Design For Auditory Displays: Identifying Temporal And Spatial Information Conveyance Principles

Designing auditory interfaces is a challenge for current human-systems developers. This is largely due to a lack of theoretical guidance for directing how best to use sounds in today\u27s visually-rich graphical user interfaces. This dissertation provided a framework for guiding the design of audio interfaces to enhance human-systems performance. This doctoral research involved reviewing the literature on conveying temporal and spatial information using audio, using this knowledge to build three theoretical models to aid the design of auditory interfaces, and empirically validating select components of the models. The three models included an audio integration model that outlines an end-to-end process for adding sounds to interactive interfaces, a temporal audio model that provides a framework for guiding the timing for integration of these sounds to meet human performance objectives, and a spatial audio model that provides a framework for adding spatialization cues to interface sounds. Each model is coupled with a set of design guidelines theorized from the literature, thus combined, the developed models put forward a structured process for integrating sounds in interactive interfaces. The developed models were subjected to a three phase validation process that included review by Subject Matter Experts (SMEs) to assess the face validity of the developed models and two empirical studies. For the SME review, which assessed the utility of the developed models and identified opportunities for improvement, a panel of three audio experts was selected to respond to a Strengths, Weaknesses, Opportunities, and Threats (SWOT) validation questionnaire. Based on the SWOT analysis, the main strengths of the models included that they provide a systematic approach to auditory display design and that they integrate a wide variety of knowledge sources in a concise manner. The main weaknesses of the models included the lack of a structured process for amending the models with new principles, some branches were not considered parallel or completely distinct, and lack of guidance on selecting interface sounds. The main opportunity identified by the experts was the ability of the models to provide a seminal body of knowledge that can be used for building and validating auditory display designs. The main threats identified by the experts were that users may not know where to start and end with each model, the models may not provide comprehensive coverage of all uses of auditory displays, and the models may act as a restrictive influence on designers or they may be used inappropriately. Based on the SWOT analysis results, several changes were made to the models prior to the empirical studies. Two empirical evaluation studies were conducted to test the theorized design principles derived from the revised models. The first study focused on assessing the utility of audio cues to train a temporal pacing task and the second study combined both temporal (i.e., pace) and spatial audio information, with a focus on examining integration issues. In the pace study, there were four different auditory conditions used for training pace: 1) a metronome, 2) non-spatial auditory earcons, 3) a spatialized auditory earcon, and 4) no audio cues for pace training. Sixty-eight people participated in the study. A pre- post between subjects experimental design was used, with eight training trials. The measure used for assessing pace performance was the average deviation from a predetermined desired pace. The results demonstrated that a metronome was not effective in training participants to maintain a desired pace, while, spatial and non-spatial earcons were effective strategies for pace training. Moreover, an examination of post-training performance as compared to pre-training suggested some transfer of learning. Design guidelines were extracted for integrating auditory cues for pace training tasks in virtual environments. In the second empirical study, combined temporal (pacing) and spatial (location of entities within the environment) information were presented. There were three different spatialization conditions used: 1) high fidelity using subjective selection of a best-fit head related transfer function, 2) low fidelity using a generalized head-related transfer function, and 3) no spatialization. A pre- post between subjects experimental design was used, with eight training trials. The performance measures were average deviation from desired pace and time and accuracy to complete the task. The results of the second study demonstrated that temporal, non-spatial auditory cues were effective in influencing pace while other cues were present. On the other hand, spatialized auditory cues did not result in significantly faster task completion. Based on these results, a set of design guidelines was proposed that can be used to direct the integration of spatial and temporal auditory cues for supporting training tasks in virtual environments. Taken together, the developed models and the associated guidelines provided a theoretical foundation from which to direct user-centered design of auditory interfaces

Effect of Tactile Feedback on Performance

Humans interact with their environment by obtaining information from various modalities of sensing. These various modalities of sensing combine to facilitate manipulation and interaction with objects and the environment. The way humans interact with computers mirrors this environmental interaction with the absence of feedback from the tactile channel. The majority of computer operation is completed visually because currently, the primary feedback humans receive from computers is through the eyes. This strong dependence on the visual modality can cause visual fatigue and fixation on displays, resulting in errors and a decrease in performance. Distributing tasks and information across sensory modalities could possibly solve this problem. This study added tactile feedback to the human computer interface through vibration of a mouse to more accurately reflect a human\u27s multi-sensory interaction with their environment. This investigation used time off target to measure performance in a pursuit-tracking task. The independent variables were type of feedback with two levels, (i.e., tactile feedback vs no tactile feedback) and speed of target at three different levels, (i.e., slow, medium, and fast). Tactile feedback improved pursuit-tracking performance by 6%. Significant main effects where found for both the speed and feedback factors, but no significant interaction between speed and feedback was obtained. This improvement in performance was consistent with previous research, and lends further support to the advantages multimodal feedback may have to offer man-machine interfaces

From presence to consciousness through virtual reality

Immersive virtual environments can break the deep, everyday connection between where our senses tell us we are and where we are actually located and whom we are with. The concept of 'presence' refers to the phenomenon of behaving and feeling as if we are in the virtual world created by computer displays. In this article, we argue that presence is worthy of study by neuroscientists, and that it might aid the study of perception and consciousness

Landscapes of ephemeral embrace : a painter's exploration of immersive virtual space as a medium for transforming perception

The following text has been written to illuminate the research embodied In Ephemere, a fullyimmersive virtual environment which integrates stereoscopic 3D computer-generated images and spatialized 3D sound, with a user interface based on breathing, balance, and gaze. This artwork was begun when I entered the doctoral program at CAiNA (Centre of Advanced Inquiry Into the Interactive Arts) in 1997, and was completed in 1998. The work Ephemere is grounded in a very personal vision, developed over more than 25 years of artistic practice, including, most significantly, painting. Ephemere follows on its predecessor Osmose, and as such, Is a continuation of my efforts to: (I) explore and communicate my sensibility of what it means to be embodied, here now, in the living Rowing world; and (ii) use the medium of immersive virtual space to do so, necessarily subverting its culturally-biased conventions to achieve this goal. The contents of this text are most clearly indicated by its title: Landscapes of Ephemeral Embrace: A Painter's Exploration of the Medium of Immersive Virtual Space for Transforming Perception. And further, by its chapter headings: (I) Context: Rethinking Technology in the "Reign of King Logos ; (II) Defining Terms: Key Concepts and Concerns in the Work; (III) Origins of the Work in Prior Artistic Practice: Emergence of Key Concerns and Strategies; (IV) First Explorations in Immersive Virtual Space: Osmose; (V) Continuing Explorations In Immersive Virtual Space: Ephemere; and (VI) Strategies and Their Implications In the Immersive Experience. In this text, I have focused my discussion on artistic Intent, rather than on whether I have been successful, for this can only be evaluated with the passing of time

The interaction of fatigue and load on reaction time and decision-making during an affordance-based task

The process by which an athlete is attuned to their affordances for action in a given environment is known as perceptual-motor calibration. However, given that athletes operate in dynamic, fluid environments, they must be able to recalibrate to account for perturbations, such as fatigue or load carriage. PURPOSE: To examine the independent and interactive effects of low intensity to fatiguing exercise and load carriage on perceptual-motor calibration PROCEDURES: 23 participants (Age (yrs) = 25.26 ± 3.26) completed an incremental fatigue protocol, with stages of low, moderate, high, and fatiguing intensities, on two separate occasions (loaded/unloaded). At baseline and the end of every stage, subjects made perceptual-motor judgements for maximal jump distance, and the accuracy of judgements (ACC) and reaction time (RT) were calculated. 2x5 ANOVAs, or nonparametric equivalents, were utilized to test for mean differences in ACC and RT across exercise intensity and load carriage conditions. RESULTS: No interaction of exercise intensity and load carriage was detected, or main effect of load carriage. A main, quadratic effect of exercise intensity was detected on RT (F = 18.587, p < 0.001), with RTs decreasing through the moderate stage (Mean Difference (ms) = -38.25) and increasing through post-fatigue (Mean Difference (ms) = 38.817), however no effect was detected on ACC. CONCLUSIONS: The results indicate that exercise has a significant effect on perceptual-motor calibration, with improvements through moderate intensity exercise, and decrements with higher intensities, necessitating recalibration. However, load carriage appears to not have a significant impact on perceptual-motor calibration

Pan European Voice Conference - PEVOC 11

The Pan European VOice Conference (PEVOC) was born in 1995 and therefore in 2015 it celebrates the 20th anniversary of its establishment: an important milestone that clearly expresses the strength and interest of the scientific community for the topics of this conference. The most significant themes of PEVOC are singing pedagogy and art, but also occupational voice disorders, neurology, rehabilitation, image and video analysis. PEVOC takes place in different European cities every two years (www.pevoc.org). The PEVOC 11 conference includes a symposium of the Collegium Medicorum Theatri (www.comet collegium.com

Exploring the Lived-Experience of business model innovation

Due to increasingly complex and uncertain environments, businesses must deal with multiple competing and often opposing models, what we may call 'ontological relativity'. To deal with this, the practice of innovation management requires a new type of practical-epistemology. The best insight into these new types of knowledge is an exploration of lived experience of innovation management practitioners. This research then explores the phenomena involved in the practice of business model innovation in the context of two innovation projects. To achieve these goals, a phenomenological method is used to uncover fundamental aspects of the innovation process. The outcome of the inquiry is a set a set of phenomena that hope to contribute to the discourse around this emerging field of management knowledge

Panoramic Still-Lifes: Art, Perception, and Being in the Works of Virginia Woolf

This project is an interdisciplinary study of Virginia Woolf’s artistic representation of perception in her writing and in particular in her early short story prose experiments, her posthumously published memoir, and three of her major novels. I use a phenomenological framework, drawing primarily from the ideas of Maurice Merleau-Ponty, to identify Woolf’s philosophical aesthetic, and to trace how she presents in her fiction an immersive and intersubjective form of realism through vivid descriptions of the object world. The first part of the project analyzes Woolf’s stylistic aims within the context of Post-Impressionism, examining, through interpretive comparisons between visual art and literature, how her approaches and artistic sensibilities aligned with those of Bloomsbury Group members, most notably, the art critic Roger Fry and her sister, Vanessa Bell, a distinguished avant-garde painter. The second part of the study engages in close readings of three of Woolf’s novels — Jacob’s Room, Mrs. Dalloway, and The Years — to reveal how Woolf’s understanding of time, perception, and embodiment prefigures and engages with early to mid-twentieth century phenomenological and materialist trends of thought in its articulation of the intervening spaces and interactions between humans and the object world

Designing for Aesthetic Experiences from the Body and Felt-Sense

Third Wave Human Computer Interaction (HCI) has opened the door for research agendas placing the lived body in the centre of discussion. However, aspects such as the articulation of aesthetic experiences, as well as the transference of somatic values into the design practice require more systematic methods to analyse, articulate and frame those values into practical design solutions. Recognising this gap, this thesis investigates the use of bodily self-awareness and subjective experience as a material for accessing discoveries, by integrating theoretical and practical principles from Eugene Gendlin’s psychosomatic technique Focusing into the fields of design and HCI. Particularly important is Gendlin’s notion of felt sense, which can be defined as a state; a complex bodily sense of implicit knowing, consisting of an implicit source of sensations, feelings, memories, thoughts and other manifestations difficult to label through straightforward definitions. These manifestations are carefully articulated and documented by those who experience the felt-sense, becoming the material capture of aesthetic experiences used for research and practice. The research questions are developed around how aesthetic qualities emerging from the interaction with the felt-sense, objects and technology assist in the meaning-generation process, and how these outcomes can be utilised in design practice. In terms of methodology, this thesis is inspired by phenomenological research, and follows the conventions of design-oriented research towards the generation of knowledge for design. Four studies were run, dealing with the exploration of novel design methods, and the use of sensory stimuli on the body during the practice of Focusing. As a result, this thesis contributes with a set of Focusing-oriented design methods dealing with different stages of the design process, ranging from inspiration, data collection, ideation, evaluation and prototyping