Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 8 of 8 Parameters |
| Blattner, M. M., Sumikawa, D. A., & Greenberg, R. M. (1989). Earcons and icons: Their structure and common design principles. Human-computer Interaction, 4, 11–44. |
  
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| Added by: Mark Grimshaw-Aagaard 18/01/2016, 15:54 | |
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Paraphrasing Kerman: "Even though timbre is difficult to describe and notate precisely, it is one of the most immediate and easily recognizable characteristics of sound."* * Kerman, J. (1980). Listen. New York: Worth. |
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| A personal communication from Buxton indicates that in video arcades "scores drop when sound accompanying video games is turned off." | |
| Earcons are "nonverbal audio messages used in the user-computer interface to provide information to the user about some computer object, operation, or interaction." | |
Three classes of earcons:
with grey areas inbetween. |
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| Bussemakers, M. P., & de Haan, A. 1998, November 1–4. Using earcons and icons in categorisation tasks to improve multimedia interfaces. Paper presented at 5th International Conference on Auditory Display. |
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| Added by: Mark Grimshaw-Aagaard 23/02/2006, 13:18 | |
| "...processing of auditory information is about 40-60ms faster than the processing of visual information..." | |
| "Earcons are abstract, i.e. not event or object related, musical sounds." | |
| State that music is "an interpretative co-message" in film and that image and music are automatically blended to produce a "distinct emotional tone." | |
Some results:
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Unlike Blattner et. al., the authors place the former's 'representational earcons' using recording of sound in an 'auditory icon' class that is distinct to that of earcons (Blattner, Sumikawa, & Greenberg 1989, p.21). For the authors, earcons are purely musical and abstract. |
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| Reiterate that the onus is on the perceiver to create a perceptual unity leading to an unequivocal interpretation when presented simultaneous multimodal stimuli (e.g. image and sound). | |
| Coward, S. W., & Stevens, C. J. (2004). Extracting meaning from sound: Nomic mappings, everyday listening, and perceiving object size from frequency. The Psychological Record, 54(3), 349–364. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 24/02/2006, 11:40 | |
| Hint that the results of their experiment may "form the basis for intuitive mappings to artificial events ... The major benefit of using auditory icons may be to reacquaint humans with a phylogenetically familiar environment." | |
| Discussing the results of the experiment: "nomic mappings were recognized more readily than symbolic mappings, but the advantage was restricted to the initial phase of the everyday listening group ... the difference in recognition of nomic and symbolic mappings was evident only during the first block of the everyday listening condition. This finding endorses the notion that mapping structures are more readily available in the nomic condition." | |
| Gaver, W. W. (1986). Auditory icons: Using sound in computer interfaces. Human-computer Interaction, 2, 167–177. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 08/01/2008, 07:51 | |
| "...Wagner's "Leitmotifs" and the use of sound in video games such as Pac Man, use metaphors based on similarities between the temporal progressions of the sounds and the events they are to represent. Other examples, such as the use of changing pitch to stand for changing heights, involve the use of a dimensional metaphor, in which one ordered dimension is used to represent another." | |
| Metonymic auditory icons are those "in which a feature is used to represent the whole" | |
| "Auditory icons provide a natural and intuitive way to represent dimensional data and to represent conceptual objects in a computer system." | |
| "an auditory icon is a sound that provides information about an event that represents desired data. Instead of using dimensions of sound to stand for dimensions of the data, dimensions of the sound's source are used" | |
| Manipulating parameters of the sound itself such as pitch and loudness (what are termed proximal stimuli), forces mappings between data and representation "to be either arbitrary or, at best, metaphorical. A nomic mapping can only be produced by manipulating the sound in terms of its source -- by using natural sounds." Although such sounds may of course be symbolic or metaphorical, "natural sounds should make possible a higher degree of articulatory directness than manipulating dimensions of the sound itself." | |
| Having suggested that nomic sounds have greater articulatory directness than symbolic, Gavin warns that culturally-ingrained symbolic sounds are just as powerfully representative and should not be discarded as useless. | |
| Discusses the notion of articulatory directness which is the continuum on which symbolic (least), metaphoric and nomic (most) stand. | |
Gaver identifies three mappings between data and its representation which he applies to sound:
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| Gaver, W. W. (1993). How do we hear in the world? Explorations in ecological acoustics. Ecological Psychology, 5(4), 285–313. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/04/2013, 16:39 | |
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"...material per se does not exist as for mechanical physics, but instead is separated into many other dimensions such as density, elasticity, and homegeneity. Nonetheless, people do seem to hear the material of a struck object, rather than these other properties[cite]185[/cite]." |
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| Using his simplified algorithms for modelling and synthesis of sound (simplification by discarding parts of the algorithm that have no perceptible effect, is likened by Gaver to "cartoon sounds" analogous to visual cartoons which "capture some defining features while leaving out incidental ones." | |
| Suggests that it is a mistake that acousticians and psychologists make when they assume that hearing a sound as an event requires higher and independent thought processes (because this requires memory and experience) because the sound (these people assume) does not carry such information itself. | |
| Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory perception. Ecological Psychology, 5(1), 1–29. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 00:12 | |
Notes that sound FX CDs usually categorize by context although there is usually some further description of sound objects' hierarchy and physical properties. "A hierarchical framework that describes sounds' attributes and dimensions thus seems more likely to be generative, to delineate a space of possible sounds, rather than context-based classifications." p.21A simple hierarchy might be:  p.22while a more complex hierarchy might be:  p.24Notes that his preliminary categorisation into solid, liquid and gaseous sound does not cover all eventualities. What about fire? |
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| Points out that "concatenating the creak of a heavy door closing slowly with the slap of a light door slammed shut would be likely to sound quite unnatural." This is an example of higher level attributes of sound events not usually studied by acousticians. | |
| Recounting a third-party experiment, Gaver notes that most participants could distinguish between and estimate the size of objects dropped into water. | |
| If an object's size is changed, the frequency of sound it emits changes too - frequency being the most significant factor of change among others. Therefore, a change in frequency is usually perceived as a change in size of the sound object. | |
| If radiant/direct sound is sensed it arrives at the ear before reflected/reverberant sound. For this reason is is possible to separate information about the sound from information about the environment. Additionally, the medium itself affects sound (e.g. high frequency loss in air) and changes in loudness and/or frequency usually indicate shifting sound (Doppler effect etc.). | |
| A reminder that because the scientific study of sound springs from research into musical acoustics (pitch, loudness etc.), little is known of other modes of auditory perception (e.g. how do we know if someone is walking up or down stairs?). The traditional approach argues that the knowledge about a sound event (ie. everyday listening) relies on experience and memory. | |
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Distinguishes between musical listening (perception of a sound based on its pitch, loudness, temporal change, timbre and masking) and everyday listening (perception of the sound event itself and its environment). This is an experiential distinction or a perceptual one since any sound can be listened to in either listening mode. cf. Chion (1994, pp.25–34) etc. |
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| Keller, P., & Stevens, C. (2004). Meaning from environmental sounds: Types of signal-referent relations and their effect on recognizing auditory icons. Journal of Experimental Psychology, 10(1), 3–12. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 00:11 | |
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The results of their experiments indicate that auditory icons "may outperform abstract sounds such as earcons" in contrast to Blattner et. al.'.'s assertions (Blattner, Sumikawa, & Greenberg 1989). s assertions (Blattner, Sumikawa, & Greenberg 1989). |
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| The "predisposition to find meaning effectively widens the potential database of sounds that can be used as auditory warnings." | |
| Experimental results showed "that there is no significant difference in recognition accuracy or speed of response to ecological versus metaphorical relations." | |
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The authors adapt a taxonomy of visual icon signal-referents from Familant (1993) & Detweiler for use with auditory icons. A direct reference "indicates a signal referent relation in which there is only one referent involved, the denotative referent (e.g., machine gun fire sound for firing machine gun) ... Indirect reference occurs when there are at least two referents. Typically the signal refers to the denotative referent through an intermediate sign referent ... An example from the auditory domain would be use of the sound of rattling trash cans--the sign referent--to signal that a computer file has been successfully deleted--the denotative referent."
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| 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 |
