The sound of locative media

Behrendt, Frauke

doi:10.1177/1354856512441150

Cited by 19 publications

(23 citation statements)

References 14 publications

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“…Many of these same factors have also been noted in the work of Michel Bull, who gives a rich picture of how people actively use music played through headphones whilst on the move to re-astheticise their environment [10]. The work of [18] also shares similarities with the band Bluebrain [4], who have composed a number of locative albums to be listened to at specific locations. In these and other examples, key moments in the audio unfold in synchrony with key locales in the location.…”

Section: Immersion In Hci and Related Literaturesmentioning

confidence: 69%

The Rough Mile

Spence

Hazzard

McGrath

et al. 2017

Proceedings of the 2017 Conference on Designing Interactive Systems

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We present our case study on gifting digital music, The Rough Mile, as an example of a Framework of Immersive Practice, intended for researchers and practitioners in HCI and interaction design. Although immersion is a frequently used term in the HCI and related literatures, we find no definitions or frameworks that are robust enough to capture the full range of multi-sensory, emotional, and cognitive engagement that the richest of these experiences can entail. We therefore turn to the theatrical performance literature to distil a theory-based framework of practices that can apply to interdisciplinary projects as well as works with an entirely aesthetic aim. The design choices and findings of The Rough Mile are presented in terms of this framework, leading to a discussion of the design guidelines that can shape its use in any HCI or interaction design project aiming for a deep, personal engagement through technology.

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Section: Immersion In Hci and Related Literaturesmentioning

confidence: 69%

The Rough Mile

Spence

Hazzard

McGrath

et al. 2017

Proceedings of the 2017 Conference on Designing Interactive Systems

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“…. the social, physical, media and sound context and our embodied interactions with these' [46] (p. 292). Along these lines, participants of The Rough Mile undertake Part 1 equipped with a GPS-enabled smartphone running custom location-based audio software that interleaves spoken word, custom background music, ambient sound recorded in situ and real-time ambient sound made audible through the use of bone-conducting headphones that do not block the ears.…”

Section: The Rough Mile (2016)mentioning

confidence: 99%

Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience

Spence

Benford

2018

MTI

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'Embodiment' need not focus on isolated individuals or group interactions. This article articulates the potential for designs that prompt participants to bring relationships with other people to mind. These can be fleeting relationships between participants and unknown others, or remembered relationships with romantic partners, family members, or close friends who are not physically co-present or digitally represented. In either case, it is possible to generate affective responses that profoundly shape participants' emotional and physical reactions to, and co-creation of, the designed interaction. This article presents existing practices of immersive theatre to frame our exploration of this phenomenon. It introduces three theories-mise-en-sensibilité, narcissistic spectatorship and affect-through which we illuminate both the internally felt and the externally designed experience, whether or not it is explicitly framed as theatrical performance. Through analysis of two immersive performances (one-on-one interactions that could easily be understood in terms of experience design) and two designs of our own, we argue that the affect generated by personal relationships in immersive experiences can both shape and drive participation, and we offer a three-point guideline by which one can design for the affective consequences of bringing relationships to mind.

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“…Their GPS location triggers sound playback (2015: 8). Behrendt (2012) is particularly concerned with the role of walking as a form of interaction with locative audio, and we share this agenda as will become clear below.…”

Section: Theory: Construction Of Communicative Concernmentioning

confidence: 99%

Designing the Amplifon. A locative sound medium to supplement DAB radio

Nyre

2015

JOMI

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Radio has always had communicative concern for its listeners. It is characterized by personal address, live ness and acoustic moods that reach audiences in a variety of listening situations. Radio's communicative concern should be available for all citizens, but in fact there is rather bad reception for DAB and FM in cities due to narrow streets and other physical interference, and in addition the prominent iPhone lacks both DAB-and FM-receivers. The design project reported here aims to increase sound media's communicative concern in urban settings by 1) replacing one-way FM and DAB with two-way mobile data, 2) replacing loudspeakers with headphones, and 3) replacing the temporal news agenda with one that is locative. The article reports on the theoretical basis, design methods and empirical findings of the Amplifon prototype.

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The sound of locative media

Cited by 19 publications

References 14 publications

The Rough Mile

The Rough Mile

Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience

Designing the Amplifon. A locative sound medium to supplement DAB radio

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