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Efter att jag hittat relevant kunskap i samhället och identifierat vilka brister det finns som jag kan ta vid och utveckla vidare, så har jag förankrat detta i forskning. Dels för att jag även jobbar med ljudlandskap i examensarbetet men också för att undersöka vad som görs inom vetenskapen med ljudlandskap och olika typer av AR.

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Interaction in Augmented Reality: Challenges to Enhance User Experience

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Interaction in Augmented Reality: Challenges to Enhance User Experience

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Utifrån det kunskapande jag nu tagit mig för så har jag börjat titta på vilka tekniker som finns för att skapa relevanta lösningar inom området och även tittat på vad som finns redan.

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Designing the user experience of musical sonification in public and semi-public spaces

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Designing the user experience of musical sonification in public and semi-public spaces

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Listening geographies: Landscape, affect and geotechnologies

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Listening geographies: Landscape, affect and geotechnologies

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This paper argues for expanded listening in geography. Expanded listening addresses how bodies of all kinds, human and more-than-human, respond to sound. We show how listening can contribute to research on a wide range of topics, beyond enquiry where sound itself is the primary substantive interest. This is demonstrated through close discussion of what an amplified sonic sensibility can bring to three areas of contemporary geographical interest: geographies of landscape, of affect, and of geotechnologies.

Everything that is resounds ... The landscape resounds; facades, caricatures, halos, shadows dance across it. ( Lingis, 1998: 100)

I Introduction

This paper makes the case for radically expanding listening in human geography. Expanded listening refers to the varied ways in which bodies of all kinds - human and more-than-human - respond to sound. Drawing on insights from sound studies and sonic geographies, our aim is to encourage broader applications of listening in geographical research, on a range of topics. We discuss three areas where sonic sensibilities are already evident, or emergent, but where we hear particularly productive possibilities for extending them: in research on landscape, affect and geotechnologies. These are sequenced to work outwards from the dominant anthropocentric understanding of listening, beginning by deepening and expanding human listening (in relation to landscape), then considering how sound moves bodies beyond cochlear listening and human consciousness (as affects and atmospheres), and finally exploring forms of listening in which human bodies are marginal (vibrations in earth materials and machines). As the visual medium of text is not ideal for encouraging listening, we have provided audio clips of some of our examples.

In recent years there has been 'a veritable avalanche of scholarship devoted to the interconnections between sound and space' ( Born, 2013: 4), including major works in the transdiscipline of sound studies (e.g. Augoyard and Torgue, 2008; Blesser and Salter, 2007; LaBelle, 2006, 2010). Across this literature, three overlapping themes can be identified. First, there is work that treats sound as a medium of knowledge, understanding listening as a 'hermeneutic disposition' ( Revill, 2013: 58). Feld's concept of acoustemology ( 1996) frames sound as a distinctive medium for knowing the world, a notion that underpins research on such varied themes as the semiotics of music ( Faudree, 2012; Henriques, 2011), the representational qualities of soundscape composition ( Drever, 1999, 2002; Montgomery, 2009; Rennie, 2014), and the use of listening in producing medical knowledge ( Rice, 2013), folklore ( MacDonald, 2011), ornithology ( Matless, 2000; Lorimer, 2007), and knowledge about particular places ( Butler, 2006, 2007; Adams, 2009; Gallagher and Prior, 2014).

Second, there is scholarship addressing sound as a productive and performative force that creates spaces. Research has explored, for example, how sound organizes and reconfigures urban territories ( Atkinson, 2007; Augoyard and Torgue, 2008; LaBelle, 2010), the use of sonic power in institutional spaces ( Jones, 2005; Gallagher, 2010, 2011), and the role of sound art in the production of space ( Pinder, 2001; Butler and Miller, 2005; DeSilvey, 2010; Gallagher, 2014, 2015a, 2015b; Revill, 2014; Montgomery, 2011).

Third, attention has been paid to the geographies of sonic affects, bodily sensations and emotions, within the wider turn towards post-phenomenological theories, in which listening is untethered from cochlear reception ( Scrimshaw, 2013). Research has examined how sound moves bodies ( Gallagher, 2016), including through various kinds of noise nuisance ( Atkinson, 2007; Lorimer, 2013), sonic warfare ( Goodman, 2009), and sonic affects in domestic and other everyday spaces ( Anderson, 2004; Boyd and Duffy, 2012; Duffy and Waitt, 2013; Waitt et al., 2015). The emotional dimensions of listening in research encounters have been discussed ( Bennett et al., 2015), as has the role of sonic affect in forming the self ( Simpson, 2009). Other forms of sonic affect addressed by geographers include voices ( Kanngieser, 2012), micro-radio ( Kanngieser and Kogawa, 2013), and tinnitus ( Atkinson, 2011; Ash, 2015).

Nevertheless, sound remains a neglected concern within human geography as a whole. Geographers routinely listen to and make sounds - during oral presentations, field trips, interviews and so on - but in most cases these practices are not adequately theorized or subjected to critical reflection. Despite all of the work reviewed above, it is still all too common for simplistic assumptions about sound and listening to be uncritically reproduced in geography. Listening tends to be understood in implicitly anthropocentric terms, linked to human consciousness and aurality (hearing through the ear). Other kinds of sonic encounters are frequently left out. For example, while a recent article on methods for animal geographies ( Hodgetts and Lorimer, 2015) briefly refers to aural inter-species communication, no mention is made of the wealth of relevant work in wildlife sound recording and bioacoustics. Similarly, Oosterlynck and Swygedouw's (2010) research on struggles over aircraft noise in Brussels focuses almost exclusively on the underlying politics. Noise - a complex, contentious concept within the sound studies literature - is treated as a straightforward environmental pollutant, without any discussion or theorization. These articles are by no means unusual; they merely exemplify the marginal status of sound and listening within mainstream human geography.

As a discipline addressing the earth in all its diversity, geography needs to develop broader sonic sensibilities. Every space and place sounds and resounds, every living body and being vibrates, and every kind of material, object and surface has acoustic properties. Conceiving of listening in a narrowly anthropocentric way is wholly inadequate for understanding this profoundly polyphonic world. An expanded conception of listening concerns the responsiveness of bodies encountering sound - bodies of any and every kind, in different ways and contexts. The sound studies and sonic geographies literatures cited above have helped to enlarge the horizons of listening. Our aim in this paper is to bring these ideas and practices into other areas of geographical enquiry. The rationale for doing so is threefold.

First, expanded listening enables us to recognize that sound affects bodies, human and more-than-human, in ways that extend beyond human perception, cognition and knowledge. Perception and thought clearly play an important part in human listening, but using a universalized human consciousness as a guide for listening in its entirety - as though listening were only that and nothing else - creates an overly narrow field of enquiry. Expanded listening attends to any and every kind of kinetic oscillation, generating insights into the interrelations and flows between humans, animals, objects, technologies, materials, infrastructures, and environments. It has been suggested that such relations can be better understood using the metaphor of fluids rather than the networks of Actor Network Theory (e.g. Sheller, 2004); listening to sound, as waves moving through fluids such as air and water, is helpful for making this conceptual shift.

In particular empirical contexts, however, it may make sense to listen more closely to some of these elements than others. Rather than favouring any one theorization of sound and space, we want to recognize the different analytical functions they perform. If the object of analysis is, say, the affects generated by noise in buildings, then sound might be heard as a spatially disruptive force that transgresses boundaries and territories. Alternatively, if the aim is to explore how such noise is managed through architecture and design, it may be more useful to conceive of sound as waves moving within spaces, and examine how the material qualities of those spaces shape sound. Sounds both produce spaces and are produced by them, in all kinds of ways. Different conceptualizations of this relationship need not be mutually exclusive. They can be used selectively or in combination, as filters that attune analysis to different aspects of the matter at hand.

All of these themes stress the inherent complexity of sound. Sound simultaneously creates, reinstates and breaks apart boundaries, impressions, and associations. It does more than one thing; indeed it often does many contradictory things, at the same time, to many different bodies. This complexity cannot be shied away from; sound cannot be reduced to make it easier to understand, or tied down to a set of consistent functions across different domains. The ephemeral, fluid, mobile and relational qualities of sound, while difficult to pin down, need this difficulty in order to function productively. Rather than reducing sound to fit a narrow set of listening practices, those practices must be expanded to encompass the diversity and multiplicity of sound.

II An expanded concept of listening

In the social sciences, listening is predominantly orientated towards the human. This focus is evident in research practices which explore what people have to say about their lives ( Back, 2007; Gallagher, 2013), phenomenological accounts of how sound is experienced ( Ingold, 2007), and notions of listening as a conduit for understanding the self ( Nancy, 2007) or as intersubjective exchange ( Bennett et al., 2015). Such perspectives generate important insights, but they struggle to address the full potential of listening to extend beyond the human to engage with other forms of life. Geography's concern with the earth as a whole points towards the need for an expanded conception of listening, as the responsiveness of bodies and materials encountering sound. Bodies, in this formulation, include human and more-than-human entities, while materials could include everything from microscopic particles to large-scale landforms. Our interest is not simply in how sound moves through these bodies and materials. Rather we are concerned with those situations where bodies and materials become particularly responsive to sound, resonating, amplifying or relaying vibration - situations where sound makes a difference in some way. Expanded listening starts with the ear, but goes beyond it to include the whole body. It also acknowledges forms of responsiveness to sounds that cannot be 'heard' by humans, whether due to frequency range (sounds below 20 Hz or above 20 kHz), amplitude (very quiet or deafeningly loud), temporality (sounds which take place within microseconds or over long spans of time), or spatiality (such as sounds beneath the earth's surface or in the atmosphere).

Revill (2015) cautions that listening risks downplaying other important aspects of sound, such as its relations with materials. We propose that it is possible, however, to attune to the multiplicity of sound not by moving away from listening, but by radically expanding it. Expanded listening addresses many different registers of sound: aesthetic, compositional and timbral qualities; affective, material and embodied characteristics; the ways in which sound is both spatial and temporal, evoking a sense of time, distance, direction or movement; sound's capacity to produce knowledge of events and processes; and the semiotic associations produced by listening, including the tendency of sound to trigger memories.

Listening is often distinguished from hearing, with the former positioned as conscious attention and the latter as a more passive form of reception; as Handel writes, 'the physical pressure wave enables perception but does not force it. Listening is active; it allows age, experience, expectation, and expertise to influence perception' (1989: 3). Perception is here understood to be 'the necessary second stage [after sensing].... During perception, the conception of an external event is constructed' (p. 3). A variety of different listening modes can be identified that pertain to such human perception. For example, Chion differentiates between causal listening, 'to gather information about [a sound's] cause (or source)' ( 1994: 25), semantic listening, aimed at the interpretation of the meaning of sounds, as with spoken language for example, and reduced listening, which 'focuses on the traits of the sound itself, independent of its cause and of its meaning' (p. 29). Meanwhile, Truax discriminates between 'listening-in-readiness', wherein a listener is in a state receptive to receiving certain sounds, but whose attention lies elsewhere (Truax provides the example of a mother woken by a baby's cry but not by road traffic), and 'listening-in-search', which involves consciously listening to sounds for 'cues' ( 1984: 19).

We think there is something worth holding onto about listening, as a range of dispositions and activities that are more clearly responsive than what is usually referred to as hearing, but we take issue with how listening tends to be restrictively tied to human consciousness and intentionality. This is not to deny that human consciousness plays an important role, including in many of the examples we discuss below; the problem is rather the tendency to think that listening is nothing but an activity of human consciousness. In qualitative social research, for instance, this conception has led to listening becoming merely a metaphor for interpretation, emptied of any sensibility for sound as such (e.g. Clark and Moss, 2011: 9).

In expanded listening, bodies reveal themselves as malleable and porous, and in some cases, highly susceptible to sound. As Catherine Christer Hennix (2015: unpaginated) suggests, we would do well to 'consider the listener as a dynamical soft condensed matter system far from equilibrium and whose internal signal path and transmission systems can be tuned by exposure to external sound sources'. Developing listening practices may therefore be less about becoming newly responsive to sound, and more about attending more closely to responses that are already happening but which normally pass unnoticed; put another way, listening to bodies listening.

A notable risk of expanded listening is that in embracing polyphony the possibilities for analysis become overwhelmingly diffuse. Our response, in the remainder of the paper, is to focus enquiry on particular instances of listening, to particular sounds, in particular locations. The aim is not to further advance general theories about sound's spatiality, but rather to map out what closer listening can bring to particular areas of geographical enquiry. We have identified three areas in which a sonic sensibility is already established or emerging, but in which we hear productive possibilities for expanded listening: in work on landscape, affect, and geotechnologies. Working through these themes enables us to expand outwards from the dominant anthropocentric position. We begin by exploring how human listening could be deepened and extended as a way to rethink landscape. A focus on sonic affect and atmospheres then expands listening beyond human perception, cochlear listening, and consciousness, to how sound impinges on bodies, including (but not limited to) human bodies. Finally, we examine forms of listening in which humans are more marginal, including vibrations amongst other animal species, in earth materials and vibration-sensing technologies.

III The sounds of landscape

As a fundamental organizing principle within geography, 'landscape' has been most thoroughly conceived of and attended to along visual lines of inquiry, to the point where geographers have been forced to ask: are the visual surface qualities of landscape, as perceived by a physically distant observer, all landscape is (see Wylie, 2007)? This enduring question has been met with a variety of responses from scholars both inside and outside of geography. Some have tried to disentangle the (contested) etymological roots of landscape to help understand its essential nature ( Bourassa, 1991; Evernden, 1981; Olwig, 1996; Scazzosi, 2004); some have emphasized the embodied qualities of being and dwelling in landscape as a corrective to the assumed distancing effect of viewing landscapes from afar ( Berleant, 1992; Ingold, 2000); while others have defended looking at landscapes, particularly from a scenic perspective ( Benediktsson, 2007; Lowenthal, 2007; Parsons and Daniel, 2002).

A few geographers have addressed the sonic qualities of landscapes. For example, Matless (2005) has examined how the regulation of 'noisy' human sounds is central to the construction of 'natural' regions. Here, sound offers a way of investigating landscape-related values and epistemologies, while revealing the widely-held attitude in soundscape management that quietude is universally desirable. This attitude underpins attempts at the top-down regulation of human and mechanical sounds in natural landscapes - a common focus in landscape research outwith geography (see for example Lynch et al., 2011; Miller, 2008) - and also in urbanized landscapes through noise control policies and noise abatement campaigns. There have also been more nuanced approaches to 'noise' that point to how aesthetic appreciation or depreciation is highly variable and context specific, while at the same time taking the human and more-than-human health implications of excessive noise seriously. Adams et al. (2006) demonstrate that supposedly objectionable sounds in urban landscapes, such as all-night parties and the 'hum' of traffic, are tolerated or even aesthetically appreciated in certain contexts (see also Raimbault and Dubois, 2005). LaBelle (2010: xxiii) neatly sums up the resulting tension: 'on one hand there is no denial as to the intensities with which noise interferes with personal health and well being, while on the other hand noise may be heard as registering a particular vitality within the cultural and social sphere'. Addressing this tension, the Positive Soundscapes project has explored how urban landscapes might be designed to sound better, rather than simply sound less ( Davies et al., 2013).

The work outlined here broadens the scope of what constitutes 'landscape' in geographical research, and demonstrates that sound is a vital attribute of landscape and landscape experience. In what follows, we go further by thinking through some of the distinctive qualities of listening within landscapes, and their implications for geographical scholarship.

Secondly, while listening in a given landscape, we may also become aware of how there is often a spatial mismatch between the size of an object or subject from which a sound emanates and the spatial scale of the auditory space that the sound resonates within and fills (e.g. insects and birds in a meadow [audio: birds-in-meadow.mp3]). Such resonance within a landscape depends not only on the amplitude of a sound relative to other sounds, but also its pitch, directionality, rhythms, and duration, and the material and spatial qualities of the landscape. As sounds resonate, they can promulgate the spatial dynamics of landscape, revealing spatial contours as well as various material qualities of landscape surfaces - particularly how surfaces may influence the reception of sounds through reflection and absorption (e.g. oystercatcher vocalizations reverberating across the hard surfaces of a rocky beach and cliffs [audio: oystercatchers.mp3]). Listening provides an additional channel of knowledge, producing insights into scale, materiality and landscape morphology that are not available through other ways of knowing.

Thirdly, as well as sensing reflections from surfaces, it is possible to listen to sounds that originate from beneath visible surfaces of a landscape. This listening may augment human auditory physiology with various technological intermediaries, such as geophones to listen to subsurface ground movements, or contact microphones to listen to the internal vibrations of a bridge spanning a landscape [audio: bridge-contact-microphone.mp3]. At other times, sounds produced below a surface may cross this visible threshold, as when listening to a bird call that originates at the syrinx within the bird's body. Listening can also detect sonic landscape components not detectable by the eye (e.g. the sound of electricity running through an overhead power line [audio: overhead-power.mp3]). This ability to simultaneously listen to the inside and outside of sounding objects and subjects within landscapes complicates any simple bifurcation of landscape between surface and depth. Thus, a thoroughly conceived sonic geography of landscape that attends to listening cannot privilege one over the other, challenging critical scholars who valorize depth over surface (see Forsyth et al., 2013) as a supposed corrective to the tendency within the geographical literature of focusing only on landscape exteriorities.

IV Sound, atmospheres and affect

The capacity of sound to move bodies is of central importance to us in expanding listening beyond human perception and cognition; of interest is how feedback loops between sound, space, infrastructures, matter and bodies generate listening responses. Sound produces affective atmospheres, which interface with bodies on auditory and other listening registers ( Adey et al., 2013; Anderson and Ash, 2014; Duff, 2010; McCormack, 2008). Affect, write Gregg and Seigworth (2010: 1), can be thought of as

an impingement or extrusion of a momentary or sometimes more sustained state of relation as well as the passage (and the duration of passage) of forces or intensities. That is, affect is found in those intensities that pass body to body (human, nonhuman, part-body, and otherwise), in those resonances that circulate about, between, and sometimes stick to bodies and worlds, and in the very passages or variations between these intensities and resonances themselves. Affect, at its most anthropomorphic, is the name we give to those forces - visceral forces beneath, alongside, or generally other than conscious knowing, vital forces insisting beyond emotion - that can serve to drive us toward movement, toward thought and extension, that can likewise suspend us (as if in neutral) across a barely registering accretion of force-relations, or that can even leave us overwhelmed by the world's apparent intractability

atmosphere traverses distinctions between peoples, things, and spaces. It is possible to talk of: a morning atmosphere, the atmosphere of a room before a meeting, the atmosphere of a city, an atmosphere between two or more people, the atmosphere of a street, the atmosphere of an epoch, an atmosphere in a place of worship, and the atmosphere that surrounds a person, amongst much else. Perhaps there is nothing that doesn't have an atmosphere or could be described as atmospheric. On the one hand, atmospheres are real phenomena. They 'envelop' and thus press on a society 'from all sides' with a certain force. On the other, they are not necessarily sensible phenomena.

For Anderson, given this difficulty of definition, we might consider atmospheres as 'spatially discharged affective qualities that are autonomous from the bodies that they emerge from, enable and perish with' ( 2009: 80). To think of affective atmospheres is to think affect into spatial and material realms.

Sound is critical to affective atmospheres for two reasons. First, it moves through space in distinctive ways. Sound is highly promiscuous ( LaBelle, 2010: xvii); while it travels through materials differentially, in air it has a tendency to envelop other bodies. Because of this fluid, diffusive and immersive tendency, sound is integral to the formation of atmospheres in spaces. Second, everything participates in the sounding of worlds, including both biotic and abiotic bodies - an exhale, the teeming of insects, the movement of fabric, a chemical reaction, the oscillation of leaves and branches [audio: leaves-branches.mp3], an echo off concrete, a riot, a boat idling [audio: boat-harbour.mp3], ice thawing and so forth. Because everything engages sound, sound acts to link and collectivize bodies and environments, creating different kinds of atmospheres. These sounds may be audible or inaudible to the human ear, or on the threshold of audibility. The vibrational force of sound means that it acts upon entities regardless of whether those entities are consciously listening to it or not.

The vibratory and affective nature of sound challenges the common assumption that listening is contingent on aural receptivity. In geography, this insight has the potential to extend thinking on governance and spatial control by drawing attention to those heard-felt registers in which sound can affect bodies, sometimes profoundly, but which fall outside the ranges of human perception and consciousness. In debates about 'noise' pollution, much has been made of the human inability to not hear, or to 'shut our earlids' ( Schafer, 1977). Sound, however, is also sensed and listened to through the skin and within bodily cavities, organs, and cells. Listening is thus an embodied practice, forcing us to consider 'non-cochlear' ( Kim-Cohen, 2009) sonic geographies, in which sounds are spatialized across bodies. This is especially the case with sub- or in-audible sounds that cause disturbances, even though affected individuals are often unable to pinpoint precisely why, or how, bodies are affected. Vibro-acoustic effects do not necessarily announce themselves on the level of conscious listening.

One example is low frequency noise (LFN), sometimes referred to as 'the hum' (examples may be heard here: http://bit.ly/1otPx8o). This 'hum' is sensed by a minority of people, clustered in specific locations, who complain of being disturbed by a low frequency droning sound that is often inaudible or barely audible to others, and difficult to register in audio recordings and noise measurements.

While only a relatively small number of people are affected, those who are tend to suffer severe distress ... and they may suffer various symptoms such as depression or even feel suicidal. In some cases a source of LFN is found and can be dealt with. However, in many cases ... no environmental sound that could account for the sufferer's reaction can be found, and the cause of the disturbance remains a mystery. ( Moorhouse et al., 2011: 2)

Such phenomena demonstrate the complex entanglements of sound being heard, felt, and listened to, affective atmospheres, and emotional states. The atmospheres created by sonic environments, and the corresponding neural, emotional and physical reactions - particularly those derived from anticipatory response - agitate bodies, which at the same time recompose atmospheric affects. That is to say, bodies, in varying degrees of intensity, charge and change how atmospheres 'feel', and what they do. Consider how a space might 'vibrate' after a loud retort has echoed, or a street might still hold the sonic memory of a recently passed demonstration.

Technologies of acoustic warfare also deserve consideration here because of the harm they cause via expanded forms of listening. The manifestation of sound as weaponry through symbiotic military and commercial application is customarily shrouded in speculation, in part to do with the amorphous and acousmatic character of sound. The use of sound and music in psychological warfare as a means of interrogation and torture, whereby volume and repetition are used to overwhelm listeners, has been critically documented ( Hill, 2012; Cusick, 2006, 2008; Pieslak, 2009), along with developments in acoustic technologies designed to stun, disperse, intimidate and control civilian populations. These include flash bang grenades which produce sound pressure levels of around 170dB(A) (a level at which immediate physical damage can occur); sonic booms from military jet planes used as a show of force, such as around US air bases in Japan ( Cox, 2010) and in the Occupied Territories of Palestine; gas cannons designed to scare birds away from agricultural crops, aerodromes, and aquaculture facilities ( Lorimer, 2013); ultrasonic devices for dispersing young people from public spaces ( Gallagher, 2016), or repelling animals such as rodents and pigeons; and Long Range Acoustic Devices (LRADs), which have been adopted for civilian policing. In 2009, at the G20 summit in Pittsburgh, an LRAD, or sound cannon, mounted on a police tank was notoriously used to dispel protesters, who were unable to block out the loud and extremely high pitched alarms [audio: lrad.mp3] ( Feigenbaum and Kanngieser, 2015). LRADs, sonic booms, and flash bang grenades have all been documented to cause severe effects ranging from sweating, dizziness, disorientation and deafness, to miscarriages, and long-term anxiety and psychosomatic disorders ( Feigenbaum and Kanngieser, 2015).

Alongside sonic technologies that operate through volume are persistent rumours of infrasonic and ultrasonic devices, using frequencies at or beyond the extremes of human hearing, but well within the hearing range of other animal species ( Vaisman, 2002). While we will discuss the physicality of infrasound in more detail in the following section, here we want to stress the affective capacity of such devices to engender anxiety and fear ( Goodman, 2009), due to the potential of sound to be inaudibly instituted as a technique of nation-state governance and violence. Ongoing concerns around the developments of 'silent' but fatal technologies such as VLF modulators, 'sound bullets' and directional sound beams such as the 'voice of god' weapon, haunt military literature and online forums.

It is precisely this play with perceptibility that contributes greatly to the affective atmospheres that sound invokes, and which requires a concept of listening that goes beyond human consciousness. While affective atmospheres are tied to bodies, they are clearly not only tied to human bodies; all matter is affected by sound in some way. In his text on non-cochlear sound, Scrimshaw proposes a scission of affect from 'the necessity of subjective affirmation' (2013: 28), to emphasize the nature of sonic affects and signals in excess of their human audibility or perceptibility. This echoes Cox's (2011) call for a sonic materialism, in which sound is considered beyond its attributed phenomenological immediacy, individuality and symbolism. Hearing sound, and listening, from this expanded perspective, brings to debates on geographies of affect a clear avenue for understanding how bodies, materials and environments can interact and interrelate, without anthropocentrism and the reduction to a universally 'human' experience ( Gallagher, 2016).

V Geotechnologies

As we have already noted, the science of acoustics conceives of sound as mechanical waves propagating through materials:

When the molecules of a fluid or solid are displaced from their normal configurations, an internal elastic restoring force arises. It is this elastic restoring force, coupled with the inertia of the system, that enables matter to participate in oscillatory vibrations and thereby generate and transit acoustic waves. ( Kinsler et al., 2000: 1)

Thus, whilst sound may not be material per se ( Ingold, 2007), it is closely bound up with materials. Sound requires matter to vibrate in and through, and materials shape sound through their physical properties. Sound waves may be amplified by the resonances of materials, attenuated through absorption, or reflected as reverberation, with marked effects on the atmosphere of a space (e.g. voices echoing in a stone stairwell, compared with voices being absorbed in a cork-lined space [audio file: reverberant-absorbent.mp3]). These relations between sound, space and materiality are significantly different to those of light, as we have discussed in relation to landscape. Light is capable of passing through a vacuum and tends to be impeded by materials, whereas sound propagates more efficiently through denser materials. Attending to sound can therefore generate distinctive knowledge about the earth's materials and physical processes, particularly where these are hidden from view. Conversely, and perhaps more importantly, tuning in to such vibrations brings an awareness of how thin the bandwidth of human audition is, and of how much action completely bypasses the human senses.

The emergence of sonic enquiry into earth systems is closely allied to developments in audio technologies and geopolitics. The field of marine acoustics, for example, grew out of the intersection between oceanography and military engineering. During the Cold War the US Navy created the Sound Surveillance System (SOSUS), an array of hydrophones around the Atlantic for the long-range detection of Soviet submarines, based on the physics of deep ocean channels propagating low frequencies across long distances. It was later repurposed for civilian scientific listening, including monitoring submarine volcanic activity and blue whale movements ( Wolman, 2002; listen to examples: http://youtu.be/bgWwx_5WsIo). Sonar and other audio technologies are now routinely used for bathymetry ( Chakraborty and Fernandes, 2012), oil exploration, the surveying of fish populations, the measurement of ocean currents using acoustic Doppler shift, the assessment of underwater noise from shipping ( Merchant et al., 2012) and for research on glacial processes ( Tegowski et al., 2011). Seismic monitoring can similarly be understood as an expanded form of listening to sound beyond or at the limits of human perception. Like sound waves, seismic primary waves (P-waves) are compressional vibrations, with frequencies ranging from 0.01 Hz up to around 100 Hz.

Many infrasound phenomena are only detectable on human registers with specialized listening technologies. Again, Cold War geopolitics helped to drive the expansion of these systems, because atmospheric nuclear detonations produce infrasound that spreads across large areas, so low frequency detection arrays were developed for monitoring testing activities. A worldwide network of 60 infrasound stations, known as the International Monitoring System (IMS), is now used to enforce the Comprehensive Nuclear-Test-Ban Treaty, together with seismic, hydroacoustic and radionuclide monitoring networks. As well as this global surveillance function, the infrasound arrays pick up signals from a host of earth processes: stratospheric variations in wind and temperature, ocean storms, lightning, tornados, auroras, avalanches, icebergs calving, volcanic eruptions, meteors and other large explosions, even the earth's rotation ( Evers and Haak, 2001; Assink et al., 2008; Ottemoller and Evers, 2008; Evers and Siegmund, 2009; Matoza et al., 2011; Hedlin et al., 2012). Ganchrow (2015: 182-4) points out that:

the frequency band the human organism is orientated towards is roughly at a scale that interacts with small- to medium-sized objects in our environment. In contrast, the scale of infrasound interacts with the scale of topography or even of the atmosphere itself ... it literally connects the solid earth to oceans and weather, as well as to modern industrial practices.

Infrasound monitoring is thus a form of expanded listening, centred not on human perception but on how materials are perturbed by certain frequencies. Unlike with the forms of listening we have discussed in relation to landscape, and the forms of bodily response produced by sound as affect, in many cases the human body plays no part at all in responding to infrasound. Algorithmic calculations and graphic representations are used to translate the vibrations into comprehensible information. Likewise with seismic monitoring, human auditory perception is either absent or at most is grafted on afterwards through technical means. Time compression has been used to shift the frequency of seismic recordings up into the range of human hearing, reducing their long durations to a more comprehensible timescale, as with the sonification of the Tohoku earthquake (Sendai Coast, Japan, http://youtu.be/3PJxUPvz9Oo; see Peng et al., 2012). This technological accommodation of earthquake vibrations to human perception points to the plasticity of both senses and data ( Sterne and Akiyama, 2012). Sound spills across into other sensory registers, through visual representations such as spectrograms and noise maps. Equally, sonic renditions can be produced from any and every kind of geographic information; this is something that deserves much fuller exploration as a geographic method (see Evans and Jones, 2008).

All of these examples underline our argument that listening is not restricted to the human perception of sounds, but includes the responsiveness of many different bodies and materials to vibrations. Earth sounds, and the technologies that transduce them, situate the human subject as a relatively marginal element amongst many resounding bodies, contributing to a more disparate, relational understanding of the world. Geotechnological listening offers novel ways to investigate the relations between animals, environments, materials, and machines. At the same time, it has the potential to work in exactly the opposite direction, forcing an awareness of how narrowly we humans perceive sound, how much of it passes us by, and how indifferent it can be to our concerns. That awareness brings a humility about our ability to know the world, and about our place within it - a humility that is particularly valuable in an age of ecological crisis ( Kanngieser, 2015).

VI Conclusion

In this paper we have argued for the importance of expanding listening in geography. While numerous studies on specific forms of sound have been undertaken within the discipline, little has been done to clearly engage the broader question of what geography as a whole might gain from a deeper engagement with listening. Our aim has been to articulate how listening can contribute to nuanced and less essentialized understandings of the world, recognizing its polyphonic complexity and simultaneity. In doing so, we have shown that a wider conception of geographic listening can both enlarge what we understand by human subjectivity and also make space for other kinds of audio receptivity. Bringing together the use of sound in diverse geo-spatial practices - mapping landscapes, charting animal populations, understanding social configurations, investigating technologies of warfare and governance, monitoring earthquakes - this paper has outlined how expanded listening can be used to research spaces, places, and environments.

In inviting a different kind of listening, the paper has undertaken three tasks. The first has been to survey current debates on sound, listening, and space, both from within and outside the geographical literature. The second task has been to propose an expanded concept of listening, to deepen, and extend beyond, humanistic perspectives. Given the urgency of global environmental change, the move to foreground the planetary subject has never been more pressing. To demonstrate how listening might be deployed in geography, across human and more-than-human realms, our third task has been to outline some of the specific contributions that expanded listening can make to three thematic trajectories within contemporary geography in which an interest in sound is already evident: landscape, affect, and geotechnologies. These three themes have enabled us to narrate the expansion of listening we have in mind: from that which is tethered to human cochlear listening, moving outward through sound as affects and atmospheres, to the responsiveness of more-than-human technologies, materials and species to sound.

These discussions have created space to think about how sonic geographies may sit - or not - alongside the various conceptual devices geographers use in the study of terrains, atmospheres, and environments. Put another way, we wanted to ask (and to continue asking): how does listening shape our experience and knowledge of landscapes? How can the generation, movement and impact of affective atmospheres be understood through the vibrations of human and more-than-human bodies and environments? And how does sound and listening help us to develop less human-centric perspectives more generally? Through posing such questions, listening and sonic experience present challenging points of departure, requiring the reconfiguration of conventions in formulating, undertaking, and communicating the results of geographical research.

Audio Files Appendix

audio file: birds-in-meadow.mp3

An ambient stereo recording consisting predominantly of the sounds of birds and insects sounding across a grassland meadow located adjacent to a wheat field, Spišská Belá, Slovakia. Recorded 26 July 2013.

audio file: oystercatchers.mp3

An ambient stereo recording of oystercatcher vocalizations reverberating off of a rocky beach and hard cliff sides located on the south of the Isle of Mull, Scotland. Recorded 10 June 2013.

audio file: bridge-contact-microphone.mp3

A mono contact microphone recording of sounds vibrating internally within a concrete and metal road/pedestrian bridge spanning the Danube River, Bratislava, Slovakia. The contact microphone was attached directly between two sheets of metal on the pedestrian path of the bridge. Predominant sounds include the rumble of vehicular traffic, pedestrians talking, and the bridge itself shaking. Recorded 5 September 2011.

audio file: overhead-power.mp3

An ambient stereo recording of electricity running through an overhead power line, recorded in an agricultural field in Balerno, Scotland. Recorded 29 September 2013.

audio file: leaves-branches.mp3

The sounds of leaves and branches make for distinctive atmospheres, evident in this stereo recording of strong wind moving deciduous trees in leaf next to an urban cycle path in Edinburgh. Recorded 1 June 2011.

audio file: boat-harbour.mp3

An ambient stereo recording of the atmosphere of Dunbar Harbour in summertime, including the sound of a boat engine idling and the cries of kittiwakes and other seabirds. Recorded 13 July 2012.

audio file: lrad.mp3

The sound of a Long Range Acoustic Device replicated through a tone generator and digital audio processing.

audio file: reverberant-absorbent.mp3

Contrasting ambient stereo recordings of (i) voices reverberating in a stone stairwell in the Pałac Kultury i Nauki, Warsaw (recorded 19 June 2009), and (ii) voices absorbed by the cork-lined Serpentine Pavilion, London, by Herzog and De Meuron and Ai Weiwei (recorded 21 June 2012).

audio file: automated-announcements.mp3

A stereo recording of automated announcements in Edinburgh Waverley railway station. Recorded 5 August 2014.

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Author biographies

# data[].attributes.attachment_link.title
Listening geographies: Landscape, affect and geotechnologies - Michael Gallagher, Anja Kanngieser, Jonathan Prior, 2017

# data[].attributes.attachment_link.description
This paper argues for expanded listening in geography. Expanded listening addresses how bodies of all kinds, human and more-than-human, respond to sound. We show how listening can contribute to research on a wide range of topics, beyond enquiry where sound itself is the primary substantive interest.

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13 dimensioner av musik som vi kan känna.

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För att skaffa relevant kunskap så har jag utgått ifrån fenomenet Dérive. sedan har jag utforskat AR och dess utveckling men mer specifikt AAR och vad som finns inom det området idag.

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finns gratis
Tutorial:
https://www.youtube.com/watch?v=XwXqgSpT50U

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What is geolocated sound?

A sound (or multiple sounds) contained within shapes on the map, which create geofenced areas. These will trigger content when listeners physically walk inside, by using GPS to determine their location or their proximity using iBeacon technology.

Layer sounds in subtle or rich ways, guide your audience, surprise and entertain - a completely different way to experience our physical environment, a threshold where magic happens ✨.

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ECHOES - sound walks, audio tours, spatial audio experts & custom projects

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ECHOES - sound walks, audio tours, spatial audio experts & custom projects

# data[].attributes.headline
What Can We Expect from Navigating?: Exploring Navigation, Wearables and Data Through Critical Design Concepts

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What Can We Expect from Navigating?: Exploring Navigation, Wearables and Data Through Critical Design Concepts

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Uncover: supporting city exploration with egocentric visualizations of location-based content

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Uncover: supporting city exploration with egocentric visualizations of location-based content

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DetourNavigator – Using GoogleLocation History to GenerateUnfamiliar Personal Routes

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DetourNavigator – Using GoogleLocation History to GenerateUnfamiliar Personal Routes

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Phases of Urban Tourists’ Exploratory Navigation:A Field Study 

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Phases of Urban Tourists’ Exploratory Navigation:A Field Study 

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Data-driven Serendipity Navigation in Urban Places

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Data-driven Serendipity Navigation in Urban Places

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Desto mer kunskap jag har fått desto mer har konceptet testats, utvärderats och utvecklats vidare.nedan är en gestaltande demonstration på denna utevckling.

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Non-verbal Audio and Tactile Mobile Navigation

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Non-verbal Audio and Tactile Mobile Navigation

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[PDF] Non-verbal audio and tactile mobile navigation | Semantic Scholar

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As typical turn by turn systems fail in several aspects to provide an engaging experience to pedestrians in urban environments, we investigate the potential of alternative interaction methods for navigation. We present a two-phase experiment, involving both audio and tactile navigation and discuss the collected evaluation data.

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The dérive ( French: , "drift") is a revolutionary strategy originally put forward in the "Theory of the Dérive" (1956) by Guy Debord, a member at the time of the Letterist International. Debord defines the dérive as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances."

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Få 10 Adobe Stock-musikspår kostnadsfritt. Starta nu

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Hitta musik som väcker eller förstärker känslor

Ljud av hög kvalitet från våra partner

Utvalda samlingar med royaltyfri musik som gör att dina projekt sticker ut

Enkel ljudlicensering

Musikspåren är royaltyfria och licensierade för kommersiella projekt. Använd varje spår så många gånger du vill i olika projekt - för alltid.

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Nu kan du skapa videoprojekt mycket snabbare eftersom du kan söka efter, förhandsgranska och licensera musik direkt i Premiere Pro.

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Gör alla projekt bättre med ljud från Adobe Stock

Rätt musikspår kan förstärka stämningar och ge ny energi till dina videoproduktioner, podcasts och andra kreativa projekt. Bläddra bland royaltyfri musik på Adobe Stock redan idag.

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Royaltyfri standardmusik och -ljud | Adobe Stock Audio

# data[].attributes.attachment_link.description
Få 10 Adobe Stock-musikspår kostnadsfritt. Starta nu Få 10 musikspår kostnadsfritt Bläddra bland genresamlingar Upptäck royaltyfri musik som passar alla typer av innehåll Bläddra bland stämningssamlingar Hitta musik som väcker eller förstärker känslor Ljud av hög kvalitet från våra partner Utvalda samlingar med royaltyfri musik som gör att dina projekt sticker ut Musikspåren är royaltyfria och licensierade för kommersiella projekt.

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En guidad tur till visby domkyrka och sedan runt platsen i sig där olika guider startar vid olika platser runt kyrkan.

Musikaliska element:
1. Navigerar användaren med ljud till en specifik plats
2. Berättande guide startar vid specifik plats
3. Atmosfärsikt ljud för att förstärka berättelsen
4. musikaliska element för att påverka stimuli.

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Kostar pengar

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Use voice, sounds and music to create immersive and engaging experiences for your visitors. SonicMaps uses GPS and location technologies to automatically deliver geolocated audio content to your audience as they walk, just like a real tour guide.

At the core of the SonicMaps platform is our easy to use online Editor, offering a multi-layer approach to storytelling and soundscape composition where you can overlap multiple layers of sound on a map. This is extremely useful, for example, if you need to have some background music covering a large geographical area, along with several voice recordings at specific spot locations within that area, or if you want to crossfade audio files as the user walks from one location to another. This approach ensures a seamless, more natural experience for your visitors who can enjoy your guided tour or soundwalk with their own smartphone and headphones without the hassle of scanning QR codes or manually playing the right audio file from a list. (less)

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Use voice, sounds and music to create immersive and engaging experiences for your visitors. SonicMaps uses GPS and location technologies to automatically deliver geolocated audio content to your audience as they walk, just like a real tour guide.

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Pathshare · Realtime Location Sharing with GPS on iPhone and Android

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As soon as your geofences are set up, every device that enters or leaves a geofence will trigger an event to Pathshare. You can now define if-this-than-that rules how to use geotrigger events, e.g. in order to send a welcome message to your user if he enters the perimeter of an area of interest.

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Easily drag & drop
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With the Layar Creator, you can enhance flyers, postcards, packaging or any other item with interactive content, including video messages, Web and social links, photo slideshows, music clips and much more!

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With the Layar Creator, you can enhance flyers, postcards, packaging or any other item with interactive content, including video messages, Web and social links, photo slideshows, music clips and much more! Blippbuilder to create AR experiences. Receive our latest updates. Subscribe to Our Newsletter Crafted in Amsterdam We use cookies to improve our services.

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I den första designcharetten möttes vi 4 personer som i ett tidigt staid behövde ventilera vad vi ville göra i detta designprojekt.
Vi var 4 personer som alla hade kommit igång sent av olika anledningar och vi sågs efter omex på pitch 1 för att ventilera.
Vi identifierade tidigt ett behov av att de andra tre behövde pitcha lite olika idéer på vad de skulle landa i för projekt och vi andra hjälpte till att utvärdera dem tillsammans.

Min roll blev att eftersom min idé hade utvecklats från att testa design processen själv till att undersöka hur andra studenter tar sig an den så pitchade jag min idé först där jag ville coacha dem initialt till att välja rätt idé.

Detta gjorde jag och det var väldigt uppskattat och hjälpte dem att hitta klarhet i vad de skulle göra. Det hjälpte mig att förstå hur jag kan lägga upp en plan för vad jag vill göra med mitt projekt och dessutom gav de massa idéer på vad jag skulle presentera för resultat i slutändan.

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Ska designa visuell process utefter denna reflektion

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finns portfolios att titta på.

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This page is part of an ongoing project that aims to support Disabled walking artists. It also aims to help everyone make their creative walking more accessible to everybody who may wish to take part. It is not perfect, or complete, and I would welcome any comments and contributions. I am always learning how to make things better myself. In particular I realise there is a problem with this website not being fully accessible. I am trying to fix this and find a better home for this work. In the meantime if you need this information in alternative formats I will do my best, please contact me via email mlrose@thelrm.org

I realised this work was needed through my own experiences. As a Disabled person I have often been "left behind" when engaging with walking art. Sometimes the lead was simply going too fast and didn't notice anyone was struggling to keep up. Sometimes information I was given about venues was incomplete or inaccurate and the terrain was not physically accessible. I want to help make creative walking / psychogeography accessible for all. I always want to share the work of other Disabled walking artists. My version of walking has always included sticks, wheelchairs, orthotics and other assistive technologies. When I talk about Disabled people I am inclusive of anyone who defines as such, including people who are neurodivergent, have a chronic illness, mental health condition or learning differences as well as physical and sensory impairments.

You can read more about my approach, and the motivations behind this work in my chapter Access Denied: Disabled People and Walking Art in Walking Bodies Papers, Provocations, Actions edited by Helen Billinghurst, Claire Hind and Phil Smith (Triarchy Press, 2020). I can send you a pdf of my chapter if you can not access the book.

This list includes resources made by, or with, Disabled people. It does not include work made for us without inclusion of Disabled People.

General Principles

I would urge everybody to think creatively and holistically about access and equal rights. My focus here is on disability but there are other aspects of exclusion too of course. As artists increasing and diversifying our audiences can only be a good thing. If possible design in access and inclusion from the beginning of a project, don't try and add it on later. Accessible design benefits EVERYONE, for example avoiding upstairs spaces which can only be reached by stairs is useful not just to people who use wheelchairs or have physical impairments. Its good for people with prams or buggies or large bags or temporary injuries or who feel tired.

Be honest and be explicit about the accessibility of your work. Give as much information as you can so people can make an informed decision. Good quality information is so important and can make a huge positive impact I suggest adding something like "This performance takes place on pavements and in public spaces through out the town. There are no steps and we will cross roads only where there are dropped kerbs. The route is 1.5 miles and will take approximately 2 hours without a break. There are toilets and refreshment facilities at the beginning and end of the performance. If you have any particular access needs please contact us at XXXXX and we will do our best to help" or "the gallery is on the second floor and is accessible by lift. There is limited seating available, please let us know if you would like us to reserve you a seat or if you have any questions about access"

Ask people what they need to be able to participate or attend and be prepared to accommodate them as far as possible. Disabled People know what makes them feel welcome - examples could be a quiet space, a free ticket for a PA, information in a specific format or a particular kind of seat.

Support venues that are fully accessible wherever possible. This one goes without saying but again be honest; I'm not the only disabled performer who has been invited onto a stage that I can't get onto!

If you are facilitating a walk be alert and reflexive to your participants and always move at the pace of the slowest. I've been left behind on occasion and no-one even noticed; this was truly horrible. Always try and plan a route with toilets at the beginning and end point and again, be honest about how and where you will be travelling.

If a performance can not be accessible for disabled people think about how you can share it in alternative formats. For example, some work may be on difficult terrain or move at a fast pace; thinking accessibly does not mean you can't do this but maybe consider how it is recorded.

Remember access is an issue for online events too. For example turn off the chat function during presentations so text readers do not get confused and add captions to videos.

If you want information on how to make your art or event more accessible Shape Arts and We are Unlimited have some excellent oneline resources.

https://www.shapearts.org.uk/pages/news/category/resources

http://weareunlimited.org.uk/resources/

Disability Arts Online also provide a lot of information

https://disabilityarts.online/projects/

If you need bespoke advice please try to contact Disabled Peoples Organisations local to your area for details of consultants. Of course their professional and personal expertise will need resources. It is not fair to expect people to work for free unless they have explicitly offered to volunteer.

Creative Walkers

Thank you to everyone who suggested work via social media. Not all of the works explicitly discuss disability, in keeping with a commitment to self definition. I do not believe this must be central to all the work Disabled artists produce. Please let me know who is missing, or if you believe someone is here in error.

Aidan Moesby https://www.aidanmoesby.co.uk/contact-us/
"an artist curator working at the intersection of art, health and technology. His current work investigates the dual crises of Climate Change and Mental Health"

Alec Finlay https://www.alecfinlay.com/
"An internationally-recognised artist and poet whose work crosses over a range of media and forms.... Recently Finlay's work has focussed on place-awareness and ecopoetics. He is lead artist on Day of Access https://www.dayofaccess.co.uk/

Raquel Meseguer / Unchartered Collective - A Crash Course in Cloudspotting (the subversive act of horizontality)
https://weareunlimited.org.uk/commission/raquel-meseguer-unchartered-collective-crash-course-cloudspotting-subversive-act-horizontality/?fbclid=IwAR0HVtXP6queiNNTN3TKbS_dHkVbeFptaDdnYCszDqH_MmXYYD12XZXJc-8
An invitation to pause. To listen. To rest. A journey for the ill, infirm and sick. That is all of us. If not today, then maybe tomorrow. An ode to invisible disability and to acts of bravery we don't see. Part installation, part verbatim theatre, A Crash Course in Cloudspotting (the subversive act of horizontality) tells stories of people who need to rest throughout the day.

Sue Porter and Dee Heddon Walking Interconnections
https://research-information.bris.ac.uk/en/projects/walking-interconnections-performing-conversations-of-sustainabili Walking Interconnections recognises and responds to the fact that disabled people's voices have been largely absent from the sustainability debate. See also Dee Heddon, and Sue Porter. "Walking Interconnections." CSPA Quarterly, no. 18, 2017, pp. 18-21. JSTOR, www.jstor.org/stable/90015872

Tony Collier and Kate Green Mind walks http://www.kate-green.co.uk/installation/4594182921
A two-year collaboration with Tony Collier who lived with Motor Neurone Disease. Projecting the images on to objects created the immersive experience that Tony aspired to in his paintings, and enjoys on his Mindwalks, and bought the audience closer to the space that I feel on a physical walk. I worked in a different colour palette and tone for each walk, so that all four Mindwalks had a distinct aesthetic.
Further Reading
Inclusion London https://www.inclusionlondon.org.uk/disability-in-london/social-model/the-social-model-of-disability-and-the-cultural-model-of-deafness/
Inclusion London have a lot of useful resources about the history of Disabled Peoples rights, this short introductory guide explains why language matters and gives a useful overview

These are some papers and websites which discuss issues around disability, neurodiversity, access, psychogeography and walking art. If you can't access any of these resources please do get in touch.

Beverley Hood , Chris Speed , Ben Butchart , Janet Dickinson & Julia Hibbert Locating the Territory (2014)
https://www.research.ed.ac.uk/portal/files/19596094/HOODSPEEDLocatingtheTerritorySMALL.pdf
A participatory research project creating locative media with people who have learning difficulties

Damien Patrick Williams http://www.afutureworththinkingabout.com/?page_id=4
"writing, talking, thinking, teaching, and learning about philosophy, comparative religion, magic, artificial intelligence, biotechnological intervention into human and nonhuman bodyminds, pop culture, and how all of these things relate to each other"

Steve Graby Wandering Minds: Autism, Psychogeography, Public Space and the ICD (2011)
This paper looks at issues around neurodiversity and walking and is free to download here
https://www.academia.edu/8586966/Wandering_Minds_autism_psychogeography_public_space_and_the_ICD_2011_
Something to add? Please email mlrose@thelrm.org This version was written in February 2021

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This page is part of an ongoing project that aims to support Disabled walking artists. It also aims to help everyone make their creative walking more accessible to everybody who may wish to take part. It is not perfect, or complete, and I would welcome any comments and contributions.

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Tidig skiss på storyboard: övergripande.

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Händelseförlopp & Interaktion: original

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One year ago, Abha Dawesar was living in blacked-out Manhattan post-Sandy, scrounging for power to connect. As a novelist, she was struck by this metaphor: Have our lives now become fixated on the drive to digitally connect, while we miss out on what's real?

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Progression där jag identifierar vart jag behöver skissa på gränssnitt och vart jag behöver göra undersökningar i from av simulerade användartester och hitta tekniker och redan etablerade lösningar att utgå ifrån.

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Utifrån traditionell guidad turs händelseförlopp och interaktioner så har jag skapat ett linjärt flödesschema på hur min idé skulle kunna arta sig. Den innehåller en del varningar på hur jag ska behålla användaren, vart jag behöver göra gränssnittsprototyper, vart jag behöver göra användartester och vart det dyker upp frågor gällande teknisk möjlighet och om det går att genomföra rent praktiskt.

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Microsoft Soundscape was a project from Microsoft Research that explored the use of innovative audio-based technology to enable people to build a richer awareness of their surroundings, thus becoming more confident and empowered to get around.

Unlike step-by-step navigation apps, Soundscape used 3D audio cues to enrich ambient awareness and provided a new way to relate to the environment. It provided comfort in unfamiliar spaces, supporting individuals in making mental maps and personal route choices.

The Soundscape research project has reached its conclusion, and the project code is now released as open-source software. For more information visit https://aka.ms/ossblog (opens in new tab) .

Getting started with Soundscape

After you install Soundscape, connect a stereo headset or earbuds. Follow the introduction and when prompted, allow the app to access your location. Then, explore a familiar route to get used to how Soundscape delivers spatial information.

Explore, discover, and have fun!

You can use Soundscape in a number of different ways, whether on a well-known route, out about with a friend or using it to discover new places.

Come on the journey with us...

Soundscape reflects a new concept, so it will take a little time to get used to. Please give it a go-and persist with it-to begin to experience the benefits.

Opens in a new tab

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Microsoft Soundscape - Microsoft Research

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Microsoft Soundscape explored the use 3D audio-based technology to enable people to build a richer awareness of their surroundings.

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Min inlämnade kamratbedömning som jag önskar få kritik på.

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Interaction in Augmented Reality: Challenges to Enhance User Experience

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Interaction in Augmented Reality: Challenges to Enhance User Experience

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Designkritik på min önskade kamratbedömning

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Den designkritik jag själv gav på önskad kamratbedömning

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The term smart city has been around for quite a while already, and with the 4th industrial revolution around the corner, it keeps gaining more popularity. Although there is no universally recognized definition of a smart city, its ultimate purpose is to ensure improved citizen services and a decent quality...

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Uses of Augmented Reality for Smart City Solutions

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The term smart city has been around for quite a while already, and with the 4th industrial revolution around the corner, it keeps gaining more popularity. Although there is no universally recognized definition of a smart city, its ultimate purpose is to ensure improved citizen services and a decent quality...

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Min presentation av de lärdomar jag tog med mig och utvecklade i seminarium som jag fick vidare kritik på.

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Soundwalking is a practice that encourages conscious listening and interaction with the sound environment in a non-linear and improvisational manner. There is a theoretical relevancy with "promenadology" and Benjamin/Baudelaire's flânerie, as the user/listener is invited to wander through an "aurally augmented" urban environment. The result establishes rhizomatic maps and lines of sound/audio walks relevant to the city, as perceived and aurally captured by the artist. The practice of soundwalking suggests wandering new routes, thus questioning linear urban planning, and uses field research and sound recording and their juxtaposition to escape from the model of the "panoramic city," which is mostly perceived visually.

Most soundwalks and geo-located sound installations use open-source platforms that combine locative media (GPS) with music/sound/performative compositions by applying them to a region's map. The artist's and the listener's function often coincide, both in cases where the sound is recorded while crossing the area and in those cases where the path chosen by the walker/listener determines the artistic result.

In this paper I will attempt to connect the concept of "nomadism," as introduced and explained by Deleuze and Guattari, with contemporary artistic practices of sound walks, site-specific sound compositions, and geo-located sound interventions in urban public space by juxtaposing the principles of nomad art with those of open-source platforms and fl ânerie.

As Deleuze and Guattari (1980) imply, many social activities, including art, can constitute a war machine drawing "a plane of consistency, a creative line of flight, a smooth place of displacement" (ibid., 423) by reforming or acting against dominant systems and/or practices (ibid., 500). In the case of soundwalking, nomadism does not apply by suggesting fleeing the city but by proposing wandering as resistance to its confined and bordered space (Deleuze 1985, 149): in these soundscape compositions, narratives prevail, communities acquire space and voice, buildings are not mere subjects for sightseeing tours, the city is not a collection of historical information but a space to aurally, artistically, and socially wander within the micro-frames of which this space rhizomatically consists. Music and narrative as tools, leave behind ethnography, documentary, score, concert halls, museums, and institutions and become pliable materials, fragments of a living organism, of a city-score whose music is made by and is addressed to people. Actually the notions of nomadism and war machine apply here "as a war of becoming over being, of the sedentary over the nomadic" (Deuchars 2011, 3).

Departing from the distinction of audio walks, sound walks and listening walks, I will connect these contemporary artistic practices with the Deleuzian notion of rhizome and nomadism in order to indicate how the sound routes of wandering create experiential, non-dichotomous relations between public space and people that inhabit it or cross it, and how this process is a becoming-art through the inclusion of lines of flight and soft spots that converse with displaced artistic tools and site specific sound representations.

References

Deleuze, Gilles. 1985. "Nomad Thought." In The New Nietzsche: Contemporary Styles of Interpretation, edited by David B. Allison, 142-49. Cambridge, MA: MIT Press.

Deleuze, Gilles, and Félix Guattari. 1980. Mille Plateaux. Paris: Editions de Minuit.

Deuchars, Robert. 2011. "Creating Lines of Flight and Activating Resistance: Deleuze and Guattari's War Machine." Seminar at the Victoria University, Wellington, New Zealand.

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Locative Media Sound Walks: Connecting Nomadism with Contemporary Geolocated Flânerie and Open Source Practices

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Soundwalking is a practice that encourages conscious listening and interaction with the sound environment in a non-linear and improvisational manner. There is a theoretical relevancy with "promenadology" and Benjamin/Baudelaire's flânerie, as the user/listener is invited to wander through an "aurally augmented" urban environment.

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In our first post on audio-led AR, R&D's Henry Cooke discussed why we're interested in the technology. After going on a soundwalk, we decided that a interesting next step would be to port our existing experiment in geolocated audio to our Bose Frames devkit: Alluvial Sharawadji. Here, Jakub Fiala - until recently a Software Engineer at BBC R&D - describes the port and what he learned by making it.

Alluvial Sharawadji is "crowdsourced soundwalk" work made for the Eufónic festival in Catalonia in summer 2018. For the piece, Tim & I built a mobile-friendly web app allowing participants to record sounds, which would be saved along with the current geolocation of the participant. We then used Google Street View and the Web Audio API to present a "virtual soundwalk" around the town.

The Sharawadji soundwalks are represented as remotely stored sound files with associated latitude and longitude coordinates. The coordinate mapping and the sound files are downloaded when the soundwalk starts.

For this rebuild, we use an iPhone's GPS to position sounds around the listener, and calculate the volume level of each sound based on its distance from the listener. We then use the Resonance Audio (Google VR) library to render the sounds spatially in real time, giving us a dynamic soundscape that changes in response to the listener's position in the real world.

The first soundwalk we tested was composed of sounds recorded by various members of our team with their phones around our office in White City, London. Most of these sounds were fairly quiet, ambient recordings with lots of traffic sounds, construction noises and passers-by. At this point, we were using a "rolloff" mechanism from the Resonance Audio library - "rolloff" being the gradual attenuation of sound volume as the listener moves away from it.

We found that ambient sounds, especially those recorded in the environment where they're being played back, tend to be drowned by real-world noises, and so don't provide enough immersion. Furthermore, the built-in rolloff mechanism in Resonance Audio seems unsuitable for our coordinate system, as to walk a longitudinal distance of one degree is to walk about 51 miles in London. Due to the small changes in coordinate values, there was no perceptible rolloff effect at all.

For the second test, we "placed" three pieces of music at approximately 150 metre intervals along Wood Lane. We also ported the Inverse Square Law-based volume attenuation function from the Sharawadji webapp into our demo, and switched off the Resonance Audio rolloff. We found the custom attenuation worked very well, resulting in well-localised sounds - at about 5-10m from the sound location, we could hear a faint hint of the music, and following the direction it seemed to come from, we arrived at the spot where it played the loudest.

We are very excited about the possibilities of audio AR technology, and we're keen to run more experiments with it. From our tests so far it seems that with the right sound material and adjustments to the placement and attenuation of sounds, it could prove an interesting platform for new localised sound experiences.

Tweet This - Share on Facebook BBC R&D - On Our Radar: Audio AR BBC R&D - Audio AR: Sound Walk Research - The Missing Voice BBC R&D - Virtual Reality Sound in The Turning Forest BBC R&D - Binaural Sound BBC R&D - Spatial Audio BBC Academy - Introduction to Spatial Audio BBC Academy - Spatial Audio: Where Do I Start? BBC R&D - What Do Young People Want From a Radio Player? BBC R&D - Prototyping, Hacking and Evaluating New Radio Experiences BBC R&D - Better Radio Experiences: Generating Unexpected Ideas by Bringing User Research to Life

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In our first post on audio-led AR, R&D's Henry Cooke discussed why we're interested in the technology. After going on a soundwalk, we decided that a interesting next step would be to port our existing experiment in geolocated audio to our Bose Frames devkit: Alluvial Sharawadji.

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Återkommande samtal med enskild designer

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Återkommande samtal med enskild designer

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Jag har gått ihop med en kurkamrat för att 1 gång i veckan gå igenom vart vi är och hjälpa varandra framåt.

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The next time you walk the dog, ride public transit or stroll through an open-plan office, have a look around you at how many people are wearing headphones.

Whether it's over-ear, in-ear, wireless, Bluetooth, noise-cancelling or even headphones built into sunglasses, there are more and more styles to choose from. And they're getting smarter.

Tech companies are building new, artificial intelligence-enhanced abilities into the buds to feed us directions, notifications and even advertisements in a whole new way.

Audio augmented reality is poised to become the new selling feature of headphones. Instead of having to look at a phone, headphones can overlay an extra layer of information on your environment through sounds. An AI voice can quietly tell you a restaurant only has three stars when you look in its direction at lunchtime or tell you exactly what's wrong with your golf swing without the people around you knowing.

"Augmented reality, the ability to provide additional information through visual, auditory, even touch, all those technologies are evolving rapidly," said Michael Knappe, who leads technology and lifestyle audio at Harman International.

"We certainly see ways that information can be provided to users while listening to music."

Traditionally, to sell headphones at a premium price, audio quality was key. In 2014, Apple bought Beats Electronics for $3 billion and started selling headphones with high-end audio and heavy bass.

Then in 2016, Apple released a Bluetooth version of its famous white earbuds. They were widely ridiculed at first, with users on social media saying they looked like electric toothbrush heads sticking out of users' ears. But their integration with the voice assistant Siri and ability to take calls hands-free proved popular. Google's Pixel Buds Bluetooth headphones, unveiled in 2017, took things a step further and offered real-time language translation.

Suddenly it seemed like smarts were more important than high fidelity. Headphone's abilities are only set to grow. Bill Buxton, principal researcher at Microsoft Research is working on ways to use sound to provide directions, without barking "turn left" into users' ears. Using technology in headphones, like tiny gyroscopes to detect head position, he can place sounds anywhere in a user's environment.

You can hear some examples of the audio cues that Buxton is working on here:

Here a repeating sound moves from left to right to gently suggest a direction without a voice command.

This more traditional voice command moves through the audio environment to indicate a direction, which can naturally complement the instruction.

Buxton envisions a future where directions can be more subtle.

"If I do it correctly, in terms of choosing the right sound and the right processing, I could place the sound of a church bell into an environment, and you'd swear there was a church there in that direction," he said. "You're fully immersed in the real world, and at the same time you're immersed in a virtual world that is superimposed upon it."

The church bell can be used to give directions on a walking tour of a new city. A tourist could hear a general direction to wander in - toward the bell - but could choose their own route through picturesque back streets to get there.

Personal technology experts warn that any new platform for communicating with us is likely to prove attractive to advertisers, too. Your ears may be the next frontier for targeted ads, whispering to you to go ahead and buy that merchandise you're gazing at.

Wearing headphones all day, every day, raises other concerns, like societal isolation. But those same concerns were raised in a New York Times article about the rise of the portable cassette player. In 1981, the paper published a story with the headline "Private Music and Public Silence," which remarked on the trend of "waves of people ... walking about with little foam-rubber circles on their ears and expressions of transport on their faces in a scene that was almost Orwellian."

This year marks the 40th anniversary of the Sony Walkman going on sale in the United States. It seems the preference for headphones isn't going anywhere anytime soon.

If you're a member of your local public radio station, we thank you - because your support helps those stations keep programs like Marketplace on the air. But for Marketplace to continue to grow, we need additional investment from those who care most about what we do: superfans like you. Your donation - as little as $5 - helps us create more content that matters to you and your community, and to reach more people where they are - whether that's radio, podcasts or online. When you contribute directly to Marketplace, you become a partner in that mission: someone who understands that when we all get smarter, everybody wins.

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Audio augmented reality: a new platform for information - Marketplace

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The next time you walk the dog, ride public transit or stroll through an open-plan office, have a look around you at how many people are wearing headphones. Whether it's over-ear, in-ear, wireless, Bluetooth, noise-cancelling or even headphones built into sunglasses, there are more and more styles to choose from.

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A few months ago, here at the British Library we held an interesting Exploring with Sound Walks event, that discussed digital projects that connect literature, sound recordings, place, technology and walking. Several digital tools were mentioned by the presenters at this event, so this post, by Marcin Barski, is a practical guide for creating geo-located sound walks. We hope you are inspired to create your own walks, listen to sound walks, vote for your favourite (you need to be logged in to vote), and maybe attend one of the Sound Walk Sunday events taking place on the 1st and throughout the month of September 2019. If you can easily travel to London, you may also be interested in attending a Sound Walk Sunday walkshop in and around the British Library, taking place 10:00-13:00 on Saturday 31st August.

Over to Marcin for his advice on creating sound walks:
Let's start with some basic definitions. A sound walk is any activity that involves both walking and some form of listening. Listening is a much broader term than most of us would ever suspect. It can basically relate to the very act of giving attention to sound, but if we focus on details we soon realise that, as much as it happens mostly involuntarily, in certain circumstances and contexts we can direct it at the topics or phenomena that otherwise would have been lost in the very rich audiosphere that incessantly surrounds us.

It's rather important to understand that those topics and phenomena do not necessarily need to be of audial nature. Using pre-recorded sets of narratives, spoken word or studio-engineered music, we can make our audience aware of stories normally hidden from sight.

In recent years several tools have been developed that help sound walk artists, educators and creators place sounds in exact locations. Once placed, we need to tell our audience how to find and experience them. This can be achieved by voice instructions, QR codes or most commonly (and conveniently) by using mobile apps that determine the user's position via GPS and trigger sounds in the exact locations where we would like them to be heard.

Below you will find a quick guide on how to start creating your own geo-located sound walk, along with descriptions of some of the tools that can make the process smooth and stress free.

The very first thing you will need to do is to decide what story you want to tell. Do you know it well enough already, or is there a need to do some research? Is the story self-explanatory, or will you need to explain some or all details to your audience? And - actually, maybe the first question to ask - is it a story at all? Some sound walks can be based on natural recordings and music only, meaning the whole covered area changes its character without a single word.

Once your story is ready, decide how it should be conveyed to your audience. Do you prefer to tell the story yourself, or maybe it will be better to find and interview other people with significant knowledge of the topic? Creating a sound walk can sometimes be similar to working on a radio piece, in which important elements are delivered by experts or insiders. Will you need to record everything yourself or is it possible to find archival sounds that would add something valuable to your content?

In the next step you will need to decide what area should be covered with your sounds and narratives. Would you like the sounds to be located only in the described and meaningful locations, or would you prefer to have the whole area covered with some more or less abstract background recordings? In the latter case, you need to take into consideration that the larger the area, the more sounds will be needed to fill all the silent spaces.

Bear in mind that your audience will most likely experience your piece by foot, hence the distances between the particular spots should not be too large. The best results are achieved when distances between the sounds allow for smooth and undistracted strolling.

Remember to consider safety! Don't force your audience to walk in hazardous or restricted areas. They will be using headphones, so choose a route away from busy roads.

Each app you are going to use will come with specific requirements for the format or duration of your recordings. In most cases these requirements will be easy to meet, but make sure you are doing it correctly right from the beginning to avoid the hassle of file conversion or additional editing in later stages. You will find helpful descriptions of some of the available apps below.

Creating a geo-located sound walk can be fun not only for you, but also for others. Consider working in a group in which all of you have assigned tasks or subjects to cover. You will be surprised how much a socially creative activity it can become. Some people create sound walks with children, or with their local community groups.

We don't all carry high quality microphones in our pockets. Of course, if you want to create an audiophile experience, you will need to secure professional audio recorders and microphones, however technology is not a barrier anymore. You can even use your smartphone to make your recordings - their quality will definitely be good enough to record speech.

If you'd like to use background sounds, and you have no means of making the recordings yourself, there are repositories of sounds available on the Internet. Impressive collection of sounds can be found, for example, on the British Library's SoundCloud channel. You can also search at http://archive.org and http://freesound.org - which are available for you to use free of charge.

There's quite a number of open-source and free sound editing software on the Internet. If you're not a professional sound designer, most likely Audacity will be enough for you. It's easy to use and has all the features you may need. It's also quite popular so you will find many helpful tutorials online.

This is probably the most pleasant and at the same time the most challenging part of the work. Be prepared to spend hours in your chosen area and to have your patience tested. Although most of the apps allow for fairly accurate placing of sounds, you will need to test each single location yourself. Sometimes you will need to move a sound by a few metres, other times you will want to change the way in which two sounds interact with each other. Wear comfortable shoes and submit to the trial and error process. Despite the challenges, trust us, it's fun!

Once you are sure that all of your recordings are out there and in the exact places you want them to be, you can make your walk public. In most of the available apps you can publish with just one click. And when it's public, don't forget to tell everyone to try it. It's very rewarding to hear back from your audience - you will realise how much your work has re-shaped their perception of the chosen space.

Here is a list of digital tools and platforms available for making sound walks:
Echoes
Echoes gives you the freedom to explore breath-taking GPS-triggered audio tours wherever you are. With the Echoes Creator, you can quickly and easily upload audio, images, and text, geolocate them on the map, and publish them for the world to see. Just add shapes to the map, which create geofenced areas. These will trigger content when your listeners physically walk inside them.

Echoes is free to use and available at http://echoes.xyz
PlaceCloud
Placecloud's mission is to reveal the cultural significance of everyday places. To achieve this, they have invented something called 'placecasts', or place-specific podcasts: short audio recordings with GPS coordinates attached to them. Users can listen to them while being physically present in the places they refer to.

Placecloud keeps the process simple: many of the steps described above won't be necessary when working with this tool. By adding your recordings you become part of a wider community of 'placecasters'.
http://www.placecloud.io VoiceMap
VoiceMap is a tool for digital storytelling in public spaces. It's designed for storytellers and passionate locals all over the world who can - in an easy way - share their thoughts and narratives about the places they live in. As a creator you can guide your audience around your city - and get paid for this.
http://voicemap.me Locosonic
Similar to Echoes, Locosonic is designed for creating "movies for your ears" - as they call it. Locosonic Soundscapes link sounds, music and stories to a location. While exploring an area, you will hear the Soundscape that matches your location. Like an additional sense, Locosonic allows you to experience places through their stories and music.
http://www.locosonic.com CGeomap
CGeomap is a collaborative tool which allows people to work together on the same project. Very easy to use, it creates simultaneously an online map and a browser-based web app, geolocating audio, text and visual content, without the need to install on your device.

It is more limited in terms of sound than Echoes or Locosonic, but adds media to your walk, and generates simultaneously an online media map, accessible for all on desktop. An extra feature allows the user to shift, while walking, from one map to the other, activating up to three layers of content in one place.

Info: http://bit.ly/300hpMS
Aporee
radio aporee ::: miniatures for mobiles is a platform for (creating) sound walks. These are created and organised by a web-based editing tool and listened to with a mobile phone app, while walking outside, at the site where the piece is created for. In addition to the phone apps, a (prototype) browser-based web app is also available, without the need to install the app on your device.
https://aporee.org/mfm/ We hope you have fun making and listening to sound walks! Sound Walk Sunday events are taking place on the 1st and throughout the month of September 2019. One of them " Ecumenopolis - the whole world is one city", by Geert Vermeire, is being made for walkers around the British Library London, the State Library of Moscow, the National Library of Greece and the City Library of Sao Paulo, so we can't wait to listen to this work. This post is introduced by Digital Curator Stella Wisdom (@miss_wisdom) and Andrew Stuck from the Museum of Walking. Many thanks to Marcin Barski, curator, music publisher, sound and installation artist, co-founder of the Instytut Pejzażu Dźwiękowego (Polish Soundscape Institute) for writing this practical guide to creating sound walks.

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Creating Geo-located Digital Sound Walks

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A few months ago, here at the British Library we held an interesting Exploring with Sound Walks event, that discussed digital projects that connect literature, sound recordings, place, technology and walking. Several digital tools were mentioned by the presenters at this event, so this post, by Marcin Barski, is a...

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Jag fick mycket intressant feedback på mitt koncept. Generellt at det var en bra idé men som behöver utvecklas vidare. Jag ligger här lite efter då jag kom igång sent.
Jag inser att ju mer jag tar mig framåt här ju mer inriktad på just ljudlandskap blir jag. Dels fr att det är intressant och triggar mig men också dels för att jag gör mitt examensarbete i detta och det börjar luta mer åt det där också. Jag inser att min kunskap om ljudlandskap och allt däromkring är bristfällig. Dérive dök upp som förslag och jag behöver nu titta vidare på hur jag kan skaffa mig relevant kunskap inom fältet för att skapa bra designprodukter. Jag kommer fram till att kunskapande om detta är något som jag nu behöver utveckla för att hitta intressanta idéer för vidare utveckling av koncept.

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SWS Awards 2023

The original award discovering the best soundwalks from all over the world.

Up to €1000 for first prize!

Marŝarto Awards 2023

The first and only award recognising walking art from around the globe.

Up to €1000 for first prize!

This event is free for supporting members

Walking as Artistic Practice

Our next event: 2023-10-24 18:00

We are excited to have Ellen Mueller as our guest for this Cafe. For the last few years, she has been compiling a comprehensive resource on walking art and sharing it through her blog and through her own teaching resources. However, she is now the author of recent book from SUNY Publishers that brings together

Walking A/way with the prizes...

At the Sound Walk Stories Sunday showcase event of new writing, at which the shortlisted poems and stories from our 2023 Walking A/way themed writing competition, were read by their inspiring authors, we learnt which of them walked away with the prizes.

walk · listen · create is a community of 1500+ contributing members

No one saves us but ourselves. No one can, and no one may. We ourselves must walk the path.
Gautama Buddha

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Home of walking artists and artist walkers

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Musikens påverkan på oss människor har studerats tidigare. Den skapar känslor och associationer. Det går även att se att musik aktiverar hjärnans emotionella del.

I en ny studie från Berkeley University har forskare nu studerat på vilket sätt musik kan upplevas hos lyssnare och om dessa upplevelser är generella. Forskarna ville även se vilken påverkan kulturell tillhörighet kan ha i upplevelsen av vilka känslor som en särskild musik ger.

Både västerländsk och kinesisk musik

- Man har undersökt subjektiva upplevelser av musik på ett väldigt grundligt sätt med stora grupper av försökspersoner från både USA och Kina, berättar Fredrik Ullén, som själv forskar på frågor om musik och hjärnan på Karolinska institutet.

I den nya studien var det 2777 personer från både USA och Kina som fick lyssna på mer än 2000 olika musiklåtar. De valda musiksnuttarna var valda utifrån både modern och klassisk västerländsk, respektive traditionell kinesisk musik. Personerna fick sedan klassificera vilka känslor som de upplevde av musiken. De kunde även säga ifall de upplevde musiken som positiv eller negativ och ifall den hade hög eller låg energinivå.

Ger rika känsloupplevelser

- Resultaten är väldigt rika men ett huvudfynd är att man presenterar bevis för att musikaliska upplevelser är mycket rikare än vad man ofta tagit hänsyn till i tidigare studier. En vanlig approach är att skatta känsloresponser i ett tvådimensionellt diagram där axlarna motsvarar positiv eller negativ känsla, samt "arousal" (energinivå), berättar Fredrik Ullén.

På så vis har mycket av forskningen hittills missat att kartlägga hur viss musik kan skapa mer precisa känsloeffekter, menar Fredrik Ullén.

Den nya forskningen visar att det finns åtminstone 13 oberoende dimensioner av musikaliska känsloupplevelser. Dimensionerna motsvarar ungefär adjektiv som forskarna på engelska namngett "amusing" (roande), "annoying" (irriterande), "calm" (lugn), "dreamy" (drömsk), "erotic/desirous" (erotisk/lysten), "scary/fearful," (läskig) och "triumphant/heroic" (triumferande/hjältemodig).

13 musikkänslor blandas

- Dessutom kan dessa olika grunddimensioner blandas i en viss musikupplevelse. Det handlar alltså inte om distinkta antingen/eller-kategorier. Så den nya forskningen visar att musikupplevelser är emotionellt otroligt mångfacetterade och nyanserade, förklarar Fredrik Ullén.

- På ett sätt kan jag väl tycka att det här är rätt självklart för alla musikälskare. Men det är ju snyggt att det visas vetenskapligt, säger Fredrik Ullén.
Studien är publicerad i journal Proceeding of the National Academy of Sciences.
Hittat språk- eller faktafel i texten? Skriv och berätta.

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Musikens påverkan på oss människor har studerats tidigare. Den skapar känslor och associationer. Det går även att se att musik aktiverar hjärnans emotionella del. I en ny studie från Berkeley University har forskare nu studerat på vilket sätt musik kan upplevas hos lyssnare och om dessa upplevelser är generella.

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Titta på målgrupp och mer specifikt om dem.
Hur ska kombinationen vara givande och användarvänlig.
titta på vilka kombinationer och vad som har gjort som liknar
franska appar om hur man navigerar sig runt utan att navigera sig.

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Interweaving Visual and Audio-Haptic Augmented Realityfor Urban Exploration

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Interweaving Visual and Audio-Haptic Augmented Realityfor Urban Exploration

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För att skaffa relevant kunskap så har jag utgått ifrån fenomenet Dérive. Sedan har det utvecklats vidare till att handla om enbart ljud som källa för att ta sig runt i en miljö på ett ickelinjärt sätt. Utvecklingen har gått från att helt vandra fritt och gå vilse till att vandra på ett nytt sätt genom navigation och upplevelser som inte styr dig på ett traditionellt sätt och upplevelsen är atmosfärisk och i flera dimensioner från periferi till fokusområden. Allt detta görs med hjälp av plasten du befinner dig på och ljudförstärkning.

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Allt eftersom jag utvecklat olika idéer har jag antingen gjort fältstudier.

Individuellt:
Jag har själv gått och testat lju som jag har placerat på specifika platser, exempelvis geotaggningen med ljud, kombinationen va flera ljud i samma miljö, hur de kan skaps utifrån ljudnivå, intensitet och exakthet gentemot vart ma n befinner sig.

Med användare:
Med användare har jag fokuserat initialt på att testa olika sorters ljud att navigera sig med. Detta utifrån om det är lätt eller svårt att förstå, störande eller harmoniskt. Frå ndet har jag kommit fram till vilka ljud som verkar fungera bra för navigation.

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Olika ljud utplacerade i olika former för potentiella ljudnavigationsanvisningar.

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I en grupp om 4 personer så presenterade jag min idé om att skapa atmosfäriska känslor kopplade till sommaren alternativt kopplade till en historisk tid.

Det som framgick hos användaren var att de skulle tycka det var häftigt att uppleva Visby som det var förr och med guidade turer, men att det kan gå att stänga av ljudet av turen och bara gå turen med ljudlandskapet för att ta sig tillbaka i i tiden.

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En atmosfärsik förflyttning med ljud till sommaren. Gjort med ljud som associeras med sommar på just den platsen.

Musikaliska element:
1. Ljud förstärks ju närmre man kommer det. Navigationen blir nyfikenhet i förhållande till ljud.
2. Musikaliska element för att påverka stimuli
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In augmented reality (AR) and virtual reality (VR), audio is 51% of the experience. When you get the sound right, your AR/VR applications will deliver a more realistic, immersive experience.

Immersive audio is 360-degree audio that mirrors real-world soundscapes within XR environments. Also known as spatial audio, this form of sound keeps users in an XR experience for 40% longer.

How does spatial audio work?

Sounds emanate from all directions and are non-linear. For example, if you see a dog barking to your right in an XR simulation, spatial audio will match the barking sound's location with the dog's visual location as you move around the virtual space.

For users, the ability to pinpoint where sounds are coming from helps people feel like they have control over their environment. From a design standpoint, you can make it possible for users to localize directional audio by adding object-based auditory cues, which enhance the immersive experience.

Psychoacoustics defines how humans perceive sound and audio acts as the doorway into interactivity. Regardless of how good motion controls or graphics within AR/VR technology gets, true immersion cannot be achieved without paying attention to psychoacoustics.

In this post, we're going to learn:

1. The Six Key Principles of XR Sound Design.

2. Why HRTF is so Important when you Work with Spatial Audio.

3. Unity's Native Sound Capabilities

4. How User Interfaces in Audio help XR Users

5. Best Practices for Implementing Spatial Sound Design in Your XR environment

Let's dive in.

1. The 6 XR Sound Design Principles

Here are six fundamental principles you should think about when designing sounds for XR experiences:

1. Envelop

You must relay information about the scene to the user. When they put a headset on, you place them in the world that you created. To paint the picture, ask yourself the following:
→ What year is it?
→ What's the location? Are they inside a building or outside in nature?
→ What time is it? Is it night or day?
You must immediately surround them with whatever you can to make them feel a part of the story.

2. Ground

Showing the users your world is a start, but you must quickly ground people to strengthen the relationship they have with the content. If things don't feel realistic, it can detract from the experience. During testing, ask:

→ Am I standing next to the hologram?
→ Have we achieved actual presence, or is there a screen-door effect?
→ What can we do to make the sounds more realistic, as if we're really there?
This is a crucial aspect of spatial audio that amplifies the experience for users.

3. Emote

When you have the first two principles right, your XR experiences can impact users on an emotional level. Here are some things to think about:
→ Is the sound important to mimic or change what we are seeing? Can we change it? Should we?
→ How can we use sounds to convey rewards for proper use?
→ How can you use sounds to instill joy, fear, or sadness?
→ How can you use sounds to push or slow the pace of the experience?
Think about what you're doing to the player's emotion. With experimentation, you can use spatial audio in XR to exaggerate or reduce sounds, heightening, or altering player feelings and emotions.

4. Navigate

Sometimes, even in simple games, spatial audio acts as a guide to redirect users whenever they need assistance. You can relay information to people through sounds.

For example:
→ Getting their attention because you need them to look "over here."
→ Telling them that their battery is low.
→ Manipulating user focus, or lack thereof.

When you want to tell the player something through sound, ask yourself if you are pointing them in the right direction. Think about when and why you are using sound to ensure you don't misguide users.

5. Include

Your XR feature should offer a universal experience that everybody can enjoy. When designing it, consider the following:
→ Can everyone share this experience?
→ How can we help people who can't or those who interpret it differently than I do?
→ What adjustments can we make so we're inclusive of anyone with limitations?
Ideally, your experience should have something for people from all walks of life.

6. Bridge

While mixed reality is gradually becoming more mainstream, it's still a leap from real life. First-time users can struggle to fully engage with XR experiences.

It's your job to help them get there.
→ How does the user feel right now?
→ How can you bridge the information gap?
→ Can we make this feel less weird?
During design, remember that sound plays a crucial role in normalizing the experience to eliminate mental hurdles.

2. The Crucial Role of HRTF in Spatial Audio

A head-related transfer function (HRTF) is a response that distinguishes how each ear receives a sound from any point in space. HRTF is possible because our brain, inner ear, and external ears all work together to determine the location of a sound's source.

Our brains are constantly processing information. We can parse these sounds down into two categories:

Interaural time difference is when there is a time delay between ears. The brain determines which ear received the audio signal first and identifies the source location.

Interaural level difference is when there is an audio volume difference between your ears. This difference is because of an acoustic shadow cast by our heads, which block high frequencies.

How to Calculate HRTF for XR Sound Design Projects

So, now that you know the science, how do you apply it in XR sound design?

Here's how you can calculate HRTF:

1. Set up a sound source-a speaker-in a room.

2. Play sound through the source, and make a recording.

3. Move the sound source 30 degrees.

4. Play the sound, and record again.

5. Repeat this process in twelve different locations around the room.

Once you're done, you'll have a good representation of what the sound will be like when emitted from any given location around the user.

In a traditional example, let's say we want to demonstrate a bird sound in our XR environment. To do this, we take the player orientation into consideration and pan accordingly. Then, we need to determine the distance that the bird is from the player and calculate a volume based on that distance.

However, with spatial audio, we have an advantage. We can say it's 30 degrees to the right, 50 degrees above, and 10 meters away. Then, we go into our HRTF files and play that sound.

Benefits of HRTF in Spatial Audio

Thought you'd never ask.

It helps user focus - HRTF helps our brain parse information to filter out what is unimportant or determine that something is just background noise. As such, these sounds will not pull focus from the main features of the mixed reality environment.

It makes the experience more accessible - With better, more realistic audio, you can offer a high-quality user experience (UX) that is more engaging for anybody to use.

It's good for navigation - HRTF provides clues for the user to clearly tell them where things are happening.

It helps with grounding - You can guide the user and bring them into the story. In effect, HRTF is a powerful tool in spatial audio because it is an immersion multiplier.

3. How to Use Spatial Audio in Unity

Unity3D is a free 3D development engine for building games, simulations, and experiences. It is the easiest way to make apps for XR. However, despite its prowess for XR design, Unity doesn't have a lot of spatial audio features.

You can use third-party tools to add to the experience, like:

Microsoft Acoustics

Valve Steam Audio

Resonance Audio

In each of these tools, key features include:

Varying acoustic modeling tech

Custom HRTFs

Directionality

Occlusion

Middleware support

Important Spatial Audio Considerations during XR Sound Design

Spatial audio is affordable on every mixed reality platform. Regardless of which device you're creating for, it's worth having spatial audio to build the best possible experience.

Here are a few things to keep in mind:

CPU budget - Be sure you choose the right game engine and output platform to maximize your resources.

Features - Think about the specific features you need before you commit to a specific device or engine.

Spatialize Checkbox - Make sure this is checked, so your sounds spatialize.

Attenuation - This is how sounds roll off and change over distance.

Spread - How much of the signal is spread into two ears. Smart use of spread is a good way to adjust for perceptual size.

Once everything is set up, you can use the audience prefab to quickly pull in different settings for spatializer or attenuation when you need them.

How User Interfaces in Audio Help XR Users

In a world of constantly changing hardware and foreign input systems, UI audio plays a crucial role in helping users navigate and enjoy their experience.

Sound design improves the user interface-and by extension, the user experience-in several ways:

Relays information to the user

Input (confirm, cancel, back, next, previous, etc.)

Gaze, touch, voice, buttons, sliders, etc.

Provides sonic unification

Outlines experiences for the user

Provides accessibility to otherwise unreachable interactions

Brings familiarity to elements

Provides reassurance and confidence

For example, when navigating the UI of a Nintendo Switch, you'll hear simple, repetitive sounds. These innocuous beeps and chirps have a musical feel, and the home sound evokes a familiar sense of arrival. Together, these sounds are designed with the intent to create a bigger, more unified UX.

But what about mixed reality? How does audio help the user interface?

Here's where it gets tricky.

AR/VR has unconventional input models

Everyone is familiar with the UI of a smartphone. Even if it isn't your phone, you'd have some sense of how to operate it. With an AR/VR device, logging in isn't as straightforward. If I told you to put on a headset and look at a particular object until it stopped spinning, you might think it's a little weird. For some people, this concept doesn't make any sense.

Combatting with clutter

In XR environments, there can be multiple animations firing, voiceovers, and graphics, all competing for the user's attention. Designers must cut through the noise to create the most cohesive experience and relay only what needs to be heard at that given moment.

More axis of control

UI info and control panels may be off the screen. Designers need to prioritize what info they are trying to communicate and present panels when they are needed.

How to Apply the XR Sound Design Principles to Asset Creation and Integration

Okay, so let's take a brief run through the steps involved in creating sounds for an XR experience.
First, we must define the goal behind a new sound. Why are you creating this particular sound?
→ The background or goal defines your why
→ The design is your what
→ The integration is your how Use the XR sound design principles to guide your project
For example, we'll imagine that we're visiting the Seattle Aquarium. It's Shark Month, and we need to design an app to teach people about sharks.

1. Envelop - It's a loud environment, so we won't be able to fully envelop them because of the background noise.

2. Ground - As with the first principle, we'll struggle here. So, we don't need to worry about this aspect.

3. Emote - This app should be fun. We can use fun sounds and aim to get smiles from first-time users.

4. Navigate - Make it obvious we are hydrating or activating a button panel.

5. Include - Make it very easy to use and differentiate between buttons or menus.

6. Bridge - Assume it's a weird, wild experience for first-time users. Don't overwhelm people.

Here are a few considerations for our Sharkland XR app:

→ This is a fun app suitable for all ages.
→ It should have a stylized design, not realistic sharks.
→ We will have a HoloLens 2 at the real shark tank. People can put it on and look around to see our cool XR sharks and engage with information about sharks.
→ We'll assume these people have never used MR before
→ It's going to be a loud environment, like a busy Saturday at the Aquarium.

So, how do we do this?

That's right! Let's walk through each one.

You can use Reaper to edit recorded sounds. If we consider our Shark app example, you can record a short audio clip of somebody blowing bubbles with a straw in a glass of water.

With Reaper, you can then manipulate this audio by dropping pitches, adding a delay, or reversing a snippet of the sound. In XR sound design, playing a sound one way, then reversing it and manipulating the pitch is a classic mechanic for the open and close menu functions in an application.

Certain sound may fit better when you perform specific menu actions with the controller, such as:

As you experiment with the audio clip, think about where the sounds play from in relation to your app's buttons or menus.

Quick Key Concepts in XR Sound Design

As you gain experience in the field, you'll soon realize which aspects are integral to high-quality sound production. To get you off on the right foot, here are some important tenets of sound design in XR environments:

Acoustics

Your environment's acoustics is crucial for immersing players in your virtual world and dressing up the spatial audio. When you have the acoustic settings correct, you can ground the player in your location and genuinely make them feel like they are in a bathroom, concert hall, or ancient pyramid.

Animations

Is the voice relaying crucial info? If so, how can we ensure the user hears everything?

Can we see anything visually when the voice is speaking? Think carefully about attaching to an empty 3D object, and how that may negatively impact user engagement.

Randomly spatializing a sound could lead users away from the vital info.

It's ok to use stereo for voices if it fits the experience.

You need to design sound events that will play alongside the animations in your XR experience. For example, you may have animated events like footsteps, a car crash, or somebody firing a gun. To do this, you must create a script that will call specific functions on keyframes.

Voices

You can use voices to relay info to users. For instance, you might include a narrator, tutorial, or even the voice of God. Alternatively, you could attach voices directly to game objects to bring them to life.
→ What are we trying to say?
→ Are we driving the story?

Reaper for sound editing.

Sony M10 as a portable recorder. Alternatives include LOM Mikro Usi, or Rode NTG3.

Izotope RX to clean up recordings

Fabfilter Suite and a reverb plugin like Altiverb or Blackhole.

DearVR as an all-inclusive spatial audio suiteTo experiment more with XR sound design, he suggests you check out the SDK, Google Resonance.

→ For novice users, does our music ease their confusion or discomfort about using XR?
Consider the impression that voice positioning will have on the user:

Music

Using music in a mixed reality environment can easily go wrong. Be careful not to distract the user from vital information-such as an important message being relayed by a speaking character.

If you use music, it should never be arbitrary or only for filler. Instead, think about the following:

Recommended Tools

Here is a shortlist of some essential tools for XR sound design, as recommended by Microsoft Technical Sound Designer, Travis Fodor. In addition to some high-quality headphones, Travis recommends:

To experiment more with XR sound design, he suggests you check out the SDK, Google Resonance.

Summary

When you're designing sounds for a mixed reality experience, the user interface can make-or-break your application's success. A good UI makes the app a more accessible, enjoyable experience that users will actively engage in and get excited about. For first-time users, that is one of the most important things, as you want to break down the walls to make your XR experience feel normal for them and to put a smile on their face.

Great sound design plays a vital role in immersing users, relaying information, and directing the player to where they need to be when they need to be there.

If you're ready to go a little deeper, you can learn more in our workshop with Travis Fodor to see how he puts the principles of XR sound design into practice. Check out the on-demand XR Sound Design workshop now.

If you already have advanced knowledge in this field and want to develop your skills, our XR Project Accelerator course is the perfect step for advanced Unity development.

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3D Audio Primer: How to Design Sound for XR Applications

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In augmented reality (AR) and virtual reality (VR), audio is 51% of the experience. When you get the sound right, your AR/VR applications will deliver a more realistic, immersive experience. Immersive audio is 360-degree audio that mirrors real-world soundscapes within XR environments.

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Viktiga frågor i designen av ett ljudlandskap

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Viktiga frågor i designen av ett ljudlandskap