Audio Cartography: Visual Encoding of Acoustic Parameters

Kornfeld, Anna-Lena; Schiewe, Jochen; Dykes, Jason

doi:10.1007/978-3-642-19143-5_2

Cited by 9 publications

(3 citation statements)

References 14 publications

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“…In the 1990s, mapmakers began to communicate geospace not just in the visual, but also in the auditive communication channel, leading to the emergence of audiovisual cartography (MacEachren 2004). Audio and vision have been used, on the one hand, in a rather reciprocal way, producing maps that graphically visualize acoustic features of the environment (e.g., noise: Kornfeld et al 2011) and applications, where data attributes (e.g., elevation: Schito and Fabrikant 2018;Thebpanya 2010) or uncertainty (Ballatore et al 2018) are translated into sound. The majority of audiovisual products, however, combine visual and audio information, either in a redundant form with graphics and sound transmitting the same information or in a complementary manner (Edler et al 2012).…”

Section: Sound In Cartographymentioning

confidence: 99%

The Sound of Being There: Audiovisual Cartography with Immersive Virtual Environments

Hruby

2019

KN J. Cartogr. Geogr. Inf.

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In recent years, immersion has become a frequently emphasized factor in the geovisualization research agenda. A principal reason for this growing interest is the assumption that immersive virtual environments (IVE) facilitate the formation of spatial presence, generally understood as the sense of "being there". In a virtually mediated environment, the feeling of being there is of particular concern for cartographic ambitions, in terms of generating insights through geospatial representation. Current literature indicates that immersive VR systems stimulate the experience of spatial presence; however, this assumption is mainly based upon user studies in the visual communication channel. Moreover, research on IVE for geovisualization matters has to date been focused on visual-graphical rather than on auditive or even multisensory representations in virtual space. In this context, the present paper aims to evaluate the potential of audiovisual cartography with immersive virtual environments. Following a brief discussion of basic concepts, such as immersion, spatial presence and embodiment, we will integrate these aspects into a geovisualization immersion pipeline (GIP), as a framework with which to systematically link the technical and cognitive aspects of IVE. In the subsequent sections, we will examine this framework in the audio channel by analyzing how sound is implemented and perceived in GeoIVE. As we shall see, the positive effect of a combined audio-visual vs. exclusively visual presentation is supported by a series of user studies of sound effects, making audiovisual cartography with IVE a rich and worthwhile field of research. ZusammenfassungVirtuelle Realität (VR) und Immersion haben sich in den vergangenen Jahren auf der Forschungsagenda der Kartographie fest etabliert. Ein Hauptgrund dieses wachsenden Interesses ist die Annahme, dass immersive virtuelle Umgebungen räumliches Präsenzerleben induzieren, so dass sich Rezipient/inn/en in einer medialen Umgebung anwesend fühlen und Handlungsmöglichkeiten innerhalb derselben wahrnehmen. Für das grundsätzliche Ziel der Kartographie, raumbezogenes Wissen durch Repräsentationen zu vermitteln, ist das Phänomen räumlichen Präsenzerlebens von besonderem Interesse. Rezente Studien weisen zwar darauf hin, dass immersive VR-Systeme ein hohes Präsenzerleben erzeugen können, stützen sich dabei jedoch in erster Linie auf Untersuchungen des visuellen Kommunikationskanals. Ebenso hat sich die kartographische Erforschung immersiver Umgebungen bislang vor allem visuellen bzw. graphischen, weniger aber auditiven und multisensorischen Repräsentationsformen gewidmet. Vor diesem Hintergrund versucht der vorliegende Text, das Potenzial einer audiovisuellen Kartographie in immersiven virtuellen Umgebungen zu bewerten. Der einleitenden Diskussion zentraler Termini (z.B. Immersion, räumliches Präsenzerleben, Embodiment) folgt eine Verknüpfung dieser Schlüsselbegriffe innerhalb einer kartographischen Immersionspipeline -eine Modellvorstellung, die technische und kognitive Aspekte imme...

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Section: Sound In Cartographymentioning

confidence: 99%

The Sound of Being There: Audiovisual Cartography with Immersive Virtual Environments

Hruby

2019

KN J. Cartogr. Geogr. Inf.

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“…Also the other way around, the visualization of sound in space is an object of research. Schiewe and Kornfeld (2009) displayed the spatiality of city acoustics and Kornfeld et al (2011) presented solutions for the visualization of sound in large-scale environments using visual encodings and mappings of acoustic parameters. However, audiovisual design is not firmly established yet in cartography (Edler et al 2012;Brauen 2013).…”

Section: Introductionmentioning

confidence: 99%

Towards an Audio-Locative Mobile Application for Immersive Storytelling

Indans

Hauthal

Burghardt

2019

KN J. Cartogr. Geogr. Inf.

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We live in an age in which digital media is omnipresent and augmented reality is beginning to find its way into our everyday lives, GPS allows us to determine our position with meter precision and the sensor capabilities of smartphones are increasing. All these technologies in combination enable us to explore one of the oldest human art forms in a new way: storytelling. The presented work aims at developing approaches that combine different elements of audio media playback, geolocation and other sensor capabilities of smartphones to allow the creation of immersive geolocated narratives within a mobile application. Thus, the narrative can be precisely adjusted to the specific spatial and temporal context of the user. One of the main goals of such a geolocated narrative would be to influence the cognitive processing of the users. As the visual perception of the location stays the same while using the app, it is only the auditory cognition that causes a subtle enhancement and thus alteration of the reality which could result in a very strong sense of immersion. There are many location-based audio applications on the market. Most of them are intended for tourism in the form of an audio tour guide. Some of those applications have been analyzed before developing our own ideas on how to intertwine sound, space and time into an immersive mobile application for storytelling with semi-linear narrative structures including a map. Possible features could be influenceability of the narrative by, e.g., speed or approach direction of the user, sound movement over time on predetermined routes, etc. The first prototype implemented some audiovisual presentations among others. Keywords Audiovisual cartography • Multimedia cartography • Locative media • Storytelling • Mobile mapping Zusammenfassung Wir leben in einem Zeitalter, in welchem digitale Medien omnipräsent sind und Augmented Reality Einzug ins tägliche Leben erhält, in dem GPS uns befähigt, unsere Position mit Meter-Genauigkeit zu bestimmen und sich das Sensor-Potential von Smartphones erhöht. Das Zusammenspiel all dieser Technologien erlaubt es, eine der ältesten Kunstformen neu zu entdecken: die Erzählkunst. Die vorliegende Arbeit hat zum Ziel, Ansätze zu entwickeln, welche verschiedene Elemente der Audio-Wiedergabe, Geolokalisierung und andere Sensor-Fähigkeiten kombinieren, um immersive, räumlich verortete Narrative für eine mobile Anwendung zu kreieren. Damit können Geschichten präzise an den spezifischen räumlich-zeitlichen Kontext des Nutzers angepasst werden. Die Hauptabsicht einer solchen ortbezogenen Geschichte ist es, die kognitive Wahrnehmung des Nutzers zu beeinflussen. Da während der App-Nutzung die visuelle Wahrnehmung der Umgebung gleich bleibt, ist es nur die auditive Wahrnehmung, welche eine subtile Anreicherung und damit eine Veränderung der Realität bewirkt, was ein starkes immersives Erleben hervorrufen kann. Es sind zahlreiche ortbasierte Audio-Anwendungen auf dem Markt. Bei den meisten handelt es sich um touristische Audio-Führer. Einige dieser Anwen...

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“…Edler, Kühne, Keil, Dickmann 2019;Kornfeld, Schiewe, Dykes 2011).World Soundscape Project (WSP) (https://www.sfu.ca/~truax/wsp.html). W 1975 roku zrealizowali projekt Five Village Soundscapes (https://www.sfu.ca/~truax/FVS/ fvs.html).…”

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confidence: 99%

Mapy dźwiękowe i wyobraźnia audiogeograficzna – kartograficzne i społeczne praktyki soundmappingu

Stanisz

2021

LSE

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Artykuł dotyczy społecznej praktyki wytwarzania cyfrowych map dźwiękowych (soundmappingu) w perspektywie interdyscyplinarnej łączącej antropologię dźwięku, ekologię akustyczną, psychogeografię oraz krytyczną kartografię. Mapy dźwiękowe są tu ujęte jako czasoprzestrzenne, audiowizualne, cyfrowe (re)prezentacje powstające kolektywnie w oparciu o mechanizm user-generated content i bazujące na globalnych mapach takich jak Google Maps czy OpenStreetMap. W artykule rozważam kwestię map dźwiękowych rozumianych jako doświadczenie o charakterze lokatywnym i transfonicznym, które pozawalają definiować użycie map dźwiękowych jako proces wyobrażeniowy.

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Audio Cartography: Visual Encoding of Acoustic Parameters

Abstract: This is the unspecified version of the paper.This version of the publication may differ from the final published version. Permanent repository link:

Cited by 9 publications

References 14 publications

The Sound of Being There: Audiovisual Cartography with Immersive Virtual Environments

The Sound of Being There: Audiovisual Cartography with Immersive Virtual Environments

Towards an Audio-Locative Mobile Application for Immersive Storytelling

Mapy dźwiękowe i wyobraźnia audiogeograficzna – kartograficzne i społeczne praktyki soundmappingu

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