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Listening to the world Bill Gaver Goldsmiths College University of London

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Listening to the world Bill Gaver Goldsmiths College University of London

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    1. Listening to the world Bill Gaver Goldsmiths College University of London

    2. 1. 1986 2. 2006

    3. 1. 1986

    4. The SonicFinder Gaver, W. W., (1989). The SonicFinder, a prototype interface that uses auditory icons. Human Computer Interaction, 4, 67 - 94.

    5. e.g., selecting — tapping; copying — filling iconic v. symbolic mapping sound effects and imaginary sources Auditory icons can be parameterised. e.g. material for type, size for size multiple layers of information in single sounds reduces repetition and annoyance Auditory Icons Gaver, W. W., (1986). Auditory icons: Using sound in computer interfaces. Human-Computer Interaction, 2, 167-177.

    6. - pitch, loudness, dynamics, timbre(1) - view of psychoacoustics, music, technology auditory event perception size, material, interaction, force; timbre(2) relatively unexplored About experience, not sounds… Everyday Listening

    7. J.J. Gibson’s ecological approach to perception The Senses Considered as Perceptual Systems (1966) “…A mechanical disturbance or dislocation is propagated outward from a source in accordance with the laws of wave action…”

    8. Everyday Listening Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory source perception. Ecological Psychology, 5 (1): 1-29. What in the world do we hear? “configurations of materials interacting in an environment” perceptible dimensions and attributes of sources approach through protocol studies & simple physics

    9. Everyday Listening Gaver, W. W. (1993). How do we hear in the world? Explorations of ecological acoustics. Ecological Psychology, 5(4): 285 - 313. How do we hear in the world? sound attributes that convey information approach through simulations and synthesis algorithms controlled via perceptible source parameters

    10. People collaborated remotely to run a simulated bottling plant… multiple machines with / without sounds normal and error sounds too big to see Auditory Icons (cont’d): The ARKola Experiment Gaver, W. W., Smith, R. B., & O’Shea, T. (1991). Effective sounds in complex systems: The ARKola simulation. Proc. CHI, 91.

    11. EAR: Environmental Audio Reminders Gaver, W.W. (1991). Sound support for collaboration. Proc. ECSCW’91 Used with EuroPARC’s mediaspace Event notification service (Lövstrand) triggered sounds: meeting = murmuring + gavel video connection = door opening / closing image capture = camera video scan = footsteps rain = thunder break request = lighting match, coughing 100’s of sounds per day, used for months designing inobtrusive sounds

    12. iconic mapping parameterisation feedback and feedforward engagement notification and peripheral awareness Crafting sounds to work together functionally aesthetically Auditory Icons

    13. Mapping & sounds Beyond information Purpose Auditory Icons: Reflections

    14. 2006

    15. Alternatives Gaver, W., and Martin, H. (2000). Alternatives: Exploring information appliances through conceptual design proposals. Proc. CHI’00.

    16. Off the desktop and into the world Designing for ludic engagement Conceptual appropriation Designing for Everyday Life Gaver, W.W. (2002). Designing for Homo Ludens. I3 Magazine No. 12, June 2002.

    17. E.g. The Drift Table Gaver, W., Bowers, J., Boucher, A., Gellerson, H., Pennington, S., Schmidt, A., Steed, A., Villar, N., and Walker, B. (2004). The Drift Table: Designing for ludic engagement. Proc. CHI’04 Design Expo.

    18. Ludic Design

    19. E.g. The Video Window Gaver, W. (2005). The Video Window: Living with a ludic system. Proc. 3AD.

    20. E.g. The Video Window Gaver, W. (2005). The Video Window: Living with a ludic system. Proc. 3AD.

    21. E.g. The Video Window Gaver, W. (2005). The Video Window: Living with a ludic system. Proc. 3AD.

    22. Avoiding the genre of “computer” Finding appropriate aesthetics for domestic devices Resisting the temptation to show off Openness, suggestion, and exaggeration Subverting designers’ narratives Design choices lead conceptualisation Field trials and observations People tell us what things are for Designing for Homo Ludens

    23. Mixing things up

    24. Current plans: An Audio Window What happens if you mount a microphone outside the home?

    25. Current plans: An Audio Window

    26. Roles for sound

    27. Conclusions Sound Music Interfaces

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