China
Africa
Explore chapters and articles related to this topic
Attention in Perception and Display Space
Published in Christopher D. Wickens, Justin G. Hollands, Simon. Banbury, Raja. Parasuraman, Engineering Psychology and Human Performance, 2015
Christopher D. Wickens, Justin G. Hollands, Simon. Banbury, Raja. Parasuraman
By moving the eyes to a location, our visual system can selectively attend to the information at that location and ignore other information sources. Although there is no earball, three-dimensional (3D) audio technology (or 3D audio, discussed further in Chapter 4) can direct auditory attention by cueing, just as visual attention can be directed without eye movement. By simulating the cues we use to determine the spatial location of sound, 3D audio can be used to project auditory cues to the user in the full 360ͦ volume of space, even through traditional stereo headphones. Thus, one can use spatial audio to help direct attention of the pilot (or car driver) to identify targets of interest in the environment. In applied settings, the cueing of attention through the auditory modality confers a number of advantages. These include the use of an alternative channel to multiple visual information sources, and the ability to present a cue anywhere within the full 360ͦ volume of space. Further, unlike visual cueing, the time needed to make the attentional shift does not vary with the distance to the cue (Mondor & Zatorre, 1995).
Nonspeech Auditory and Crossmodal Output
Published in Julie A. Jacko, The Human–Computer Interaction Handbook, 2012
Sawhney and Schmandt (1999, 2000) developed a wearable computer-based personal messaging audio system called Nomadic Radio to deliver information and messages to users on the move. One of the aims of this system was to reduce the interruptions to a user caused by messages being delivered at the wrong time (e.g., mobile telephone calls being received in a meeting, a PDA beeping to indicate an appointment in the middle of a conversation). In the system, users wore a microphone and shoulder-mounted loudspeakers that provide a basic planar 3D audio environment (see Section 10.4.3) through which the audio was presented. A clock-face metaphor was used with 12:00 in front of the user’s nose, 3:00 by the right ear, 6:00 directly behind the head, and so on. Messages were then presented in the position appropriate to the time that they arrived. The advantage of the 3D audio presentation (as described above) is that it allows users to listen to multiple simultaneous sound streams at the same time and still be able to distinguish and separate each one (the “cocktail party” effect [Arons 1992] shows that listeners can attend one stream of sound among many, but also monitor the others in case they need attention).
Spatial audio psychoacoustics
Published in Francis Rumsey, Spatial Audio, 2012
Mixing and signal processing equipment can be used to introduce artificial panning and spatial effects to multiple monophonic sources so as to ‘spatialise’ them. In some 3D audio systems this is done using binaural algorithms that simulate HRTF and room modelling characteristics, but the result is then suitable mainly for headphone listening or some form of transaural loudspeaker reproduction (see Chapter 3). In most music recording for mainstream release this spatialisation is currently performed using relatively crude amplitude panning techniques together with artificial effects, although there is increasing interest in more psychoacoustically sophisticated tools.
The effect of audio on the experience in virtual reality: a scoping review
Published in Behaviour & Information Technology, 2023
Isak de Villiers Bosman, Oğuz ‘Oz’ Buruk, Kristine Jørgensen, Juho Hamari
Perhaps the most frequently discussed topic in the context of VR audio is that of binaural or spatial audio, which refers to audio that is delivered in such a way as to mimic human perception of audio in real 3-dimensional environments, thus providing each 3-D object with a localisable 3-D audio source (Geronazzo et al., 2013). The use of binaural audio in VR presents opportunities for novel uses of audio, such as providing virtual objects with their own localisable audio sources, which can make better use of the spatiality of VR environments without being as invasive as visual feedback (Kiss et al. 2020). Spatialization of this kind is enabled by the use of high-fidelity tracking technology which caters for valid SCs in the form of moving one's head and hearing the resulting change in audio (Noisternig et al. 2003). One audio-focused area of concern where this might be valuable is that of soundscape studies which focuses on the impact of sound and acoustics on the experiential properties of architectural and urban spaces (Brambilla and Di Gabriele 2009; Oberman, Bojanić Obad Šćitaroci, and Jambrošić 2018). This includes the investigation of different types of sounds, such as natural vs. artificial, and what effects they might have on human experiences, such as annoyance or restorativeness (Harriet and Murphy 2015; Uebel et al. 2021).
Auditory scene reproduction for tele-operated robot systems
Published in Advanced Robotics, 2019
Chaoran Liu, Carlos Ishi, Hiroshi Ishiguro
Regarding reproduction of 3D audio, surround sound systems provide a better spatial sensation by adopting multiple channel loudspeakers. In several studies, Directional Audio Coding (DirAC) technique has been applied for reproducing spatial sounds on multiple loudspeaker systems [10,11].