| 1. |
- Bresin, Roberto, et al.
(författare)
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Controlling sound production
- 2008
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Ingår i: Sound to Sense, Sense to Sound. - Berlin : Logos Verlag. - 9783832516000 ; , s. 447-486
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Bokkapitel (refereegranskat)
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| 2. |
- Delle Monache, Stefano, et al.
(författare)
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How do you sound design? Articulating experiences and cultures via listening
- 2024
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Konferensbidrag (refereegranskat)abstract
- The SIG on Sound-Driven Design invites researchers and practitioners to delve into the multifaceted nature of sound, unraveling its physical, perceptual, emotional, and socio technological dimensions, and contribute to the discovery and development of design methods and tools. In the sound-driven perspective, listening emerges as element that adds depth and richness to the design space, adding to the role of the senses in the experience of the form quality of products, services, and systems. We propose to reflect on the holistic and inclusive character of “sound-driven” as it combines the diverse sonic, experiential, technical, and cultural manifestations of sound with the creative, integrative, mitigative, and purposeful essence of designing. We welcome contributions that offer insights and actionable knowledge on the process of sound-driven design by: Exploring the sonic and creative aspects, with a focus on the sensory, emotional and aesthetic qualities of the audible embodiment to create unique and innovative sonic identity for projects Examining the experiential and integrative aspects, with a focus on how sound enhance and reinforce other sensory cues, such as vision and touch, and ultimately interacts with other design elements to create cohesive and coherent experiences Tackling the technical and mitigative aspects, with a focus on the sources and systems that produce unwanted or harmful sound, in order to create more comfortable and healthy environments Framing the cultural and purposeful aspects, with a focus on crafting culturally relevant and meaningful sound for specific audience or community, conveying values and practices, bridging communities, and fostering connections among stakeholders
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| 3. |
- Ljungdahl Eriksson, Martin, 1982-
(författare)
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Space in the Space : Designing Sound Environments for the Shared Indoor Workspace
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The sound environment in shared indoor workspaces emerges through the interplay of physical layout, materials, technology, and social dynamics. These spaces are designed with specific purposes in mind, taking acoustics into account during construction. However, the true quality of the sound environment can only be assessed when these spaces are actively used. The perception of a shared indoor sound environment is not fixed or absolute but is influenced by individual perceptions, attitudes, and intentions.A significant challenge in designing shared indoor workspaces is thus to accommodate the diverse preferences of various users in a common area, a task complicated by the subjective experience of sound. Prior research has primarily focused on reducing unwanted noise through physical installations and assessing their effects, with the emphasis of sound environment management being the implementation of broad, global solutions that aim to cater to the majority. However, there has been minimal initiative toward proactively improving these complex environments while acknowledging the subjective and context-dependent nature of sound environments.This thesis suggests that the sound environment within a workspace ought to be perceived as a socio-technical system, wherein the design of such environments is a complex and 'wicked' problem. By adopting a design approach that introduces prototypes of an ambient sound environment system into the workspace, this study aims to explore whether various adaptations of the sound xi environment using this technical solution can improve perceived sound quality. The research endeavors to examine the practical use of sound as a design element within workplace settings. The study incorporates laboratory research, field tests in four different offices, and interviews with professionals in indoor environment design.The thesis presents a design program for shared indoor workplace sound environments, emphasizing the creation of pleasant, unnoticeable sound spaces that offer shielding from office disturbances, known as Space in the Space. It employs a 4E cognitive framework and views both sound, technology, and humans as design materials, aiming to craft a personalized and meaningful sound environment that balances noise reduction with qualitative sound aspects, enabling users to tailor their auditory space and collaborate in the design process. This inquiry explores the complex relationship between auditory comfort, personal preferences, and functionality in shared workspaces. The strong concept of 'Sound Users', is introduced as a view that emphasizes the interactive relationship between users and sound environments. Individuals are not just passive receivers of sound; they are active participants, shaping, modifying, and personalizing their auditory surroundings to suit their needs and activities.The results suggest that the challenge in designing soundscapes for shared indoor spaces involves striking a careful balance. This entails harmonizing individual and collective needs by creating the possibility of a Space in the Space within a collective auditory environment. This is achieved by adhering to individual preferences through offering personalization features and control to the sound users. When presented with options, users often want to customize them and tend to prefer sounds that not only mask unwanted noise but also provide a sense of comfort and pleasure. Their aim goes beyond simple utility, highlighting a pursuit of meaningful sound environments through sounds that are both functional and pleasant.
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| 4. |
- Rocchesso, Davide, et al.
(författare)
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Contact sounds for continuous feedback
- 2004
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Ingår i: Proceedings of International Workshop on Interactive Sonification.
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Konferensbidrag (refereegranskat)abstract
- The role of continuous auditory feedback in multimodal embodied interfaces is advocated. Examples of physics based cartoon sound models (rolling and friction) are usedto display deviation from equilibrium and exerted effort inmanipulative interfaces.
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| 5. |
- Rocchesso, Davide, et al.
(författare)
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Emerging sounds for disappearing computers
- 2007
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Ingår i: The Disappearing Computer. - Berlin / Heidelberg : Springer. - 9783540727255 ; , s. 233-254
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Bokkapitel (refereegranskat)abstract
- Try this simple experiment one day: wear a couple of earplugs and try to conduct your regular everyday activities, for a couple of hours. How would you describe your feelings in that deafened state? You would probably feel a sense of isolation, from the world and from other people. So, absence of sound induces perceived isolation which may turn into felt oppression in some environments, such as an anechoic chamber. One may think that if silence induces isolation, sound induces presence, but unfortunately this is not the case. We know sensitive souls that have difficulties falling asleep because they live in noisy neighborhoods. One solution that may work in this case is to play loud noise through the hi-fi loudspeakers to mask the noise from the environment. Again, isolation (e.g. from street noise) is the result, but the means to achieve it is loud noise, the opposite of silence. And how would you describe all those people that experience modern city life being shielded by earphones that play music from their walkmans or mp3 players? They look rather isolated from each other, don’t they? In some circumstances there might be a need of concentration (e.g., in studying), or people want to tune their mood (Brodsky 2002). In all those cases sounds may be the appropriate mean, as it was well known even to Thomas Edison, who used to accompany commercialization of his phonograph with a “mood change chart” aimed at surveying users reactions to that new technology. So, it seems that sounds have the potential to modulate human engagement (from isolation to arousal) in everyday environments, and this is an aspect that should be seriously considered when designing the artefacts that will populate the environments of the future, likely to be pervaded by Ambient Intelligence (AmI) in its various facets.
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| 6. |
- Rocchesso, Davide, et al.
(författare)
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Sonic Interaction Design : Sound, Information and Experience
- 2008
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Ingår i: Conference on Human Factors in Computing Systems - Proceedings. - New York, NY, USA : ACM. - 9781605580128 ; , s. 3969-3972
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Konferensbidrag (refereegranskat)abstract
- Sonic Interaction Design (SID) is an emerging field that is positioned at the intersection of auditory display, ubiquitous computing, interaction design, and interactive arts. SID can be used to describe practice and inquiry into any of various roles that sound may play in the interaction loop between users and artifacts, services, or environments, in applications that range from the critical functionality of an alarm, to the artistic significance of a musical creation. This field is devoted to the privileged role the auditory channel can assume in exploiting the convergence of computing,communication, and interactive technologies. An overemphasis on visual displays has constrained thedevelopment of interactive systems that are capable ofmaking more appropriate use of the auditory modality.Today the ubiquity of computing and communication resources allows us to think about sounds in a proactive way. This workshop puts a spotlight on such issues in the context of the emerging domain of SID.
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