Conceptualising sound-driven design: an exploratory discourse analysis

Monache, Stefano Delle; Misdariis, Nicolas; Özcan, Elif

doi:10.1145/3450741.3465258

Cited by 8 publications

(6 citation statements)

References 37 publications

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“…For compositions, this can be seen in the form of physical prototypes handled by users to produce or trigger soundscapes. This can be related to Monache et al 's [51] discourse analysis on sound-driven design as "[...] inherently embodied, situated, and participatory".…”

Section: Hybrid Approachesmentioning

confidence: 86%

“…Within recent years, sound has taken up a prominent role in a wide range of HCI-related works. This includes expanding the focus on embodiment, e.g., to use sounds to simulate co-located experiences [109], as well as for a proposed 'sound-driven design' approach to externalise tacit expert knowledge [51], to name just two examples. In this paper, we focus specifcally on soundscapesan area with a rich history outside of HCI but which is currently also expanding within our community due to increased audio technological possibilities and the desire to provide immersive and embodied experiences.…”

Section: Sound Design In Hcimentioning

confidence: 99%

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Characterising Soundscape Research in Human-Computer Interaction

Johansen

Berkel

Fritsch

2022

Designing Interactive Systems Conference

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Soundscapes' are an increasingly active topic in Human-Computer Interaction (HCI) and interaction design. From mapping acoustic environments through sound recordings to designing compositions as interventions, soundscapes appear as a recurring theme across a wide body of HCI research. Based on this growing interest, now is the time to explore the types of studies in which soundscapes provide a valuable lens to HCI research. In this paper, we review papers from conferences sponsored or co-sponsored by the ACM Special Interest Group on Computer-Human Interaction in which the term 'soundscape' occurs. We analyse a total of 235 papers to understand the role of soundscapes as a research focus and identify untapped opportunities for soundscape research within HCI. We identify two common soundscape conceptualisations: (1) Acoustic environments and (2) Compositions, and describe what characterises studies into each concept and the hybrid forms that also occur. On the basis of this, we carve out a foundation for future soundscape research in HCI as a methodological anchor to form a common ground and support this growing research interest. Finally, we ofer fve recommendations for further research into soundscapes within HCI. CCS CONCEPTS• Human-centered computing → HCI theory, concepts and models.

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Section: Hybrid Approachesmentioning

confidence: 86%

Section: Sound Design In Hcimentioning

confidence: 99%

Characterising Soundscape Research in Human-Computer Interaction

Johansen

Berkel

Fritsch

2022

Designing Interactive Systems Conference

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“…Recent studies of delle Monache and colleagues [ 9 , 10 ] also demonstrated the permanence of sound-action coupling in the way people express their experiences with sounds. In previous research, Özcan [ 69 ] demonstrated the varying degrees of sound experiences ranging from sensory (dis)pleasure to functional experience of products through sound and to how context shapes users’ emotional responses towards product sounds (see Figure 2 ) [ 70 , 71 , 72 , 73 ].…”

Section: Background Into Listening In Complex Sound Environmentsmentioning

confidence: 99%

“…This approach has indeed been so far instrumental in engineering and design of products and (eco)systems for improved functionality and acceptability. However, in recent studies, delle Monache [ 9 , 10 ] showed that listening-in-action is the primary and core activity when either using sound for completing a task or designing for human-sound interactions. User-centered approaches emphasize the importance of understanding the context of the user and their needs for better designs (e.g., Sleeswijk Visser and Stappers’s work on context mapping [ 11 ]).…”

Section: Introductionmentioning

confidence: 99%

Acoustic Biotopes, Listeners and Sound-Induced Action: A Case Study of Operating Rooms

Özcan

Broekmeulen

Luck

et al. 2022

IJERPH

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As socio-technological environments shape and direct listener behaviour, an ecological account is needed that encompasses listening in complexity (i.e., multiple listeners, multiple sounds and their sources, and multiple sound-induced actions that ensure the success of a mission). In this study, we explored sound-induced action under the framework of “acoustic biotopes” (a notion of ecological acoustics by Smolders, Aertsen, and Johanessma, 1979 and 1982) in a specific socio-technological environment, i.e., the context of an orthopaedic operating room. Our approach is based on literature research into the topics of environmental psychology and auditory perception and action and in situ observations in healthcare with field recordings, participatory observations, and interviews on the spot. The results suggest a human-centered definition of sound-induced action in acoustic biotopes: Acoustic biotope is an active and shared sound environment with entangled interactions and sound-induced actions taking place in a specific space that has a critical function. Listening in highly functional environments is an individual experience and is influenced by hearing function, physical position and role in an environment, and the task at hand. There is a range of active and passive sound listeners as a function of their attentive state and listeners as sound sources within the acoustic biotope. There are many different sound sources and sound locals in socio-technological environments and sounds have great potential to serve critical information to operators. Overall, our study provides a holistic, multi-layered and yet a listener-centric view on the organisation of complex spaces and the results can immediately be applicable for rethinking the acoustic environment for ORs for better listening and sound-induced action.

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“…The history of sound design can be traced from Greek and Roman theatre to the development of new audio technology and media (radio, television, cinema, games, virtual reality) in the 20th century which generated a great variety of new methods for designing sounds. Recent research taps into this, and related knowledge and creative practice, to inform new methods for functional sound design, such as sonic interaction design and sonification 26,27,28,29 .…”

Section: Basics Of Sound Design and Sonificationmentioning

confidence: 99%

Sound experts’ perspectives on astronomy sonification projects

et al. 2022

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The Audible Universe project aims at making dialogue between two scientific domains investigating two distinct research objects, briefly said, Stars and Sound. It has been instantiated within a collaborative workshop that started to mutually acculturate both communities, by sharing and transmitting respective knowledge, skills and practices. One main outcome of this exchange was a global view on the astronomical data sonification paradigm that allowed to observe either the diversity of tools, uses and users (including visually-impaired people), but also the current limitations and potential ways of improvement. From this perspective, the current paper presents basic elements gathered and contextualised by sound experts in their respective fields (sound perception / cognition, sound design, psychoacoustics, experimental psychology), in order to anchor sonification for astronomy in a more well-informed, methodological and creative process.

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Conceptualising sound-driven design: an exploratory discourse analysis

Cited by 8 publications

References 37 publications

Characterising Soundscape Research in Human-Computer Interaction

Characterising Soundscape Research in Human-Computer Interaction

Acoustic Biotopes, Listeners and Sound-Induced Action: A Case Study of Operating Rooms

Sound experts’ perspectives on astronomy sonification projects

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