. For mixing, it was a versatile and universally applicable technological platform (the multitrack mixer) that supported the development of mixing technique, concepts, and recent formalizations thereof, laying the foundation for modern audio production. We posit that a PMSon design platform that adapts the essential elements of the mixer can similarly reinforce PMSon by supporting a mapping function representation directly tied to the design process. We define the correspondence between mixing and PMSon design, outline specifics of mixer functionality adaptation, and demonstrate the resulting capabilities with our proof-ofprinciple platform Mix-N-Map that is currently pending user testing. We believe a general PMSon framework explicitly rooted in audio mixing can potentially advance theory and practice to the benefit of PMSon designers and users alike.
ACCESSIBILITY OF SHOOTING TASK FOR BLIND AND VISUALLY IMPAIRED: A SONIFICATION METHOD COMPARISON

(Georgia Institute of Technology, 2024-06) Apavou, Florian ; Bouchara, Tifanie ; Bourdot, Patrick

Access to ordinary sports clubs or video games is limited for blind and visually impaired people (BVI) which reduces mixed ability practices and social inclusion. To adapt shooting video games and sports to BVI, we analyzed the literature to find sonification methods able to support targeting tasks. We identified four convenient methods ("Pitch Only", "Tempo & Pitch", "Tempo & Binary Pitch", "Chroma, Beats & Roughness") outcoming from other application fields such as medical assistance, navigation, or photography. To determine the best suitable sonification for shooting contexts, we carried out a within subject experiment in a 3D virtual reality environment. 24 sighted participants were asked to shoot as fast and accurately as possible on invisible targets, guided by sonic feedback only. With future mixed ability practices in mind, sighted participant’s performances were also evaluated through a visual control condition. Results showed that participants were shooting faster in the visual condition, but more accurately in the audio-only conditions. "Chroma, Beats & Roughness" sonification lead to slower aiming time and more mentally demanding efforts than the three other methods. Analyses finally suggest that participants preferred to associate both pitch and tempo. Lastly, future participation of BVI persons will allow to deepen the results.
EXPLORING THE ACOUSTIC FOOTPRINT OF TOURISM: SPATIAL CAPTURE, ANALYSIS, AND PRELIMINARY EVALUATION OF THE NAXOS’ ISLAND SOUNDSCAPE

(Georgia Institute of Technology, 2024-06) Dedousis, Giorgos ; Bakogiannis, Konstantinos ; Lianis, Emmanouil ; Andreopoulou, Areti

This study delves into the soundscapes of Naxos, Greece, through the systematic analysis, and evaluation of auditory content, recorded in various locations across the island. The work examines the influence of tourism on the acoustic environment, utilizing FOA recordings and sound pressure level measurements captured across 84 locations. The collected data is grouped per geographical location into six regions to facilitate analysis and comparison of the different soundscapes. The analysis highlighted the impact of human activity, especially tourism-related, on the auditory environment, with mechanical sounds being more prevalent in areas of high tourist activity than in quieter regions. The findings are presented through an interactive application that enables immersive listening with 3D audio technologies, allowing users to experience the spatial characteristics of each soundscape. This research highlights the impact of tourism on Naxos’ acoustic environment and aims to preserve its sound heritage, raise environmental awareness, and motivate local stakeholders to take action.
TEMPORAL IMAGERY FOR AURAL DIVERSITY: AUDITORY DISPLAYS AS ARTIFACTS OF SONIC ART ENCOUNTERS BETWEEN UNAIDED AND COCHLEAR IMPLANT LISTENERS

(Georgia Institute of Technology, 2024-06) Ramakrishnan, Sharath Chandra

This paper advocates for the position that aurally diverse methodologies for designing auditory displays are needed, that not only take into account varied hearing capacities, but also conceive of a participatory and trans-disciplinary approach for collectively engaging diverse forms and conversations about listening, and shared associations with auditory imagery. Further, in light of the complex history that the notion of hearing disability and the evolution of commercial sound technology has had within the normalizing agenda of medical institutions, a call for methods of engagement that necessarily depart from the ubiquitous model of clinical testing for the ideal ‘ear’ is made. The paper illustrates this position by extrapolating possibilities within the context of a subset of machine mediated listening, specifically cochlear implant based listening. It proceeds by speculating how auditory displays that rely on temporal perception may produce shared associations in auditory imagery, and a meeting ground for unaided listening and cochlear implant based listening in the social acoustic world. Building upon previous work by scholars who originally conceptualized the notion of auraldiversity, the paper identifies a list of creative propositions to serve as a guide to shape outcomes and participatory modes of engagement using sonic arts practices. These include methods from sound art practitioners that have creatively dealt with affordances of sound to question normative listening, explore new aesthetics of sound, and blend collaborative processes with cognitive aspects of social listening through a collective elicitation of auditory imagery. By diversifying the process of designing auditory displays, we can challenge and contrast traditional models of testing for the ’ideal’ ear, to re-route auditory display research and design towards embracing hearing diversity. The paper invites the reader and the wider auditory display community to frame more such opportunities to adopt participatory methodologies for designing sonification for aural diversity.