Department of Music and Performing Arts Professions

International Double Reed Society Conference 2014

ICAD 2014 Workshops

Sonic Information Design: Framework,
Approach, and Application


An afternoon ICAD workshop, Sunday, June 22, 2014
1:00 p.m. to 5:00 p.m. 

Organizers:

Myounghoon “Philart” Jeon, Mind Music Machine Lab, Michigan Tech, USA
Bruce Walker, Sonification Lab, Georgia Tech, USA
Stephen Barrass, Digital Design and Media Arts, University of Canberra, Australia
Mikael Fernström, Interaction Design Centre, University of Limerick, Ireland

Dates:

Submissions due: Friday, April 11, 2014 (2-4 page position paper with the ICAD format)
Notification of acceptance: Tuesday, April 29, 2014
Submission of final camera-ready paper: Tuedsay, May 6, 2014
Workshop: Sunday, June 22, 2014

In this workshop, we aim at outlining the “design” aspects of auditory displays and sonification. Research has proposed that multiple populations (e.g., visually impaired or blind people, children, older adults, etc.) can benefit from auditory displays and sonification. Well-designed auditory displays and sonification can supplement or replace visual displays to enhance user experience and accessibility. Despite the increase of research on auditory displays and sonification, auditory displays and sonification have been still treated peripherally and sporadically in industry and academia. Further discussion is required to have a general consensus among researchers and practitioners about the standardized design framework and approach.

There have been recent attempts at ICAD to define sonification as a scientific project and to accept only research carried out using the scientific method. Based on this background, the goal of the present workshop is to examine the current status quo of the “design research” of auditory displays and sonification in terms of both theory and practice. If we agree that sonification is a purposeful mapping between sound and meaning or making an organized sound from the semiotics perspective, all the processes of mapping and organizing sound could belong to design research. To refer to design research in the auditory domain, we coin the term “sonic information design,” including auditory displays, auditory user interfaces, and sonification, etc.

Papers at this workshop will document the history of design research at ICAD conferences, extend design methods from other domains to sonic information design, and explore a design oriented definition of sonification. Presentations of the position papers and posters will be followed by group discussion sessions. This workshop should lay the foundation for a special issue with journal of design research.  

Workshop Topics

Framework

▪ Paradigm, theory, and model of sonic information design
▪ Aesthetics theory of sonic information design
▪ Standardized protocol for sonic information research
▪ Design strategies combining speech and non-speech sounds
▪ Potential/practical challenges in the domain and strategies to overcome those issues

Approach

▪ Human Factors approach to sonic information design processes and methodologies
▪ Inclusive/accessibility design approach for auditory user interfaces
▪ Computational/algorithmic approach to sonification as a design method
▪ Design pattern approach
▪ Auditory display/ auditory user interface evaluation methods
▪ Design and evaluation tools for sonic information design

Application

▪ Sonic interaction design in products
▪ Sonic logo design process
▪ Design aspects of sentiment analysis (e.g., emotions, SNS, etc.) using sonification
▪ Design aspects of big data (e.g., biomedical, economic data) sonification
▪ Interactive sonification design
▪ Sonification design based on embodied cognition/interaction
▪ Sonification design based on biosignals
▪ Virtual acoustic environment design and evaluation  

Participation

The workshop aims to bring together researchers, students, and practitioners who are interested specifically in design aspects of auditory displays and sonification. In particular, we hope for participants with different backgrounds and perspectives (e.g., auditory user interface designers, sound designers, sound engineers, psychologists, HCI researchers, interactive artists, etc.). However, the number of participants will be limited. Active participants (who have a presentation) will be selected based on their submission through a rigorous review process. Passive participants might be accommodated depending on the number of active participants. The review process will be conducted by the program committee consisting of the organizers as well as selected international experts working in this domain. Registration for the main conference is mandatory for all workshop participants, but there are no additional costs for attending the workshop beyond the main conference registration fee.

Submissions

We invite the submission of a position paper (2 or 4 pages) for either a lecture or a poster presentation. You should submit your paper as a word doc file by email. The paper should contain a description of the area of research, specific work (empirical or theoretical) on the workshop topic, and the innovative character of the research. All submissions should be prepared according to the ICAD 2014 Template. Submissions need not to be anonymous. However, reviews will be done anonymously using an evaluation form. Each paper will receive at least two reviews. All accepted papers will be published in the adjunct proceedings.

Click here to see the workshop's Call for Participation.

If you have any further questions about the workshop, you may also contact the workshop organizers by email.