Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 20 of 28 Parameters |
| Barss, P. (2023). How sound is providing new clues about the universe. BBC Future, Retrieved October 12, 2023, from https://www.bbc.com/fut ... lues-about-the-universe |
 
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| Added by: Mark Grimshaw-Aagaard 12/10/2023, 05:58 | |
| Boevé, J.-L., & Giot, R. 2014, June 22–25. Volatiles that sound bad: Sonification of defensive chemical signals from insects against insects. Paper presented at The 20th International Conference on Auditory Display, New York. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 09/03/2015, 11:59 | |
| Bovermann, T., Tünnermann, R., & Hermann, T. (2010). Auditory augmentation. International Journal of Ambient Computing and Intelligence, 2(2), 27–42. |
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| Added by: Mark Grimshaw-Aagaard 05/07/2013, 09:54 | |
| Chu, J. (2008). A musical score for disease: Converting genetic activity into music may be a way to monitor health. Technology Review, Retrieved July 24, 2008, from http://www.technologyreview.com/Biotech/21094/?a=f |
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| Added by: Mark Grimshaw-Aagaard 24/07/2008, 07:57 | |
| Droumeva, M., & Wakkary, R. (2007). AmbientSonic map: Towards a new conceptualization of sound design for games. Loading... 1(1). |
 
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| Added by: Mark Grimshaw-Aagaard 14/02/2008, 11:31 | |
| Game sound should be designed according to ecological principles rather than disjointed sound events and the technical literature of auditory display design will prove useful. | |
| Gaver, W. W. (1989). The SonicFinder, a prototype interface that uses auditory icons. Human Computer Interaction, 4(1), 67–94. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/04/2013, 16:41 | |
| "Note that sound effects are not arbitrarily related to their associated events. Instead, they seem to rely on the abilities of listeners to generalize their knowledge about everyday sound-producing events to new ones, even imaginary ones involving things such as light-sabers or transporters. Windows in the everyday world don't open as the ones in the SonicFinder do, but this event does resemble others in the everyday world, such as the rapid approach or sudden expansion of an object. | |
| Describing the choice of sound in SonicFinder: "First, the user selects the file (Figure 1 A). This is indicated both visually, by the file becoming highlighted, and aurally by the sound of an object being tapped. The type of object is conveyed by the material being tapped. In this example, the object is a file, so it makes a wooden "thunk." If it had been an application, it would have made a metal sound; a folder would have made a sharper paper-like sound; disks a hollow metal sound (like a large metal container being tapped); and the trashcan a different hollow metal sound. In the Finder, there are standard icons for folders, disks, and the trashcan, but applications and files are not distinguished by icon type. These are easily differentiated in the SonicFinder by the use of different sounding materials for their selection sounds." | |
| Hard disks use a lower frequency sound than floppies because they are larger. | |
| Main advantage of auditory icons in conjunction with the Apple desktop icons is their provision of redundant information. The provision of new information (e.g. about the size of disks) seems to be less important. | |
| Discusses conceptual mappings (events in computer world are mapped to tasks in a model world -- binary flow, gates, etc. mapped to file operations, for example, computer desktop is a conceptual mapping) and perceptual mappings (the mapping between the model world and the perceptual world -- how we interface). | |
| Gilfix, M., & Couch, A. 2000, December 3–8. Peep (the network auralizer): Monitoring your network with sound. Paper presented at 2000 LISA XIV, New Orleans. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/05/2013, 09:55 | |
| Grimshaw, M., & Garner, T. (2014). Embodied virtual acoustic ecologies of computer games. In K. E. Collins, B. Kapralos & H. Tessler (Eds.), The Oxford Handbook of Interactive Audio. (pp. 181–195). New York: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/05/2014, 10:08 | |
| Groß-Vogt, K., Enge, K., & zmölnig, I. m. 2023 Reflecting on qualitative and quantitative data to frame criteria for effective sonification design. Paper presented at Proceedings of the 18th International Audio Mostly Conference. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/11/2023, 07:35 | |
| Hermann, T., Hunt, A., & Neuhoff, J. G. (Eds). (2011). The sonification handbook. Berlin: Logos Verlag. |
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| Added by: Mark Grimshaw-Aagaard 10/02/2015, 13:54 | |
| Hermann, T., Krause, J., & Ritter, H. 2002, July 2–5. Real-time control of sonification models with a haptic interface. Paper presented at Proceedings of the 2002 International Conference on Auditory Display, Kyoto, Japan. |
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| Added by: Mark Grimshaw-Aagaard 05/07/2013, 09:44 | |
| Hermann, T., Meinicke, P., Bekel, H., Ritter, H., Müller, H. M., & Weiss, S. 2002, July 2–5. Sonifications for EEG data analysis. Paper presented at The 2002 International Conference on Auditory Display. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/01/2018, 12:20 | |
| Hermann, T., & Ritter, H. 1999 Listen to your data: Model-based sonification for data analysis. Paper presented at Advances in Intelligent Computing and Multimedia Systems. |
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| Added by: Mark Grimshaw-Aagaard 05/07/2013, 09:36 | |
| Hermann, T., & Ritter, H. (2004). Sound and meaning in auditory data display. Proceedings of the IEEE, 92(4), 730–741. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/06/2013, 12:29 | |
| "pitch at the extremal ends of the frequency spectrum reinforces the threatening character of intense sounds and the comforting character of weak sounds." | |
| "...the laws of physics themselves can be viewed as a kind of context information for extracting meaning from sound events. Compared to other contexts, the context given by physical laws was stable all the time, so that evolution had ample time to adapt our brains extremely well to the ways how physics links sounds and their causes." | |
| "Taking a perspective motivated by ecological acoustics, we will then gradually work backward in evolutionary history to bring into view increasingly more basic constituents of auditory perception that became particularly apparent as “ basic expression,” and will connect these to more elementary dimensions of meaning, whose deepest roots ultimately can be seen in physics, reflecting very fundamental laws that connect physical and geometrical properties of our environment to sound characteristics in a rather universal manner, invariant over a wide range of conditions and time scales, so that evolution found ample occasion and time to imprint these regularities deeply into the brains of our predecessors and ourselves." | |
| Ihde, D. (2010). Embodied technics. Automatic Press / VIP. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/05/2026, 07:33 | |
| Technological mediation: "every change in our newly magnified world is also a change in our embodied experience" | |
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Ihde uses the example of the telescope for postphenomenology: "The telescope [...] is taken into my now extended and mediated bodily experience: (Human-instrument) > World phenomena" |
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| Ihde explains "old fashioned" phenomenology as "a whole body experience of my immediate environment." | |
| "To recognize that directed, intentional human experience can embody a technology is a first step towards a postphenomenology in that a material artifact can be taken into first person experience" | |
| Notes that a 45,000 BC "bear bone flute" was found in Slovenia. Probably a flute and probably Neanderthal, it had 4 holes tuned in the diatonic scale. | |
| Repeats the myth that the English longbow overcame the French crossbow at Agincourt. Most historians as well as the contemporary commentators agree that the French crossbowmen were not brought into play during the battle. | |
| Khan, I., Van Nguyen, T., Gursesli, M. C., & Thawonmas, R. 2025 Sonic doom: Enhanced sound design and accessibility in a first-person shooter game. Paper presented at 2025 IEEE Conference on Games (CoG). |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 23/10/2025, 04:13 | |
| 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 | |
| "Multimodal interaction (e.g., between visual and auditory displays) are poorly understood, yet critically affect most sonification applications." | |
| "...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." | |
| 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. | |
| Lutz, O. H.-M., Kröger, J. L., Schneiderbauer, M., Kopankiewicz, J. M., Hauswirth, M., & Hermann, T. 2020, September 15–17. That password doesn't sound right: Interactive password strength sonification. Paper presented at The 15th International Conference on Audio Mostly, New York. |
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| Added by: Mark Grimshaw-Aagaard 17/09/2020, 13:15 | |
| Mustonen, M.-S. (2007). Introducing timbre to design of semi-abstract earcons: The role of timbre in meaning creation of non-speech interface sounds. Saarbrücken: VDM Verlag Dr. Mueller. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/05/2013, 18:35 | |
| Peep. (n.d.). Retrieved May 12, 2003, from http://peep.sourceforge ... docs/peep-proposal.html |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/05/2013, 13:44 | |
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Claims that sound differs from light in that there is "no truly quantitative attribute." There's a contradiction later: "Pitch and aural location can be used to indicate the source of the data, while loudness indicates the severity of the condition." Timbre equates to "what is going on?" |
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Lists some sonic attributes: Loudness: order, distinction, presence. Pitch: order, distinction, presence. Timbre: distinction, presence. |
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A network auralizer is proposed to replace the requirement to continually monitor VDU information for computer technicians and server administrators. Soothing ambient noise (continuous sound such as rain, wind through trees etc.) indicates all is well and can be pushed to the background (pschoacoustically). Other natural sounds (croaking frogs, birds twittering etc.) indicate particular network events. Loudness mapped to severity of event. Timbre mapped to type of event. Aural location mapped to source of event (which PC etc.) |