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ORCID15th Audio Mostly Conference 2020: Graz, Austria
- Katharina Groß-Vogt, Robert Höldrich:
AM'20, 15th International Audio Mostly Conference, Graz, Austria, 14-17 September, 2020. ACM 2020, ISBN 978-1-4503-7563-4
Perception in AR/VR
- Mads Walther-Hansen
, Mark Grimshaw-Aagaard:
Don't extend! reduce!: the sound approach to reality. 8-15 - Catarina Mendonça, Victoria Korshunova:
Surround sound spreads visual attention and increases cognitive effort in immersive media reproductions. 16-21 - Konstantin Semionov, Iain McGregor:
Effect of various spatial auditory cues on the perception of threat in a first-person shooter video game. 22-29 - Disha Sardana, Woohun Joo, Ivica Ico Bukvic, Gregory Earle:
Perception of spatial data properties in an immersive multi-layered auditory environment. 30-37
Acoustic auralization
- Lukas Gölles, Franz Zotter:
Directional enhancement of first-order ambisonic room impulse responses by the 2+2 directional signal estimator. 38-45 - Justin Shen, Ramani Duraiswami:
Data-driven feedback delay network construction for real-time virtual room acoustics. 46-52 - Jing Yang, Felix Pfreundtner, Amit Barde, Kurt Heutschi, Gábor Sörös:
Fast synthesis of perceptually adequate room impulse responses from ultrasonic measurements. 53-60 - Ludvig Elblaus, Gerhard Eckel:
utruchirp: an impulse response measurement and auralisation tool developed for artistic practice. 61-68
Installation/soundscape
- Ludvig Elblaus, Gerhard Eckel:
Acoustic modelling as a strategy for composing site-specific music. 69-76 - Natasha Barrett:
Deepening presence: probing the hidden artefacts of everyday soundscapes. 77-84 - Mark Lawton, Stuart Cunningham, Ian Convery:
Nature soundscapes: an audio augmented reality experience. 85-92
Musical structure
- Hanns Holger Rutz:
A pattern system for sound processes. 93-100 - Samuel J. Hunt:
Exploring polyrhythms, polymeters, and polytempi with the universal grid sequencer framework. 101-106 - Agata Zelechowska, Victor E. González Sánchez, Alexander Refsum Jensenius:
Standstill to the 'beat': differences in involuntary movement responses to simple and complex rhythms. 107-113
Design processes
- Daniel Hug:
How do you sound design?: an exploratory investigation of sound design process visualizations. 114-121 - Raul Masu, Nuno N. Correia, Stephan Jürgens, Jochen Feitsch, Teresa Romão:
Designing interactive sonic artefacts for dance performance: an ecological approach. 122-129 - Sean McGrath:
Breaking the workflow: Design heuristics to support the development of usable digital audio production tools: framing usability heuristics for contemporary purposes. 130-137
Interfaces
- Kyriakos D. Tsoukalas, Joseph R. Kubalak, Ivica Ico Bukvic:
The impact of scaling the production of a new interface for musical expression on its design: a story of L2Orkmotes. 138-145 - Luca Turchet, Samuel Joel Willis, Gustav Andersson, Alberto Gianelli, Michele Benincaso:
On making physical the control of audio plugins: the case of the retrologue hardware synthesizer. 146-151 - Christie Laurent, Dan Overholt:
ReVoice: a control interface for 1d transmission-line analog vowel synthesis. 152-159 - Luca Turchet, Alex Zanetti:
Voice-based interface for accessible soundscape composition: composing soundscapes by vocally querying online sounds repositories. 160-167 - Dom Brown, Chris Nash, Thomas J. Mitchell:
Was that me?: exploring the effects of error in gestural digital musical instruments. 168-174 - Robert Jarvis, Darrin Verhagen:
Composing in spacetime with rainbows: spatial metacomposition in the real world. 175-182
Sonification
- Mariana Seiça, Licínio Roque, Pedro Martins, F. Amílcar Cardoso:
Contrasts and similarities between two audio research communities in evaluating auditory artefacts. 183-190 - Michael Quinton, Iain McGregor, David Benyon:
Sonification of an exoplanetary atmosphere. 191-198 - Vincent van Rheden, Thomas Grah, Alexander Meschtscherjakov:
Sonification approaches in sports in the past decade: a literature review. 199-205 - Otto Hans-Martin Lutz, Jacob Leon Kröger, Manuel Schneiderbauer, Jan Maria Kopankiewicz, Manfred Hauswirth, Thomas Hermann:
That password doesn't sound right: interactive password strength sonification. 206-213 - Thomas J. Mitchell, Alex J. Jones, Michael B. O'Connor, Mark D. Wonnacott, David R. Glowacki, Joseph Hyde:
Towards molecular musical instruments: interactive sonifications of 17-alanine, graphene and carbon nanotubes. 214-221 - Daniel Bisig, Pablo Palacio:
Sounding feet. 222-228
Short papers
- Anil Çamci:
Teaching immersive media at the "dawn of the new everything". 229-232 - Angelika C. Kern, Wolfgang Ellermeier, Lina Jost:
The influence of mood induction by music or a soundscape on presence and emotions in a virtual reality park scenario. 233-236 - Paul Goddard, Benedict R. Gaster:
PlayShell: a low-cost, fun audio experience for heritage centres. 237-240 - Andreas Greindl, Patrick Heidegger, Katharina Groß-Vogt, Marian Weger:
Expergefactor: sonic interaction design for an alarm clock app. 241-244 - Axel Berndt, Simon Waloschek, Aristotelis Hadjakos, Joachim Veit:
Inside Beethoven!: a musical installation for a new listening perspective. 245-248 - Adrian Hazzard, Chris Greenhalgh, Maria Kallionpää:
Following the journey of scores through a complex musical work. 249-252 - Alexandra Draghici, Jakob Abeßer, Hanna M. Lukashevich:
A study on spoken language identification using deep neural networks. 253-256 - Katharina Groß-Vogt:
The drinking reminder: prototype of a smart jar. 257-260 - R. Michael Winters, Stephanie Koziej:
An auditory interface for realtime brainwave similarity in dyads. 261-264 - Omar Costa Hamido, Giovanni Amedeo Cirillo, Edoardo Giusto:
Quantum synth: a quantum-computing-based synthesizer. 265-268 - Victor Zappi:
From 8-bit punk to 8-bit avant-garde: designing an embedded platform to control vintage sound chips. 269-272 - John Granzow, Matias Vilaplana, Anil Çamci:
Capturing kinetic wave demonstrations for sound control. 273-276 - Carolina Espinoza Oñate, Alonso Arancibia, Gabriel Cartes, Claudio Falcón Beas:
Seeking for spectral manipulation of the sound of musical instruments using metamaterials. 277-280
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