Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 7 of 7 Parameters |
| Ballas, J. A. (1994). Delivery of information through sound. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 79–94). Reading MA: Addison-Wesley. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/04/2009, 06:34 | |
| The onomatopoeic function of sound is where one sound has been designed to imitate another sound. Listener expectancy is a major fact both in associating a sound with a probable cause and associating a [potential] cause with a probable sound. | |
| Points out that a sound can be dissociated from its causal event unlike, for example, light/vision and that this dissociation has advantages and disadvantages. Because a sound can be representative of something other than its causal event (dissociated), sound designers need to understand the mapping of sound parameters to complex phenomena. Where no dissociation occurs, designers need to take into account sound context and listener expectations. | |
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Discussing the exclamation function of sound (designed to get listener's attention), Ballas suggest that the perception of exclamation is a function mainly of SNL ratio. However, simply raising the level of a sound to gain greater urgency is not satisfactory and urgency can be more effectively communicated in other ways: |
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| Discussing deixis type sounds which point to something (usually hidden information). Therefore, context is important (what are we pointing to in relation to the listener?) and such deictic sounds must be learnt in order to be interpreted correctly. 4 - 6 such sounds can be efficiently learnt -- if more specific deictic sounds are required, the solution would be to keep the 4 - 6 limit and supplement with visual display of the hidden information. | |
When sound functions as a simile, some property of the sound is being likened to a property existing in another domain. Correct interpretation can be improved by using commonly accepted relationships (which depend on many variables such as culture, musical training and so forth). One set of relationships might be:
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| The metaphor function of sound is an extension of the simile function and ideally should communicate so effectively that the sound enters common usage (i.e. become dead metaphors). Something that can be correctly interpreted more quickly than equivalent speech. | |
| Fitch, W. T., & Kramer, G. (1994). Sonifying the body electric: Superiority of an auditory over a visual display in a complex, multivariate system. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 307–325). Reading MA: Addison-Wesley. |
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| Added by: Mark Grimshaw-Aagaard 16/09/2005, 12:19 | |
| Based on the findings of the experiment, the authors suggest that the auditory system is faster because it can process data in parallel due to the fact that the human auditory system can hear in all directions. The visual system, they suggest, processes mainly in series because the eyes can move and focus, eyelids can be closed and because light cannot bend around objects. | |
| The authors point out that the visual system is inherently spatial and that localisation of objects is critical. Conversely, while the ability to localise is of importance for the auditory system, we are able to stream audio and separate audio objects (although we can quite happily also appreciate composite sound) without the benefit of localisation cues. This is because the auditory system prioritises temporal cues. | |
| Kramer, G. (1994). Introduction to auditory display. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 1–77). Reading MA: Addison-Wesley. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/02/2006, 11:00 | |
| Quoting R.B. Dannenberg (unreferenced) providing a meaning of timbre as a demonstration of the paucity of audial descriptive tools in everyday language: "...we picked out the two things we understood, pitch and amplitude, and called everything else timbre. So timbre is by definition that which we cannot explain." | |
| "[Auditory Display] can, after all, encompass the disciplines of cognitive and experimental psychology, psychoacoustics, communication, education, computer science, mathematics, statistics, linguistics, psychomusicology, sound analysis and sythesis, music composition and all the data generating fields. ... Information-generating sources, sound-generating and manipulating techniques, human perception and comprehension, all must be throughly comprehended in order to assure effectiveness in the field." | |
| "...the use of soundtracks in computer software, games, and so on offers these media advantages identical to film soundtracks. Fear, anticipation, calm, humor, and other emotions can all be suggested." | |
| Kramer, G. (1994). Some organizing principles for representing data with sound. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 185–221). Reading MA: Addison-Wesley. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 21/10/2005, 14:49 | |
| "When a complex multivariate auditory stream is used to convey data, an important perceptual process comes into play. In addition to the system user's ability to scan his or her attention through the sound, relationships between variables and entire system states are perceived "at a glance." Which is to say, without attention-directed effort, all the auditory variables are perceived as a whole, or a "gestalt." | |
| Audiation is the formation of "an imagined auditory image" and involves memory and recall. Little research has been done in this area. Sometimes called auralization, which itself is sometimes described as realistic sonic spatialization. | |
| Sonification is defined as "[T]he use of data to control a sound generator for the purpose of monitoring and analysis of the data". This involves mapping of one or more parameters of the data set to the audio domain e.g. size ---> loudness. | |
| Defines audification: "A direct translation of a data waveform to the audible domain for purposes of monitoring and comprehension". As it is a direct translation, the data must exist in the form of a waveform (it is shifted to the audio domain) and no sound-generators are involved. Sometimes referred to as 0th-order sonification. | |
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Discusses the use of metaphor to link abstract sounds to data sets where, for sonification purposes, no realistic sounds are available (e.g. stock market sonifications). When sonifying 'more' and 'less', metaphorical associations for 'more' might be:
Affective associations relate to the feelings aroused by sound. For example desirable and undesirable qualities in the sonified data set may be mapped to sound ugliness, richness, in-tune/out of tune etc. There may be some interaction between metaphorical and affective mappings and subjectivity plays its part. |
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Provides two categories of human-computer interface sound:
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| Kramer, G., Walker, B., Bonebright, T., Cook, P., Flowers, J., & Miner, N., et al. (1997). Sonification report: Status of the field and research agenda. Retrieved September 1, 2005, from http://www.icad.org/web ... 2.0/References/nsf.html |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 10/05/2013, 14:38 | |
| "...understanding the perception of sonified data is key to the success of any sonification application." | |
| "Sonification is defined as the use of nonspeech audio to convey information. More specifically, sonification is the transformation of data relations into perceived relations in an acoustic signal for the purposes of facilitating communication or interpretation." | |
| "Multimodal interaction (e.g., between visual and auditory displays) are poorly understood, yet critically affect most sonification applications." | |
| Because humans are remarkably sensitive to small changes in audio frequency and other time-based changes or differences, sonification is useful for understanding complicated temporal data or changing data embedded within static data. Additionally, unlike the eyes, the ears need not be oriented in any particular direction in order to sense a stimulus or a change in stimulus. | |
| Wenzel, E. M. (1994). Spatial sound and sonification. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 127–150). Reading MA: Addison-Wesley. |
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| Added by: Mark Grimshaw-Aagaard 28/09/2005, 10:42 | |
| Explaining the "cocktail effect": "...spatial separation of sounds improves the intelligibility of signals in a background of noise or other voices." | |
| Makes the point that sensory interaction or synergism is of increasing importance in virtual reality. | |
| Williams, S. M. (1994). Perceptual principles in sound grouping. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 95–125). Reading MA: Addison-Wesley. |
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| Added by: Mark Grimshaw-Aagaard 06/05/2008, 15:42 | |
| "Auditory grouping is the perceptual process by which the listener separates out the information from an acoustic signal into individual meaningful sounds." | |
| An auditory stream is a perceptual object devised as a result of auditory grouping and "is a perceptual organisation with perceptual attributes that are not just the sum of the percepts of its components but are dependent upon the configuration of that stream. That is, a component such as a pure tone integrated into a simple stream may present a pitch and timbre directly related to its frequency value whereas, when integrated into a complex stream, with other co-occurring tones, it may only add to the perceptual richness of the synchronous tone group percept." | |
| "...the ideal situation occurs when each source is associated with a stream that represents all the relevant information for the listener to identify the source accurately." | |
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Using gestalt theory to formalise auditory grouping and quoting from Bregman: "A stream may be defined as a sequence of auditory events whose elements are related perceptually to one another, the stream being segregated perceptually from other co-occurring auditory events ... A source is a physical event. ... A stream, on the other hand, is a psychological organization whose function is to mentally represent acoustic activity of a single source over time+. ... Timbre seems to be a perceptual description of a stream, not an acoustic waveform*." + Bregman, A. S. and J. Campbell. "Primary Auditory Stream Segregation and Perception of Order in Rapid Sequences of Tones" in Journal of Experimental Psychology 98(2) (1971) pp.244-249 * Bregman, A. S. and S. Pinker. "Auditory Streaming and the Building of Timbre" in Canadian Journal of Psychology 32 (1978) pp.19-31 |
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| Provides a definition for sensation, perception and cognition as these (especially the first two) are confusingly and interchangeably used in the literature: "sensation refers to immediate and basic experiences generated by isolated, simple stimuli; perception involves the interpretation of those sensations, giving them meaning and organisation; and cognition involves the acquisition, storage, retrieval, and use of knowledge." | |
| "Sounds are allocated to perceptual groups, or streams, depending on their perceived attributes rather than as a direct result of the attributes of the acoustic signal, so the resulting percept may depend on attentional factors or previous training or familiarity with other sounds". | |
| Identifies two modes of perception required to identify auditory streams. synthetic perception is the process whereby sounds are grouped or streamed together and is more general than analytic perception which is the process whereby individual components of the audio are identified. The two usually work together and the prioritising of one over the other can depend on training (e.g. the ability to hear individual notes in a musical chord). | |
| A long section in which Gestalt principles of visual perception are applied to auditory perception. The examples provided are for musical tones rather than everyday sounds. |
