Tangible auditory interfaces [Elektronische Ressource] : combining auditory displays and tangible interfaces / vorgelegt von Till Bovermann

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• Publié par: universitat_bielefeld
• Publié le: 01 janvier 2009
• Nombre de lectures: 29
• Langue: English
• Poids de l'ouvrage: 5 Mo

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Tangible Auditory Interfaces
Combining Auditory Displays and Tangible Interfaces
Dissertation
zur Erlangung des akademischen Grades
Doktor der Ingenieurwissenschaften
der Technischen Fakultät der Universität Bielefeld
vorgelegt von Till Bovermann am 15. Dezember 2009Acknowledgements
I would like to thank my supervisor Thomas Hermann for all the freedom, support and
lively discussions. It is a pleasure to work with him; without his active support this work
would not have been possible. To my co-workers and friends in the Ambient Intelligence
Group – Florian Grond, Tobias Großhauser, Ulf Großekatthöfer, Sebastian Hammerl
Christian Mertes, Eckard Riedenklau and René Tünnermann – warm thanks for inspiring
and stimulating collaboration and for making this thesis possible. Although some of you
are not co-authors of the papers included here, your ideas and comments certainly have
had a great influence. I would also like to thank all members of the Neuroinformatics
Group, Bielefeld for providing a pleasant workplace and a friendly atmosphere. Due to
the patience and kindness of Helge Ritter, head of group, I had much freedom to work on
my projects. I thank him for his ongoing support. Thanks also to friends, colleagues, and
personnel at the CITEC Center of Excellence and the Institute of Electronic Music and
Acoustics for creating such vibrant and interesting environments to work in. I am especially
grateful to Alberto de Campo for his active and thoughtful support in many circumstances.
I learned a lot. I want to thank the Central Lab facility of the CITEC for their support in
the production of the ChopStix system. I am also greatful to the people directly involved
in the production process of ChopStix: Jan Anlauff, Holger Dierker, Florian Grond, Felix
Hagemann, Simon Schulz, René Tünnermann, and Sebastian Zehe. Without you all, it
would not have happened. I want to thank René Tünnermann, Florian Grond and Thomas
Hermann for their valuable contributions to Reim. I would also like to thank Bodo Lensch
and the Animax, Bonn for the opportunity to show Durcheinander in their performance
space. For linguistic and language support during writing, I would like to thank Katrin
Kaup.
I especially want to thank Claudia Muhl and Sven Nieder for their support on a professional,
yet also private level. For both their professional support and general friendliness, I would
like to thank Christof Elbrechter, Marianne Egger de Campo, Jonas Groten, Oliver Lieske,
Lucy Lungley, Julian Rohrhuber, Katharina Vogt, Arne Wulf, and the inhabitants of the
red house in Graz. Many thanks also to all of you I did not mention personally, who have
provided feedback on this work by commenting and criticising, discussing and contributing
ideas.
Finally, I am deeply grateful to my family and I dedicate this work to my parents and
grandparents for their devoted support given to me throughout my life. To Ulrike, thank
you for your support, hope, trust, joy and everything else.
During the work on this thesis, I have been employed by the Neuroinformatics Group
and the Ambient Intelligence Group of Bielefeld University as well as by the Institute of
Electronic Music and Acoustics, Graz. This work has been partially supported by the DFG
through the SFB 673, and by the Center of Excellence, CITEC, Bielefeld University. I
would like to thank the European Environment Agency and wunderground.com for their
kind provision of near realtime ozone, respectively weather data.Contents
1. Introduction 1
1.1. Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.2. Document Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
I. Interfacing Digital Content with Auditory and Physical Devices 7
2. Data and its Central Role in Digital Environments 9
2.1. Examples for Common Data Domains . . . . . . . . . . . . . . . . . . . . . 9
2.2. Formal Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2.3. The Artificial Separation of Data and Algorithms . . . . . . . . . . . . . . . 12
2.4. Data Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2.4.1. Data – the Non-materialistic Material . . . . . . . . . . . . . . . . . 13
3. Exploratory Data Analysis 15
3.1. Workflow in Exploratory Data Analysis . . . . . . . . . . . . . . . . . . . . 17
3.2. Standard Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
3.3. Neighbour Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3.4. Data Representations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3.4.1.tation Classifications . . . . . . . . . . . . . . . . . . . . . . 20
3.4.2. Considerations based on the presented classification strategies . . . . 23
4. Interfacing Humans with Computers 25
4.1. Observation and Analysis of Human Action in Real-life Situations . . . . . . 25
4.1.1. Human-Human Interaction . . . . . . . . . . . . . . . . . . . . . . . 26
4.1.2. Manipulating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 27
4.2. Historical Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.2.1. Slide Rule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.2.2. Planimeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4.3. Research in Human Computer Interaction and Interaction Design . . . . . . 31
4.4. Graphical User Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4.5. Alternative Approaches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
4.5.1. Reality-Based Interaction . . . . . . . . . . . . . . . . . . . . . . . . 34
4.6. Methods for Interface Evaluation . . . . . . . . . . . . . . . . . . . . . . . . 36
5. Tangible Interfaces 41
5.1. What are Tangible Interfaces? . . . . . . . . . . . . . . . . . . . . . . . . . . 42
5.1.1. A Working Definition . . . . . . . . . . . . . . . . . . . . . . . . . . 44
5.1.2. Example Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 44
5.1.3. Areas in Tangible Interface Research . . . . . . . . . . . . . . . . . . 45
vContents
5.2. Tools and Technologies utilised by Tangible Interfaces . . . . . . . . . . . . 46
5.2.1. Sensor technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
5.2.2. Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
5.2.3. Actuating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
5.3. Analysis and Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
5.4. Crafting the Digital – Towards a Theory of Tangible Interface Design . . . . 49
5.4.1. Turning Observations into Design Strategies . . . . . . . . . . . . . . 49
5.4.2. Utilising Features of Tangible Objects for Interface Design . . . . . . 51
5.4.3. The Level of Abstraction in Tangible Interfaces . . . . . . . . . . . . 55
5.5. Equivalents of Canvas, Point, Line, and Shape in Tangible Interfaces . . . . 58
5.5.1. Surface and Space – Canvasses for Tangible Interfaces . . . . . . . . 59
5.5.2. Grains – Tangible Points in Space . . . . . . . . . . . . . . . . . . . 62
5.5.3. Sticks – Tangible Lines and Arrows . . . . . . . . . . . . . . . . . . . 63
5.5.4. Plates – Tangible Shapes . . . . . . . . . . . . . . . . . . . . . . . . 64
5.5.5. Artefacts – Tangible Three-Dimensional Objects . . . . . . . . . . . 65
5.6. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
6. Information Displays 67
6.1. Display Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
6.2. Visual Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
6.2.1. Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
6.3. Auditory Displays and Sonification . . . . . . . . . . . . . . . . . . . . . . . 69
6.4. Sound Synthesis Techniques for Auditory Displays . . . . . . . . . . . . . . 72
6.4.1. Granular Synthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
6.4.2. Sound Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
6.4.3. Spatial Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
6.5. The Importance of Multi-Modal Displays . . . . . . . . . . . . . . . . . . . . 75
7. Tangible Auditory Interfaces 77
7.1. Key Features of Tangible Auditory Interfaces . . . . . . . . . . . . . . . . . 79
7.2. Auditory Bindings for Tangible Interfaces . . . . . . . . . . . . . . . . . . . 80
7.3. Application Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
II. Systems Incorporating Tangible Auditory Interfaces 83
8. Overview 85
9. Applications 87
9.1. MoveSound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
9.1.1. State of the Art – Spatialisation Controls in Digital Audio Workstations 87
9.1.2. Motivation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
9.1.3. Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
9.1.4. Level of Abstraction . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
9.1.5. MoveSound’s Technical Aspects . . . . . . . . . . . . . . . . . . . . . 91
9.1.6. A Qualitative Analysis of user Action by Means of MoveSound . . . 97
9.1.7. Conclusion . . . . . . . . . . . . . .