Designing interactive listening situations

Fritsch, Jonas; Breinbjerg, Morten; Jensen, Tue Secher

doi:10.1145/2686612.2686618

Cited by 3 publications

(3 citation statements)

References 22 publications

(14 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The relationship between method and reception is more thoroughly explored in the technology-oriented fields of interactive art and sonic interaction design, where user studies are conducted to understand how aspects of design impact reception. Researchers have explored audience interaction with sound installations via observation, video recordings and interviews with participants (Franinovic and Visell 2007;Fritsch, Breinbjerg and Jensen 2014). Studies in these fields seek to articulate aspects of design that support active engagement with an artwork; for example, to understand how an 'unwitting' bystander might become a 'witting' participant (Sheridan and Bryan-Kinns 2008).…”

Section: Probing Process From Methods To Receptionmentioning

confidence: 99%

On Mediating Space, Sound and Experience: Interviews with situated sound art practitioners

2022

View full text Add to dashboard Cite

This article reports on an interview-based study with ten sound artists and composers, all engaged in situated sonic practices. We propose that these artists engage the ear and shape possible interactions with the artwork by altering the relationship between sound, the space in which it is heard and the people who hear it. Our interviews probe the creative process and explore how a sound artist’s methods and tools might influence the reception of their work. A thematic analysis of interview transcriptions leads us to characterise artist processes as mediatory, in the sense that they act in between site and audience experience and are guided by the non-human agencies of settings and material things. We propose that artists transfer their own situated and embodied listening to that of the audience and develop sonic and staging devices to direct perceptual activity and listening attention. Our findings also highlight a number of engagement challenges, in particular the difficulty artists face in understanding their audience’s experience and the specificity of an artwork’s effect not just to its location but also to the disposition, abilities and prior experiences of listeners.

show abstract

Section: Probing Process From Methods To Receptionmentioning

confidence: 99%

On Mediating Space, Sound and Experience: Interviews with situated sound art practitioners

2022

View full text Add to dashboard Cite

show abstract

“…Some studies (5/53, 9.4%) employed the concurrent think-aloud protocol to allow users express their comments and feelings in free-form during interaction, like in the work of Correia et al (2014) who organized a field test that encouraged users to think-aloud during the use their interactive installation that enabled them to reconstruct medieval illuminations of old books. Lastly, other data collection methods included physiological measurements, a visitor book and interaction analysis (between users in a collaborative scenario, in the work of Fritsch et al (2014)).…”

Section: The Data Collection Methods (Or Techniques)mentioning

confidence: 99%

“…Koutsabasis and Vosinakis, 2016), communicating sounds about the past (5.7%, 3/53; e.g. Fritsch et al 2014, with Ekkomaten that provides an urban installation of access to an 18th century soundscape of Aarhus, Denmark), content of important books (e.g. Wang et al 2014, about the Analects by Confucius) and old photos (3.8%, 2/53) like the work of Han et al (2014) who contribute to the enhancement of community awareness and participation in local heritage with a mobile application that reveals old photos of buildings and areas of a small city.…”

Section: Cultural Contentmentioning

confidence: 99%

Empirical Evaluations of Interactive Systems in Cultural Heritage

Koutsabasis

2017

International Journal of Computational Methods in Heritage Science

View full text Add to dashboard Cite

An increasing number of interactive systems aim to enhance the user experience (UX) of visitors at museums, archaeological places and cultural sites. This paper presents a review of empirical evaluations of interactive systems in cultural heritage (CH) based on a systematically selected sample of 53 publications from 2012-2016. Empirical evaluations examine the degree an interactive system satisfies user goals and expectations and are inherently complex activities that require careful planning and selection of methods. The review reports on (a) interactive systems of CH in terms of: purpose, technology, cultural content and location of interaction and (b) methods of empirical evaluation in terms of: dimensions of UX, general approach, data collection and participants. The paper provides discussion, critique and outlook on issues including: extending the evaluation dimensions towards the cultural value and the essence of interactivity; placing more consideration on CH professionals; identifying new evaluation methods that balance qualitative results to evidence-based approaches.

show abstract