Audio Technology and Mobile Human Computer Interaction

Chamberlain, Alan; Bødker, Mads; Hazzard, Adrian; McGookin, David; Roure, David De; Willcox, Pip; Papangelis, Konstantinos

doi:10.4018/ijmhci.2017100103

Cited by 28 publications

(20 citation statements)

References 31 publications

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“…Mariette [63] described audio AR as "simply the introduction of artificial sound material into the real world", with a range of characteristics defining different types of audio AR, such as the predominant sensory modality, the spatial characteristics of the sound, the means of presentation, and user tracking/mobility. Such a broad definition encapsulates many other terms and auditory experiences, from different forms of Spatial and Location Based Audio [63,101,12,62,89,85,68,21] to Mediated Reality and Augmented Perception [99,24,107,104,100,111]. Indeed, even the use of "mobile transistor radios or early portable tape players with headphones could both be understood as presenting an augmented reality" [63] as real and virtual content is combined in both cases.…”

Section: Auditory Augmented Reality: Intermixing With Realitymentioning

confidence: 99%

“…Given location sensing, we can also form "relationships between the physical and digital" by triggering different audio based on location [21], for example creating an auditory tour guide [10,16]. Microsoft, in particular, have revisited this concept with their "Soundscapes" smartphone app [71], intended to help "those with blindness or low vision to build a richer awareness of their surroundsings" through Global Navigation Satellite System (GNSS)-based delivery of 3D audio cues tied to features in the real-world environment.…”

Section: Location-based Audio (Lba)mentioning

confidence: 99%

“…Auditory Mixed Reality As with the MR continuum, this encapsulates any auditory VR and AR experiences. Terms such as Locative Audio[12], Personal, Location-Aware Spatial Audio[62] and Location Based Audio[89,85,68,21,63] can apply anywhere within this continuum.…”

mentioning

confidence: 99%

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Acoustic Transparency and the Changing Soundscape of Auditory Mixed Reality

McGill

Brewster

McGookin

et al. 2020

Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems

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Auditory headsets capable of actively or passively intermixing both real and virtual sounds are in-part acoustically transparent. This paper explores the consequences of acoustic transparency, both on the perception of virtual audio content, given the presence of a real-world auditory backdrop, and more broadly in facilitating a wearable, personal, private, always-available soundspace. We experimentally compare passive acoustically transparent, and active noise cancelling, orientation-tracked auditory headsets across a range of content types, both indoors and outdoors for validity. Our results show differences in terms of presence, realness and externalization for select content types. Via interviews and a survey, we discuss attitudes toward acoustic transparency (e.g. being perceived as safer), the potential shifts in audio usage that might be precipitated by adoption, and reflect on how such headsets and experiences fit within the area of Mixed Reality.

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Section: Auditory Augmented Reality: Intermixing With Realitymentioning

confidence: 99%

Section: Location-based Audio (Lba)mentioning

confidence: 99%

See 1 more Smart Citation

Acoustic Transparency and the Changing Soundscape of Auditory Mixed Reality

McGill

Brewster

McGookin

et al. 2020

Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems

Self Cite

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“…The flow through the physical park is synchronised with the course of the accompanying soundtrack, at both a high and low level of musical detail." [4] "What is the sound of my places? What are my sounds?…”

Section: Artificial Intelligence and Robotsmentioning

confidence: 99%

The Design of Future Music Technologies

Chamberlain

Bødker

Kallionpää

et al. 2018

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion

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This paper outlines some of the issues that we will be discussing in the workshop "The Design of Future Music Technologies: 'Sounding Out' AI, Immersive Experiences & Brain Controlled Interfaces." Musical creation, performance and consumption is at a crossroads, how will future technologies be affected by exciting and innovative new developments in artificial intelligence, immersive technologies and developing mechanisms for interfacing with music, such as Brain Controlled systems. In many respects this document acts as a mini survey, made up of supporting material, a bibliography of works and offers a series of quotes from work that has mainly emerged from the FAST Project-see: www.semanticaudio.co.uk. CCS CONCEPTS • Human Centered Computing → Collaborative and social computing; Collaborative and social computing theory, concepts and paradigms; Social content sharing; Collaborative content creation.

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“…I'd started looking at issues relating to Autonomy and Control in music creation a while ago and had been researching algorithmic, generative and aleatoric composition [3] [4] when I came across noinput mixing whilst carrying out research [11] and running a workshop at STEIM 1 .…”

Section: Steim Sound and Sightmentioning

confidence: 99%

Surfing with Sound

Chamberlain

2018

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion

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The idea of No-Input Mixing may appear at first difficult to understand, after all there is no input, yet artists, performers and sound designers have used a variety of approaches using such feedback systems to create music. This paper uses ethnographic approaches to start to understand the methods that people employ when using no-input systems, and in so doing tries to make the invisible, visible. In unpacking some of these techniques we are able to render understandings, of what at first appears to be a random and autonomous set of sounds, as a set of audio features that are controlled, created and are able to be manipulated by a given performer. This is particularly interesting for researchers that involved in the design of new feedback-based instruments, Human Computer Interaction and aleatoric-compositional software. CCS CONCEPTS • Human Centered Computing → Collaborative and social computing; Collaborative and social computing theory, concepts and paradigms; Social content sharing; Collaborative content creation.

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Audio Technology and Mobile Human Computer Interaction

Cited by 28 publications

References 31 publications

Acoustic Transparency and the Changing Soundscape of Auditory Mixed Reality

Acoustic Transparency and the Changing Soundscape of Auditory Mixed Reality

The Design of Future Music Technologies

Surfing with Sound

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