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Sound Interaction Design and Creation in the Context of Urban Space
Abstract
This paper reports current theoretical and creative results of a postdoctoral research study entitled Sound Design for Urban Spaces. It focuses on the design process of novel audio devices and on encouraging people in transit through the city to explore technology-empowered listening strategies. In this paper, the practice of urban sound design will be raised and some conceptual contributions concerning listening, acoustic analysis and sonic interaction will be discussed. We will extract some design insights that have been inspiring in the creation process of the Smartphone Ensemble, The AirQ Jacket and Lumina Nocte. These projects have been got under way along with MA students from the Design and Creation program at the Caldas University in Manizales, Colombia.
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This article proposes a taxonomy of mobile sound (art) with four categories – “musical instruments”, “sonifying mobility”, “sound platforms” and “placed sounds” – that each present distinct ways of articulating sonic mobility. The category “placed sounds” is explored in more detail by outlining a recently emerged range of locative audio genres, including touristic, historical, educational, musical, and experimental themes as well as fiction and games. This article argues that the concept of “Sonic Interaction Design” is of particular importance in the mobile context where audiences or users are already suffering from visual overload. It discusses how walking is key to the interaction design of placed sound.
This text discusses the social mobility and its changes in the urban space, promoted by the development of communication media resulting from the dynamics of industrialization and from the new era’s urbanization. The media remodel the urban spaces, the suburbs, the center, give dynamism to public transportation and make these web-organisms, the cities, more complex.
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Many mobile devices, specifically mobile phones, come equip-ped with a microphone. Microphones are high-fidelity sen-sors that can pick up sounds relating to a range of physi-cal phenomena. Using simple feature extraction methods, parameters can be found that sensibly map to synthesis al-gorithms to allow expressive and interactive performance. For example blowing noise can be used as a wind instru-ment excitation source. Also other types of interactions can be detected via microphones, such as striking. Hence the microphone, in addition to allowing literal recording, serves as an additional source of input to the developing field of mobile phone performance.
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 the
development of interactive systems that are capable of
making 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.
An overview of emerging topics, theories, methods, and practices in sonic interactive design, with a focus on the multisensory aspects of sonic experience.
Sound is an integral part of every user experience but a neglected medium in design disciplines. Design of an artifact's sonic qualities is often limited to the shaping of functional, representational, and signaling roles of sound. The interdisciplinary field of sonic interaction design (SID) challenges these prevalent approaches by considering sound as an active medium that can enable novel sensory and social experiences through interactive technologies. This book offers an overview of the emerging SID research, discussing theories, methods, and practices, with a focus on the multisensory aspects of sonic experience.
Sonic Interaction Design gathers contributions from scholars, artists, and designers working at the intersections of fields ranging from electronic music to cognitive science. They offer both theoretical considerations of key themes and case studies of products and systems created for such contexts as mobile music, sensorimotor learning, rehabilitation, and gaming. The goal is not only to extend the existing research and pedagogical approaches to SID but also to foster domains of practice for sound designers, architects, interaction designers, media artists, product designers, and urban planners. Taken together, the chapters provide a foundation for a still-emerging field, affording a new generation of designers a fresh perspective on interactive sound as a situated and multisensory experience.
ContributorsFederico Avanzini, Gerold Baier, Stephen Barrass, Olivier Bau, Karin Bijsterveld, Roberto Bresin, Stephen Brewster, Jeremy Coopersotck, Amalia De Gotzen, Stefano Delle Monache, Cumhur Erkut, George Essl, Karmen Franinović, Bruno L. Giordano, Antti Jylhä, Thomas Hermann, Daniel Hug, Johan Kildal, Stefan Krebs, Anatole Lecuyer, Wendy Mackay, David Merrill, Roderick Murray-Smith, Sile O'Modhrain, Pietro Polotti, Hayes Raffle, Michal Rinott, Davide Rocchesso, Antonio Rodà, Christopher Salter, Zack Settel, Stefania Serafin, Simone Spagnol, Jean Sreng, Patrick Susini, Atau Tanaka, Yon Visell, Mike Wezniewski, John Williamson
Physical space is often used as a means for sound organization. Furthermore, our environment can be sonically augmented, highlighting hidden aspects of it or proposing a whole new reinterpretation. On this basis, we present SonicMaps, a new locative audio tool and complete solution for sound geolocation. Using a number of sensors on mobile devices, the SonicMaps application virtually places sounds into real space providing panning and amplitude information. These sounds are played back as we walk into predefined areas which can be overlapped into layers according to compositional purposes. A custom Dynamic Content Server (DCS) automatically updates audio files for selected locations according to a set of environment variables (time, temperature, etc.) creating a dynamic piece of music that emphasizes the link between sound materials and their assigned physical location. Additionally, a OSC module has been implemented in order to send users positions and sensor data to a remote server. This data can then be musically interpreted in a concert hall to establish creative links between distant spaces.
This chapter discusses distributed cognition as a framework for exploring the cognitive implications of the commonsense observation that different properties may emerge at different levels of organization in systems characterized by multiple levels of interacting elements. Distributed cognition as applied to sociocultural systems suggested an answer to the question of how low-level processes create high-level cognition. The idea here is that high-level cognition is produced by the culturally orchestrated application of low-level cognitive processes to cultural materials, i.e. elements of language, sign systems, and inscriptions of all sorts. A central claim of distributed cognition is presented and discussed, which posits that the proper unit of analysis for cognition should not be set a priori, but should be responsive to the nature of the phenomena under study here.
Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of sounds on listeners. In a multidisciplinary work spanning musicology, electro-acoustic composition, architecture, urban studies, communication, phenomenology, social theory, physics, and psychology, Jean-François Augoyard, Henry Torgue, and their associates at the Centre for Research on Sonic Space and the Urban Environment (CRESSON) in Grenoble, France, provide an alphabetical sourcebook of eighty sonic/auditory effects. Their accounts of sonic effects such as echo, anticipation, vibrato, and wha-wha integrate information about the objective physical spaces in which sounds occur with cultural contexts and individual auditory experience. Sonic Experience attempts to rehabilitate general acoustic awareness, combining accessible definitions and literary examples with more in-depth technical information for specialists. From the book: Cocktail or Cocktail Party: Our ability to focus attention on the speech of a specific speaker by disregarding irrelevant information coming from the surroundings. From the physical point of view, one of the predominant elements is the spatial separation of noise and speech, on the psycho-physiological level, selective listening is governed by our capacity to discriminate sounds from different sources - that is, by our capacity to localize in the noise.
This article attempts to define and classify the aesthetic and technical principles of interconnected musical networks. It presents an historical overview of technological innovations that were instrumental for the development of the field and discusses a number of paradigmatic musical networks that are based on these technologies. A classification of online and local-area musical networks then leads to an attempt to define a taxonomical and theoretical framework for musical interconnectivity, addressing goals and motivations, social organizations and perspectives, network architectures and topologies, and musical content and control. The article concludes with a number of design suggestions for the development of effective interconnected musical networks.
The walkman – a cassette recorder for headphone listening. This gadget, originally invented and marketed by Sony in the spring of 1980 in Japan, and soon exported, has become known throughout the West, however awkward its Japanese-made English may sound. As its use has proliferated, so have the arguments about its effects. One example, a report in Nouvel Observateur , was cited by Philippe Sollers (Sollers 1981, p. 50). The interviewer, apparently, asks young people (eighteen to twenty-two years old) the following: whether men with the walkman are human or not; whether they are losing contact with reality; whether the relations between eyes and ears are changing radically; whether they are psychotic or schizophrenic; whether they are worried about the fate of humanity. One of the interviewees replies: your question is out-of-date. All of these problems of communication and incommunicability, according to him, belong to the sixties and the seventies. The eighties are not the same at all. They are the years of autonomy , of an intersection of singularities in the construction of discourses. Soon, he says, you will have every kind of film on video at home, every kind of classical music on only one tape. This is what gives me pleasure.
Mobile phones offer an attractive platform for interactive music performance. We provide a theoretical analysis of the sensor capabilities via a design space and show concrete examples of how different sensors can facilitate interactive performance on these devices. These sensors include cameras, microphones, accelerometers, magnetometers and multitouch screens. The interactivity through sensors in turn informs aspects of live performance as well as composition though persistence, scoring, and mapping to musical notes or abstract sounds.
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