{"product_id":"auditory-interfaces-9781032196459","title":"Auditory Interfaces","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eAuditory\u003c\/em\u003e \u003ci\u003eInterfaces\u003c\/i\u003e explores how human-computer interactions can be significantly enhanced through the improved use of the audio channel. \u003c\/p\u003e\u003cp\u003eProviding historical, theoretical and practical perspectives, the book begins with an introductory overview, before presenting cutting-edge research with chapters on embodied music recognition, nonspeech audio, and user interfaces. \u003c\/p\u003e\u003cp\u003eThis book will be of interest to advanced students, researchers and professionals working in a range of fields, from audio sound systems, to human-computer interaction and computer science.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eList of Figures \u003c\/p\u003e\u003cp\u003eList of Tables \u003c\/p\u003e\u003cp\u003ePreface\u003c\/p\u003e\u003cp\u003e0.1 Introduction\u003c\/p\u003e\u003cp\u003e0.2 Overview\u003c\/p\u003e\u003cp\u003e0.3 The Authors\u003c\/p\u003e\u003cp\u003e1 \u003cb\u003eNonspeech audio: an introduction\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1.1 Introduction\u003c\/p\u003e\u003cp\u003e1.2 What About Noise?\u003c\/p\u003e\u003cp\u003e1.3 Figure and Ground in Audio\u003c\/p\u003e\u003cp\u003e1.4 Sound and the Visually Impaired\u003c\/p\u003e\u003cp\u003e1.5 Auditory Display Techniques\u003c\/p\u003e\u003cp\u003e1.6 Some Examples\u003c\/p\u003e\u003cp\u003e1.7 Sound in Collaborative Work\u003c\/p\u003e\u003cp\u003e1.8 Function and Signal Type\u003c\/p\u003e\u003cp\u003e1.8.1 Alarms and Warning Systems\u003c\/p\u003e\u003cp\u003e1.9 Audio Cues and Learning\u003c\/p\u003e\u003cp\u003e1.10 Perception and Psychoacoustics\u003c\/p\u003e\u003cp\u003e1.11 The Logistics of Sound\u003c\/p\u003e\u003cp\u003e1.12 Summary\u003c\/p\u003e\u003cp\u003e2 \u003cb\u003eAcoustics and psychoacoustics\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e2.1 Introduction\u003c\/p\u003e\u003cp\u003e2.2 Acoustics\u003c\/p\u003e\u003cp\u003e2.2.1 Waveforms\u003c\/p\u003e\u003cp\u003e2.2.2 Fourier analysis and spectral plots \u003c\/p\u003e\u003cp\u003e2.3 More Complex waves \u003c\/p\u003e\u003cp\u003e2.3.1 Sound, Obstacles, Bending and Shadows\u003c\/p\u003e\u003cp\u003e2.3.2 Phase: its Implication on Sound and Representations\u003c\/p\u003e\u003cp\u003e2.3.3 The Inverse Square Law\u003c\/p\u003e\u003cp\u003e2.3.4 Helmholtz Revisited\u003c\/p\u003e\u003cp\u003e2.3.5 Spectrograms\u003c\/p\u003e\u003cp\u003e2.3.6 Formants vs Partials\u003c\/p\u003e\u003cp\u003e2.4 Some digital signal processing concepts\u003c\/p\u003e\u003cp\u003e2.5 Spatial Hearing\u003c\/p\u003e\u003cp\u003e2.5.1 Head-related transfer functions (HRTF)\u003c\/p\u003e\u003cp\u003e2.5.2 3D sound distance and reverberation\u003c\/p\u003e\u003cp\u003e2.6 Psychoacoustics\u003c\/p\u003e\u003cp\u003e2.6.1 Just Noticeable Difference (JND)\u003c\/p\u003e\u003cp\u003e2.6.2 Critical Bands\u003c\/p\u003e\u003cp\u003e2.6.3 Pitch\u003c\/p\u003e\u003cp\u003e2.6.4 Pitches, Intervals, Scales and Ratios\u003c\/p\u003e\u003cp\u003e2.6.5 Loudness\u003c\/p\u003e\u003cp\u003e2.6.6 Duration, Attack Time and Rhythm.\u003c\/p\u003e\u003cp\u003e2.6.7 Microvariation and Spectral Fusion\u003c\/p\u003e\u003cp\u003e2.6.8 Timbre\u003c\/p\u003e\u003cp\u003e2.6.9 Masking\u003c\/p\u003e\u003cp\u003e2.6.10 Auditory Streaming\u003c\/p\u003e\u003cp\u003e2.6.11 Sounds with Variations\u003c\/p\u003e\u003cp\u003e2.6.12 Psychoacoustic Illusions\u003c\/p\u003e\u003cp\u003e2.7 Perception of 3D sound\u003c\/p\u003e\u003cp\u003e2.7.1 Precedence \/ Hass effect\u003c\/p\u003e\u003cp\u003e2.7.2 Binaural Rendering\u003c\/p\u003e\u003cp\u003e2.8 Hearing versus listening\u003c\/p\u003e\u003cp\u003e2.9 Annoying sounds\u003c\/p\u003e\u003cp\u003e2.10 Pleasant sounds\u003c\/p\u003e\u003cp\u003e2.11 Embodied sound and music cognition\u003c\/p\u003e\u003cp\u003e2.12 Conclusions\u003c\/p\u003e\u003cp\u003e3 \u003cb\u003eSonification\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e3.1 Introduction\u003c\/p\u003e\u003cp\u003e3.2 History\u003c\/p\u003e\u003cp\u003e3.3 Model based sonification\u003c\/p\u003e\u003cp\u003e3.4 Case Studies\u003c\/p\u003e\u003cp\u003e3.4.1 Case Study 1: Presenting Information in Sound\u003c\/p\u003e\u003cp\u003e3.4.2 Case Study 2: Dynamic Representation of Multivariate Time Series Data\u003c\/p\u003e\u003cp\u003e3.4.3 Case Study 3: Stereophonic and Surface Sound Generation\u003c\/p\u003e\u003cp\u003e3.4.4 Case Study 4: Auditory Presentation of Experimental Data\u003c\/p\u003e\u003cp\u003e3.4.5 Case Study 5: Sonification of EEG data\u003c\/p\u003e\u003cp\u003e3.5 Discussion\u003c\/p\u003e\u003cp\u003e3.6 Issues\u003c\/p\u003e\u003cp\u003e3.7 Issues of Data\u003c\/p\u003e\u003cp\u003e3.7.1 Issues of Sound Parameters\u003c\/p\u003e\u003cp\u003e3.7.2 Issues of Evaluation\u003c\/p\u003e\u003cp\u003e3.8 Conclusions\u003c\/p\u003e\u003cp\u003e4 \u003cb\u003eEarcons\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e4.1 Introduction\u003c\/p\u003e\u003cp\u003e4.2 Case Studies\u003c\/p\u003e\u003cp\u003e4.2.1 Case Study 1: Alarms and Warning Systems\u003c\/p\u003e\u003cp\u003e4.2.2 Alarms as Applied Psychoacoustics\u003c\/p\u003e\u003cp\u003e4.2.3 Problems With Traditional Alarms and Convergences with Audio Interfaces\u003c\/p\u003e\u003cp\u003e4.2.4 Case Study 2: Concurrent earcons\u003c\/p\u003e\u003cp\u003e4.2.5 Case Study 3: Earcons for visually impaired users\u003c\/p\u003e\u003cp\u003e4.3 Conclusions\u003c\/p\u003e\u003cp\u003e5 \u003cb\u003eEveryday listening\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e5.1 Introduction\u003c\/p\u003e\u003cp\u003e5.2 Musical and Everyday Listening\u003c\/p\u003e\u003cp\u003e5.2.1 Musical and Everyday Listening are Experiences\u003c\/p\u003e\u003cp\u003e5.3 The Psychology of Everyday Listening\u003c\/p\u003e\u003cp\u003e5.3.1 Knowledge About Everyday Listening\u003c\/p\u003e\u003cp\u003e5.4 The Ecological Approach To Perception\u003c\/p\u003e\u003cp\u003e5.4.1 Developing An Ecological Account Of Listening\u003c\/p\u003e\u003cp\u003e5.5 What Do We Hear?\u003c\/p\u003e\u003cp\u003e5.6 The Physics of Sound-Producing Events \u003c\/p\u003e\u003cp\u003e5.7 Vibrating Objects \u003c\/p\u003e\u003cp\u003e5.7.1 Aerodynamic Sounds \u003c\/p\u003e\u003cp\u003e5.7.2 Liquid Sounds \u003c\/p\u003e\u003cp\u003e5.7.3 Temporally Complex Events \u003c\/p\u003e\u003cp\u003e5.8 Asking People What They Hear \u003c\/p\u003e\u003cp\u003e5.9 Attributes of Everyday Listening \u003c\/p\u003e\u003cp\u003e5.10 Patterned, Compound, and Hybrid Complex Sounds \u003c\/p\u003e\u003cp\u003e5.10.1 Problems and Potentials of the Framework \u003c\/p\u003e\u003cp\u003e5.11 How Do We Hear It? \u003c\/p\u003e\u003cp\u003e5.12 Analysis and Synthesis of Sounds and Events \u003c\/p\u003e\u003cp\u003e5.12.1 Breaking and Bouncing Bottles \u003c\/p\u003e\u003cp\u003e5.12.2 Impact Sounds \u003c\/p\u003e\u003cp\u003e5.12.3 Material and Length \u003c\/p\u003e\u003cp\u003e5.12.4 Internal Friction and Material \u003c\/p\u003e\u003cp\u003e5.13 Sound synthesis by physical modelling \u003c\/p\u003e\u003cp\u003e5.14 Conclusions \u003c\/p\u003e\u003cp\u003e\u003cb\u003e6. Auditory icons \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e6.1 Introduction \u003c\/p\u003e\u003cp\u003e6.2 Advantages of Auditory Icons \u003c\/p\u003e\u003cp\u003e6.3 Systems Which Use Auditory Icons \u003c\/p\u003e\u003cp\u003e6.3.1 Case Study 1: The SonicFinder: Creating an Auditory Desktop \u003c\/p\u003e\u003cp\u003e6.3.2 Case study 2: SoundShark: Sounds in a Large Collaborative Environment \u003c\/p\u003e\u003cp\u003e6.3.3 Case study 3: ARKola: Studying the Use of Sound in a Complex System \u003c\/p\u003e\u003cp\u003e6.3.4 Case study 4: ShareMon: Background Sounds for Awareness \u003c\/p\u003e\u003cp\u003e6.3.5 Case study 5: EAR: Environmental Audio Reminders \u003c\/p\u003e\u003cp\u003e6.3.6 Case study 6: Shoogle: Excitatory Multimodal Interaction on Mobile Devices \u003c\/p\u003e\u003cp\u003e6.3.7 Summary \u003c\/p\u003e\u003cp\u003e6.4 Issues for Auditory Icons \u003c\/p\u003e\u003cp\u003e6.4.1 Mapping Sounds to Events \u003c\/p\u003e\u003cp\u003e6.4.2 What is Being Mapped to What? \u003c\/p\u003e\u003cp\u003e6.4.3 Types of Mapping\u003c\/p\u003e\u003cp\u003e6.5 The Vocabulary of Auditory Icons\u003c\/p\u003e\u003cp\u003e6.5.1 Beyond Literal Mappings: Metaphors, Sound-effects, Cliche´s, and Genre Sounds\u003c\/p\u003e\u003cp\u003e6.6 Annoyance\u003c\/p\u003e\u003cp\u003e6.7 The Psychoacoustics of Annoying Sounds\u003c\/p\u003e\u003cp\u003e6.7.1 The Principle of Optimal Complexity\u003c\/p\u003e\u003cp\u003e6.7.2 Semantic Effects\u003c\/p\u003e\u003cp\u003e6.7.3 The Tension Between Clarity and Obtrusiveness\u003c\/p\u003e\u003cp\u003e6.8 Conclusions\u003c\/p\u003e\u003cp\u003e6.9 What’s Next?\u003c\/p\u003e\u003cp\u003e7 \u003cb\u003eSonic \u003c\/b\u003e\u003cb\u003eInteraction Design\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e7.1 Introduction\u003c\/p\u003e\u003cp\u003e7.2 Psychology of sonic interactions\u003c\/p\u003e\u003cp\u003e7.3 Sonic interactions in products\u003c\/p\u003e\u003cp\u003e7.4 Examples of objects with interesting sounds\u003c\/p\u003e\u003cp\u003e7.5 Methods in sonic interaction design\u003c\/p\u003e\u003cp\u003e7.6 Case studies\u003c\/p\u003e\u003cp\u003e7.6.1 Case study 1: Naturalness influences perceived usability and pleasantness\u003c\/p\u003e\u003cp\u003e7.6.2 Case study 2: The Ballancer: continuous sonic feedback from a rolling ball\u003c\/p\u003e\u003cp\u003e7.7 Challenges of evaluation\u003c\/p\u003e\u003cp\u003e7.8 Conclusions\u003c\/p\u003e\u003cp\u003e8 \u003cb\u003eMultimodal Interactions\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e8.1 Introduction\u003c\/p\u003e\u003cp\u003e8.2 Audio-visual Interactions\u003c\/p\u003e\u003cp\u003e8.3 Embodied interactions\u003c\/p\u003e\u003cp\u003e8.4 Audio-haptic Interactions\u003c\/p\u003e\u003cp\u003e8.5 Case study 1: Haptic Wave\u003c\/p\u003e\u003cp\u003e8.6 Conclusions\u003c\/p\u003e\u003cp\u003e9 \u003cb\u003eSpatial auditory displays\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e9.1 Introduction\u003c\/p\u003e\u003cp\u003e9.2 Hearables\u003c\/p\u003e\u003cp\u003e9.3 Case studies\u003c\/p\u003e\u003cp\u003e9.3.1 Case study 1: the LISTEN system\u003c\/p\u003e\u003cp\u003e9.3.2 Case study 2: Soundscape by Microsoft\u003c\/p\u003e\u003cp\u003e9.3.3 Case study 3: SWAN: a system for wearable audio navigation\u003c\/p\u003e\u003cp\u003e9.3.4 Case study 4: Superhuman hearing\u003c\/p\u003e\u003cp\u003e9.4 Conclusions \u003c\/p\u003e\u003cp\u003e10 Synthesis and control of auditory icons \u003c\/p\u003e\u003cp\u003e10.1 Introduction\u003c\/p\u003e\u003cp\u003e10.2 Generating and Controlling Sounds\u003c\/p\u003e\u003cp\u003e10.3 Parameterized Icons\u003c\/p\u003e\u003cp\u003e10.3.1 Creating Parameterized Auditory Icons\u003c\/p\u003e\u003cp\u003e10.3.2 Acoustic Information For Events\u003c\/p\u003e\u003cp\u003e10.3.3 Analysis and Synthesis of Events\u003c\/p\u003e\u003cp\u003e10.3.4 Impact Sounds\u003c\/p\u003e\u003cp\u003e10.3.5 Mapping Synthesis Parameters to Source Attributes\u003c\/p\u003e\u003cp\u003e10.3.6 An Efficient Algorithm for Synthesis\u003c\/p\u003e\u003cp\u003e10.3.7 Breaking, Bouncing, and Spilling\u003c\/p\u003e\u003cp\u003e10.3.8 From Impacts To Scraping\u003c\/p\u003e\u003cp\u003e10.3.9 Machine Sounds\u003c\/p\u003e\u003cp\u003e10.4 Physics based simulations\u003c\/p\u003e\u003cp\u003e10.5 Communicating with sound models\u003c\/p\u003e\u003cp\u003e10.6 Evaluation of sound synthesis methods\u003c\/p\u003e\u003cp\u003e10.7 Conclusions\u003c\/p\u003e\u003cp\u003e11 Summary and future research \u003c\/p\u003e\u003cp\u003eBibliography \u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018892443991,"sku":"9781032196459","price":43.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032196459.jpg?v=1750778549","url":"https:\/\/bookcurl.com\/products\/auditory-interfaces-9781032196459","provider":"Book Curl","version":"1.0","type":"link"}