Auditory Interfaces - Serafin, Stefania

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Résumé :

List of Figures

List of Tables

Preface

0.1 Introduction

0.2 Overview

0.3 The Authors

1 Nonspeech audio: an introduction

1.1 Introduction

1.2 What About Noise?

1.3 Figure and Ground in Audio

1.4 Sound and the Visually Impaired

1.5 Auditory Display Techniques

1.6 Some Examples

1.7 Sound in Collaborative Work

1.8 Function and Signal Type

1.8.1 Alarms and Warning Systems

1.9 Audio Cues and Learning

1.10 Perception and Psychoacoustics

1.11 The Logistics of Sound

1.12 Summary

2 Acoustics and psychoacoustics

2.1 Introduction

2.2 Acoustics

2.2.1 Waveforms

2.2.2 Fourier analysis and spectral plots

2.3 More Complex waves

2.3.1 Sound, Obstacles, Bending and Shadows

2.3.2 Phase: its Implication on Sound and Representations

2.3.3 The Inverse Square Law

2.3.4 Helmholtz Revisited

2.3.5 Spectrograms

2.3.6 Formants vs Partials

2.4 Some digital signal processing concepts

2.5 Spatial Hearing

2.5.1 Head-related transfer functions (HRTF)

2.5.2 3D sound distance and reverberation

2.6 Psychoacoustics

2.6.1 Just Noticeable Difference (JND)

2.6.2 Critical Bands

2.6.3 Pitch

2.6.4 Pitches, Intervals, Scales and Ratios

2.6.5 Loudness

2.6.6 Duration, Attack Time and Rhythm.

2.6.7 Microvariation and Spectral Fusion

2.6.8 Timbre

2.6.9 Masking

2.6.10 Auditory Streaming

2.6.11 Sounds with Variations

2.6.12 Psychoacoustic Illusions

2.7 Perception of 3D sound

2.7.1 Precedence / Hass effect

2.7.2 Binaural Rendering

2.8 Hearing versus listening

2.9 Annoying sounds

2.10 Pleasant sounds

2.11 Embodied sound and music cognition

2.12 Conclusions

3 Sonification

3.1 Introduction

3.2 History

3.3 Model based sonification

3.4 Case Studies

3.4.1 Case Study 1: Presenting Information in Sound

3.4.2 Case Study 2: Dynamic Representation of Multivariate Time Series Data

3.4.3 Case Study 3: Stereophonic and Surface Sound Generation

3.4.4 Case Study 4: Auditory Presentation of Experimental Data

3.4.5 Case Study 5: Sonification of EEG data

3.5 Discussion

3.6 Issues

3.7 Issues of Data

3.7.1 Issues of Sound Parameters

3.7.2 Issues of Evaluation

3.8 Conclusions

4 Earcons

4.1 Introduction

4.2 Case Studies

4.2.1 Case Study 1: Alarms and Warning Systems

4.2.2 Alarms as Applied Psychoacoustics

4.2.3 Problems With Traditional Alarms and Convergences with Audio Interfaces

4.2.4 Case Study 2: Concurrent earcons

4.2.5 Case Study 3: Earcons for visually impaired users

4.3 Conclusions

5 Everyday listening

5.1 Introduction

5.2 Musical and Everyday Listening

5.2.1 Musical and Everyday Listening are Experiences

5.3 The Psychology of Everyday Listening

5.3.1 Knowledge About Everyday Listening

5.4 The Ecological Approach To Perception

5.4.1 Developing An Ecological Account Of Listening

5.5 What Do We Hear?

5.6 The Physics of Sound-Producing Events

5.7 Vibrating Objects

5.7.1 Aerodynamic Sounds

5.7.2 Liquid Sounds

5.7.3 Temporally Complex Events

5.8 Asking People What They Hear

5.9 Attributes of Everyday Listening

5.10 Patterned, Compound, and Hybrid Complex Sounds

5.10.1 Problems and Potentials of the Framework

5.11 How Do We Hear It?

5.12 Analysis and Synthesis of Sounds and Events

5.12.1 Breaking and Bouncing Bottles

5.12.2 Impact Sounds