Using sonification

The idea behind sonification is that synthetic non-verbal sounds can represent numerical data and provide support for information processing activities of many different kinds. This article describes some of the ways that sonification has been used in assistive technologies, remote collaboration, engineering analyses, scientific visualisations, emergency services and aircraft cockpits. Approaches for designing sonifications are surveyed, and issues raised by the existing approaches and applications are outlined. Relations are drawn to other areas of knowledge where similar issues have also arisen, such as human-computer interaction, scientific visualisation, and computer music. At the end is a list of resources that will help you delve further into the topic.     

The sonification space: A reference system for sonification tasks

Sonification is a fairly new term to scientists who are unaware of its multiple use cases. Even if some general definitions of the concept of sonification are commonly accepted, heterogeneous techniques – significantly different as it regards approaches, means and goals – are available. In this work we propose a reference system useful to interpret already-existing sonification instances and to plan new sonification tasks. This work aims to present a reference system for sonification using the inherent properties in the sonic output rather than the data itself. Validation has been conducted by automatically analyzing available experiments and examples, and placing them on the proposed sonification space, according to time-granularity and abstraction-level dimensions. This work can constitute the starting point for future research on computer-assisted sonification. It will be beneficial to a wide range of readers, in particular those from different disciplines looking at new ways to present and analyze data.     

Aesthetic strategies in sonification

Sound can be listened to in various ways and with different intentions. Multiple factors influence how and what we perceive when listening to sound. Sonification, the acoustic representation of data, is in essence just sound. It functions as sonification only if we make sure to listen attentively in order to access the abstract information it contains. This is difficult to accomplish since sound always calls the listener’s attention to concrete—whether natural or musical—points of references. Important aspects determining how we listen to sonification are discussed in this paper: elicited sounds, repeated sounds, conceptual sounds, technologically mediated sounds, melodic sounds, familiar sounds, multimodal sounds and vocal sounds. We discuss how these aspects help the listener engage with the sound, but also how they can become points of reference in and of themselves. The various sonic qualities employed in sonification can potentially open but also risk closing doors to the accessibility and perceptibility of the sonified data.     

Interactive sonification of complex data

In this paper we present two experiments on implementing interaction in sonification displays: the first focuses on recorded data (interactive navigation) and the second on data gathered in real time (auditory feedback).Complex synthesised data are explored in the first experiment to evaluate how well the known characteristics present in the data are distinguished using different interaction methods, while real medical data (from physiotherapy) are used for the second.The addition of interaction to the exploration of sonified recorded data improves the system usability (efficiency, effectiveness and user satisfaction), and the real-time sonification of complex physiotherapy data can produce sounds with timbral characteristics that audibly change when important characteristics present in the data vary.     

Cosmic ray sonification: the COSMOPHONE

The Cosmophone is an attempt to show the close connections existing between the infinitely small and the infinitely large in sensory terms by detecting and imaging the continuous flow of elementary particles (cosmic rays) originating from our entire galaxy.     

Soundscape, sonification, and sound activism

In this article, the author will argue that the act of listening through public soundwalks and other formal and informal exercises builds environmental and social awareness and promotes changes in social and cultural practices. By examining the act of listening as an alternative pathway and comparing the research, writings, and creative work of leaders of the acoustic ecology movement (i.e., R. Murray Schafer, Hildegard Westerkamp, and Bernie Krause), the author hopes to shed light on these potentials. For purposes of comparison, projects that explore the sonification and audification of inaudible signals will be examined, including the work of Christina Kubisch. The process of audification and sonification of these signals will be examined in comparison to soundscape experiences in order to develop a theory of data sonification based on the soundscape. In order to build a community around the urban soundscape, in 2003, the author co-founded the New York Society of Acoustic Ecology. Through this endeavor, she co-created the ongoing NYSoundmap and Sound Seeker projects, which provide some practical research for this article. Thus, by comparing and contrasting theoretical writings with leading listening exercises, public soundwalks, soundscape-related brainstorming sessions, and presenting field recordings in various settings, new methodologies will be documented.     

The Pulse of the Earth and sonification

Le Souffle de la Terre/The Pulse of the Earth is an on-going sound work (1996–20–) by the artist L. Abenavoli. She outlines the sonification methods employed in the making of the work in an analysis of its technical and conceptual features. The work is described in terms of her artistic objectives.     

What we talk about when we talk about context

The emergence of ubiquitous computing as a new design paradigm poses significant challenges for human-computer interaction (HCI) and interaction design. Traditionally, HCI has taken place within a constrained and well-understood domain of experience—single users sitting at desks and interacting with conventionally-designed computers employing screens, keyboards and mice for interaction. New opportunities have engendered considerable interest in context-aware computing—computational systems that can sense and respond to aspects of the settings in which they are used. However, considerable confusion surrounds the notion of context—what it means, what it includes and what role it plays in interactive systems. This paper suggests that the representational stance implied by conventional interpretations of context misinterprets the role of context in everyday human activity, and proposes an alternative model that suggests different directions for design.

High-level control of sound synthesis for sonification processes

Methods of sonification based on the design and control of sound synthesis is presented in this paper. The semiotics of isolated sounds was evidenced by performing fundamental studies using a combined acoustical and brain imaging (event-related potentials) approach. The perceptual cues (which are known as invariants) responsible for the evocations elicited by the sounds generated by impacts, moving sound sources, dynamic events and vehicles (car-door closing and car engine noise) were then identified based on physical and perceptual considerations. Lastly, some examples of the high-level control of a synthesis process simulating immersive 3-D auditory scenes, interacting objects and evoked dynamics are presented.     

Waveguide synthesis for sonification of distributed sensor arrays

A decade of work is outlined based on the use of sensors on plants that are used to change the parameters of a fixed rotation of overlapping pitches. The use of waveguide, physical modeling synthesis, allows the repeated music figures to be changed in timbral space in real time in a discernable set of ongoing parameter mapping from a large data set being generated by various biological and atmospheric sensors.     

What software reality is really about

Software reality is more about people working together than it is about defined processes; it's more about science than it is about computer science; it's more about understanding than it is about documentation; it's more about inquiry than it is about metrics; it's more about skill than it is about methods; it's more about becoming better than it is about being good; and it's more about being good enough than it is about being right or wrong     

美国萨班斯法案给我们带来的思考

针对安然、世通等财务欺诈事件，美国国会出台了《2002年公众公司会计改革和投资者保护法案》。该法案由美国众议院金融服务委员会主席奥克斯利和参议院银行委员会主席萨班斯联合提出，又被称作《2002年萨班斯一奥克斯利法案》(简称萨班斯法案)。法案对美国《1933年证券法》、《1934年证券交易法》作了不少修订，在会计职业监管、公司治理、     

Relationships of sonification to music and sound art

The definition of sonification has been reframed in recent years but remains somewhat in flux; the basic concepts and procedural flows have remained relatively unchanged. Recent definitions have focused on the objective the important uses of sonification in terms of scientific method. The full realization of the potential of the field must also include the craft and art of music composition. The author proposes examining techniques of sonification in a two-order framework: direct and procedural. The impact of new technologies and historical roots of that work argues that framing this broad topic should be in terms inclusive of scientific method and craftsmanship and art. The expressive use of sonic time-based data flows needs to be refined and expanded. The unexamined territory of how a broad-based population of listeners on a subjective, as well as objective level needs, have to be included in this new field.     

Musical sonification supports visual discrimination of color intensity

ABSTRACT

Visual representations of data introduce several possible challenges for the human visual perception system in perceiving brightness levels. Overcoming these challenges might be simplified by adding sound to the representation. This is called sonification. As sonification provides additional information to the visual information, sonification could be useful in supporting the visual perception. In the present study, usefulness (in terms of accuracy and response time) of sonification was investigated with an interactive sonification test. In the test, participants were asked to identify the highest brightness level in a monochrome visual representation. The task was performed in four conditions, one with no sonification and three with different sonification settings. The results show that sonification is useful, as measured by higher task accuracy, and that the participant's musicality facilitates the use of sonification with better performance when sonification was used. The results were also supported by subjective measurements, where participants reported an experienced benefit of sonification.     

Algorithmic approach to sonification of classical Chinese poetry

The classical Chinese poetry is a remarkable form of art in traditional Chinese character. However, it is difficult for people who are unfamiliar with ancient Chinese to experience the artistic content of the poetry. In this study, a sonification scheme, Tx2Ms (Text-to-Music), is proposed to extract the poetry features between lines in verses; moreover, dynamics and interval relations are modeled to map those features to the movement of multi-dimensional musical elements such as durations. This conversion is based on poetry intonation and acoustic analysis of the pronunciations of poems; and a stochastic compositional algorithm is created by applying a Markov chain. In addition, the best pentatonic mode for a specific poem is recommended according to the formants analysis. Therefore, the sonification of classical Chinese poetry not only provides a novel way for people to appreciate Chinese poetry but also enriches the state of mind and imagery in the delivery process, and the experiment results show that the proposed system is successfully accepted by most people.     

What do people know about eco-driving?

Abstract

An online survey of 321 respondents revealed that the majority of people are aware of eco-driving and have a positive attitude towards it. Although the types of eco-driving tips offered by respondents, and their potential effect on fuel consumption, were in line with those found in the popular and academic literature, knowledge of specific fuel saving behaviours was generally low. Relationships were found between environmental attitudes and knowledge of, and propensity to perform eco-driving behaviours; however, these relationships were weak, indicating that neither pro-environmental attitudes nor knowledge of eco-driving behaviours is strongly indicative of actual eco-driving performance. Males were found to be more knowledgeable of the means for driving in a fuel-efficient manner than females; however, no effect was found for either age or level of general education. Results are discussed in terms of the challenges and opportunities for encouraging eco-driving, and the necessity for both governmental and industry involvement.

Practitioner Summary: To successfully encourage the uptake of eco-driving (e.g. through policy, training and feedback) it is first necessary to understand how the general public perceives it, and what they already know of it. This survey study addresses this by looking at relationships between environmental attitudes and knowledge, and specific eco-driving measures.