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Journal articles on the topic 'Audio immersif'

Author: Grafiati
Published: 25 May 2024

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1

Asmaliah, Diana Lia Andriyani, Dian Miranda, Siska Perdina, and Lukmanulhakim. "Immersif Learning di PAUD Untuk Memperkenalkan Tempat Ibadah Agama Buddha di Pontianak Berbasis Virtual Reality." Didaktika: Jurnal Kependidikan 13, no. 2 (May 4, 2024): 1721–36. http://dx.doi.org/10.58230/27454312.705.

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Penelitian ini bertujuan untuk menggabungkan konsep pembelajaran imersif pada pendidikan anak usia dini (PAUD) dengan pengenalan tempat ibadah umat Buddha di Pontianak menggunakan Virtual Reality. Metodologi pengembangan penelitian ini antara lain membuat Virtual Reality tempat ibadah agama Buddha di Pontianak yang interaktif dan detail serta mengevaluasi efektivitasnya dalam meningkatkan pemahaman agama Buddha pada anak PAUD. Virtual Reality dikembangkan menggunakan teknologi multimedia termasuk gambar, audio, dan video 360 derajat untuk memberikan pengalaman mendalam bagi anak-anak. Temuan menunjukkan bahwa pemanfaatan Virtual Reality dalam konteks pembelajaran imersif di PAUD efektif meningkatkan pemahaman anak terhadap tempat ibadah agama Buddha di Pontianak. Anak-anak menunjukkan minat yang besar dan partisipasi aktif dalam menggunakan Virtual Reality , dan guru serta orang tua mengamati adanya peningkatan dalam pemahaman anak-anak tentang konsep-konsep Buddhis. Kajian ini menyoroti pentingnya memasukkan teknologi imersif ke dalam kurikulum PAUD untuk menanamkan nilai-nilai agama dan keberagaman budaya pada anak sejak dini. Implikasi praktis dari penelitian ini adalah memberikan alternatif pembelajaran yang menarik dan menyenangkan bagi anak PAUD sekaligus mengenalkan mereka pada keberagaman agama yang ada di masyarakatnya.
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2

Syariati, Kasmir, Citra Suardi, David Sundoro, and Reinaldo Lewis. "PERBANDINGAN EFEKTIVITAS SISTEM INTERAKSI VIRTUAL REALITY CLASSROOM DAN KONFERENSI VIDEO KONVENSIONAL DALAM MENGATASI KETERBATASAN BANDWIDTH PADA PEMBELAJARAN DARING." Jurnal Technopreneur (JTech) 11, no. 1 (June 15, 2023): 30–39. http://dx.doi.org/10.30869/jtech.v11i1.1167.

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Penelitian ini mengeksplorasi pemanfaatan Ruang Kelas Virtual Reality (VR) sebagai alternatif untuk konferensi video dalam pembelajaran online, dengan tujuan mengatasi kendala bandwidth. Metode penelitian yang digunakan adalah analisis komparatif antara sistem interaksi avatar VR dan sistem video konferensi tradisional. Penelitian berfokus pada pengoptimalan penggunaan bandwidth dalam VR melalui interaksi berbasis avatar. Pengumpulan data dilakukan melalui pengamatan perilaku interaksi pengguna dan pengukuran penggunaan bandwidth dalam komunikasi antar klien. Data yang terkumpul dianalisis secara kuantitatif untuk memahami perbedaan perilaku pengguna dan implikasinya terhadap pengalaman interaktif serta strategi yang diperlukan untuk memastikan komunikasi yang efisien dalam lingkungan pembelajaran daring. Hasil pengukuran menunjukkan rata-rata latensi system konferensi video sebesar 184 ms (dengan tambahan proses encoding decoding yang mengakibatkan delay hingga 1 detik) dengan rata-rata latensi VR classroom sebesar 133 ms. Sistem avatar VR menunjukkan latensi yang lebih rendah serta memberikan pengalaman belajar yang responsif dan immersif. Selain itu, sistem avatar VR menunjukkan ketangguhan dalam menghadapi keterbatasan jaringan, menjaga kualitas interaksi yang konsisten. Sistem dapat mencapai framerate stabil pada 60 fps dan menghindari desinkronisasi antara audio dan video pada tingkat limitasi bandwith 100kbps di mana system konferensi video gagal mempertahankan feed video dan audio. Namun, perlu dicatat bahwa implementasi sistem avatar VR memerlukan pengaturan dan persyaratan perangkat keras yang lebih kompleks dibandingkan dengan video konferensi.
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Wincott, Abigail, Jean Martin, and Ivor Richards. "Telling stories in soundspace: Placement, embodiment and authority in immersive audio journalism." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 2 (October 1, 2021): 253–70. http://dx.doi.org/10.1386/rjao_00048_1.

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There has been an increase in the use of immersive or spatialized audio formats for radio and podcast journalism. Immersion is used to put audiences at the heart of a story, enable richer experiences and encourage empathy with others, but it can disrupt the ‘grammar’ of broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme-makers have until now lacked a conceptual framework and terminology to describe how space is constructed in immersive audio, the creative and editorial choices available and their effects. This article, based on analysis of immersive output and interviews with those who produce it, critically examines the differences between mono/stereo space and immersive audio space and argues they are not only a matter of aesthetics or comfort, but communicate differential authority over the story and merit further attention when journalists are trained in immersive audio.
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Grimshaw, Mark, and Gareth Schott. "A Conceptual Framework for the Analysis of First-Person Shooter Audio and its Potential Use for Game Engines." International Journal of Computer Games Technology 2008 (2008): 1–7. http://dx.doi.org/10.1155/2008/720280.

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We introduce and describe a new conceptual framework for the design and analysis of audio for immersive first-person shooter games, and discuss its potential implications for the development of the audio component of game engines. The framework was created in order to illustrate and acknowledge the direct role of in-game audio in shaping player-player interactions and in creating a sense of immersion in the game world. Furthermore, it is argued that the relationship between player and sound is best conceptualized theoretically as an acoustic ecology. Current game engines are capable of game world spatiality through acoustic shading, but the ideas presented here provide a framework to explore other immersive possibilities for game audio through real-time synthesis.
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Rovithis, Emmanouel, Nikolaos Moustakas, Andreas Floros, and Kostas Vogklis. "Audio Legends: Investigating Sonic Interaction in an Augmented Reality Audio Game." Multimodal Technologies and Interaction 3, no. 4 (November 13, 2019): 73. http://dx.doi.org/10.3390/mti3040073.

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Augmented Reality Audio Games (ARAG) enrich the physical world with virtual sounds to express their content and mechanics. Existing ARAG implementations have focused on exploring the surroundings and navigating to virtual sound sources as the main mode of interaction. This paper suggests that gestural activity with a handheld device can realize complex modes of sonic interaction in the augmented environment, resulting in an enhanced immersive game experience. The ARAG “Audio Legends” was designed and tested to evaluate the usability and immersion of a system featuring an exploration phase based on auditory navigation, as well as an action phase, in which players aim at virtual sonic targets and wave the device to hit them or hold the device to block them. The results of the experiment provide evidence that players are easily accustomed to auditory navigation and that gestural sonic interaction is perceived as difficult, yet this does not affect negatively the system’s usability and players’ immersion. Findings also include indications that elements, such as sound design, the synchronization of sound and gesture, the fidelity of audio augmentation, and environmental conditions, also affect significantly the game experience, whereas background factors, such as age, sex, and game or music experience, do not have any critical impact.
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6

He, Jun. "Quartet: Designing for an Experimental Audio Game in Mixed Reality Environments." Lecture Notes in Education Psychology and Public Media 5, no. 1 (May 17, 2023): 482–90. http://dx.doi.org/10.54254/2753-7048/5/20220673.

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Applying sonic interaction to game design has gained momentum in recent year. This paper proposes a novel approach to design an experimental audio game Quartet that is immersive and highly interactive in the mixed reality environment. The chief aims of designing this game are to explore the music improvisation techniques by using the software Touchdesigner and to create a new spectatorship of sonic interaction in immersive experiences. To achieve the goals, several methods were presented: interactive storytelling, audio visualization, ceding control, sonic interaction, etc. The research has also recorded valuable data about players experiences of the game including their overall level of immersion, perception of the story, and overall feeling of the sound design. The results suggested that an interactive sonic design can boost players engagement and convey emotions and information more efficiently and accurately. For further research, this audio based experiment can be contributed to the field of inclusive design especially for visually impaired people and children with multiple disabilities.
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Hättich, Achim, and Martina Schweizer. "I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people." British Journal of Visual Impairment 38, no. 3 (March 23, 2020): 284–98. http://dx.doi.org/10.1177/0264619620911429.

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For people with disabilities being part of social life is essential for well-being. To accomplish this there are two possibilities: through interaction in person and through access to culture. One way to enjoy both possibilities is the cinema. For people with sight loss (people that are blind or visually impaired), there exists audio description which allows enjoying a film in a cinema. Project FASEA examined if this audience is as much immersed and could enjoy it as much as sighted people while watching a film with audio description, received through an app called ‘Greta’. Twenty-five people with blindness or visual impairment took part and were matched with sighted people in age, sex, education, and nationality. This was conducted in a commercial cinema under natural conditions with a comedy. We assessed immersion through the Narrative Engagement Scale (NES), the Modes of Reception Inventory (MOR), and the Audience Response Scale (ARS). Enjoyment was evaluated with the Emotions in Media Scale (EMS). People with sight loss showed lower scores in narrative understanding in NES and less thought-provoking and suspense in ARS. Also, they experienced fewer positive emotions. In all other scales, including all MOR scales, there were no differences between them and sighted people. The results confirm that audio description, provided by an application, is a useful tool for people with sight loss to immerse themselves and enjoy films as much as sighted people do and hence be part of social life.
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Huang, Yiteng, Jingdong Chen, and Jacob Benesty. "Immersive Audio Schemes." IEEE Signal Processing Magazine 28, no. 1 (January 2011): 20–32. http://dx.doi.org/10.1109/msp.2010.938754.

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Geronazzo, Michele, Amalie Rosenkvist, David Sebastian Eriksen, Camilla Kirstine Markmann-Hansen, Jeppe Køhlert, Miicha Valimaa, Mikkel Brogaard Vittrup, and Stefania Serafin. "Creating an Audio Story with Interactive Binaural Rendering in Virtual Reality." Wireless Communications and Mobile Computing 2019 (November 14, 2019): 1–14. http://dx.doi.org/10.1155/2019/1463204.

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The process of listening to an audiobook is usually a rather passive act that does not require an active interaction. If spatial interaction is incorporated into a storytelling scenario, can open. Possibilities of a novel experience which allows an active participation might affect the user-experience. The aim of this paper is to create a portable prototype system based on an embedded hardware platform, allowing listeners to get immersed in an interactive audio storytelling experience enhanced by dynamic binaural audio rendering. For the evaluation of the experience, a short story based on the horror narrative of Stephen King’s Strawberry Springs is adapted and designed in virtual environments. A comparison among three different listening experiences, namely, (i) monophonic (traditional audio story), (ii) static binaural rendering (state-of-the-art audio story), and (iii) our prototype, is conducted. We discuss the quality of the experience based on usability testing, physiological data, emotional assessments, and questionnaires for immersion and spatial presence. Results identify a clear trend for an increase in immersion with our prototype compared to traditional audiobooks, showing also an emphasis on story-specific emotions, i.e., terror and fear.
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Rodríguez-Fidalgo, María Isabel, and Adriana Paíno-Ambrosio. "Use of virtual reality and 360° video as narrative resources in the documentary genre: Towards a new immersive social documentary?" Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 239–53. http://dx.doi.org/10.1386/cjcs_00030_1.

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Virtual reality and 360° video are some of the latest technological developments within the media and communications industry. These technologies, which are designed to facilitate viewer immersion, are currently being used to create fictional and non-fictional content, thus giving rise to a new audio-visual narrative. On the basis of these premises, this research article analyses how immersive narratives are applied to the social documentary genre in its social dimension. To this end, qualitative content analysis was performed on a sample of 49 immersive documentaries published on the WITHIN platform. This analysis, which was completed with quantitative data, allowed us to confirm that these technologies have enabled the development of immersive narratives, which has given birth to a new type of documentary – the ‘immersive social documentary’.
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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.

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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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Herre, Jürgen, and Schuyler R. Quackenbush. "MPEG-H 3D Audio: Immersive Audio Coding." Acoustical Science and Technology 43, no. 2 (March 1, 2022): 143–48. http://dx.doi.org/10.1250/ast.43.143.

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Turner, Daniel, Damian Murphy, Chris Pike, and Chris Baume. "Spatial audio production for immersive media experiences: Perspectives on practice-led approaches to designing immersive audio content." Soundtrack 13, no. 1 (October 1, 2022): 73–94. http://dx.doi.org/10.1386/ts_00017_1.

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Sound design with the goal of immersion is not new. However, sound design for immersive media experiences (IMEs) utilizing spatial audio can still be considered a relatively new area of practice with less well-defined methods requiring a new and still emerging set of skills and tools. There is, at present, a lack of formal literature around the challenges introduced by this relatively new content form and the tools used to create it, and how these may differ from audio production for traditional media. This article, through the use of semi-structured interviews and an online questionnaire, looks to explore what audio practitioners view as defining features of IMEs, the challenges in creating audio content for IMEs and how current practices for traditional stereo productions are being adapted for use within 360 interactive soundfields. It also highlights potential direction for future research and technological development and the importance of practitioner involvement in research and development in ensuring future tools and technologies satisfy the current needs.
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Li, Xiang, Haoyuan Cao, Shijie Zhao, Junlin Li, Li Zhang, and Bhiksha Raj. "Panoramic Video Salient Object Detection with Ambisonic Audio Guidance." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 2 (June 26, 2023): 1424–32. http://dx.doi.org/10.1609/aaai.v37i2.25227.

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Video salient object detection (VSOD), as a fundamental computer vision problem, has been extensively discussed in the last decade. However, all existing works focus on addressing the VSOD problem in 2D scenarios. With the rapid development of VR devices, panoramic videos have been a promising alternative to 2D videos to provide immersive feelings of the real world. In this paper, we aim to tackle the video salient object detection problem for panoramic videos, with their corresponding ambisonic audios. A multimodal fusion module equipped with two pseudo-siamese audio-visual context fusion (ACF) blocks is proposed to effectively conduct audio-visual interaction. The ACF block equipped with spherical positional encoding enables the fusion in the 3D context to capture the spatial correspondence between pixels and sound sources from the equirectangular frames and ambisonic audios. Experimental results verify the effectiveness of our proposed components and demonstrate that our method achieves state-of-the-art performance on the ASOD60K dataset.
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LYSAK, HALYNA. "IMPLEMENTATION OF IMMERSIVE TECHNOLOGIES IN FOREIGN LANGUAGE LEARNING: ANALYSIS OF FOREIGN AND DOMESTIC (UKRAINIAN) EXPERIENCE." Comparative Professional Pedagogy 12, no. 1 (June 30, 2022): 78–85. http://dx.doi.org/10.31891/2308-4081/2022-12(1)-8.

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The use of modern immersive technologies in the educational process is due to changes in the development of information and communication technologies and the challenges of the pandemic, which forced learning and working remotely. The article summarizes the Ukrainian and foreign experience of using immersive technologies in education in general and in the process of learning foreign languages in particular. A general description of the concepts “virtual reality”, “immersion” and “immersive technologies” in the context of their use in the educational process has been presented. The advantages of using immersive technologies over traditional ones have been defined and proved. They are visibility, concentration, involvement and effectiveness It has been determined the expediency of using immersive technologies in the process of learning foreign languages as a method and technology of long-term immersion of students in a foreign language space based on a foreign language or bilingual education, which involves the use of video, audio, and text information by students to form relevant professional competencies. The research of scientists and their main results related to the selection and application of immersive technologies in teaching foreign languages have been analyzed. Virtual applications that can be used for learning a foreign language have been analyzed. The conclusion has been formulated that immersive technologies provide the formation and development of a new information method of presenting and learning educational material, which positively affects the formation of basic and professional competencies of students studying a foreign language. The opinion about the possibility of combining immersive learning methods with other interactive methods has been substantiated.
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Keyrouz, Fakheredine, and Klaus Diepold. "Binaural Source Localization and Spatial Audio Reproduction for Telepresence Applications." Presence: Teleoperators and Virtual Environments 16, no. 5 (October 1, 2007): 509–22. http://dx.doi.org/10.1162/pres.16.5.509.

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Telepresence is generally described as the feeling of being immersed in a remote environment, be it virtual or real. A multimodal telepresence environment, equipped with modalities such as vision, audition, and haptic, improves immersion and augments the overall perceptual presence. The present work focuses on acoustic telepresence at both the teleoperator and operator sites. On the teleoperator side, we build a novel binaural sound source localizer using generic Head Related Transfer Functions (HRTFs). This new localizer provides estimates for the direction of a single sound source given in terms of azimuth and elevation angles in free space by using only two microphones. It also uses an algorithm that is efficient compared to the currently known algorithms used in similar localization processes. On the operator side, the paper addresses the problem of spatially interpolating HRTFs for densely sampled high-fidelity 3D sound synthesis. In our telepresence application scenario the synthesized 3D sound is presented to the operator over headphones and shall achieve a high-fidelity acoustic immersion. Using measured HRTF data, we create interpolated HRTFs between the existing functions using a matrix-valued interpolation function. The comparison with existing interpolation methods reveals that our new method offers superior performance and is capable of achieving high-fidelity reconstructions of HRTFs.
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Friedman, Jeff. "Engram: An Immersive Audio-Walk." Oral History Review 43, no. 1 (April 1, 2016): 186–89. http://dx.doi.org/10.1093/ohr/ohw035.

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Kyriakakis, Chris, Tomlinson Holman, Hartmut Neven, and Christoph von der Malsburg. "Immersive audio for desktop systems." Journal of the Acoustical Society of America 103, no. 5 (May 1998): 3026. http://dx.doi.org/10.1121/1.422548.

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Mehta, Sripal, and Thomas Ziegler. "Personalized and Immersive Broadcast Audio." SMPTE Motion Imaging Journal 124, no. 5 (July 2015): 25–30. http://dx.doi.org/10.5594/j18572.

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Dressler, Roger, and Brian Vessa. "Immersive Audio Standards Move Forward." SMPTE Motion Imaging Journal 124, no. 5 (July 2015): 40–42. http://dx.doi.org/10.5594/j18574.

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Park, Byung-Gyoo, and Minho Chang. "The Research on Necessity of Ear Training for Localization of Immersive Sound: Concentrate on Musician." Journal of Korea Culture Industry 21, no. 1 (March 31, 2021): 97–105. http://dx.doi.org/10.35174/jkci.2021.03.21.1.97.

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22

Fryer, Louise, Linda Pring, and Jonathan Freeman. "Audio Drama and the Imagination." Journal of Media Psychology 25, no. 2 (January 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.
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Zhang, Shufeng, Xuelei Feng, and Yong Shen. "Quantifying Auditory Presence Using Electroencephalography." Applied Sciences 11, no. 21 (November 7, 2021): 10461. http://dx.doi.org/10.3390/app112110461.

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Presence is used to assess the subjective experience of being in one place when physically situated in another. Recently, the research on presence has gained increasing attention due to the wide use of immersive audio technologies. Currently, the most widely-used measurement of presence is based on post-experiment self-report questionnaires. It is reliable but imperfect due to the psychological changes caused by the act of answering the questionnaire when immersed in the virtual environment. Therefore, the present work aims to find an objective way to measure presence, and electroencephalography (EEG) was investigated as a possible tool for this objective measurement. In this study, two listening tests were conducted, where eight loudspeakers were used to reproduce urban soundscapes to stimulate auditory presence. Presence was measured by both questionnaires and EEG. Results showed a significant correlation between T/B (Theta/Beta Ratio) extracted from EEG and subjective presence levels assessed by questionnaires, suggesting the possible use of EEG to measure presence objectively. This study could bring some insight for the research of presence, and related technologies, such as VR, video games and immersive audio production.
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Xiaodong Wang, Yang Qiao, Jianting Liu,. "Novel Multimedia Feature Fusion Classification (Mffc) Model for Sports Game Design Enhancement." Journal of Electrical Systems 20, no. 3s (April 4, 2024): 1681–92. http://dx.doi.org/10.52783/jes.1708.

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Multimedia feature fusion is reshaping the landscape of sports game design, offering immersive and dynamic experiences for players and spectators alike. By integrating various multimedia elements such as audio, video, graphics, and interactive interfaces, game designers can create engaging environments that simulate the excitement and intensity of real-life sporting events. From lifelike player animations to realistic crowd reactions, multimedia feature fusion enhances the realism and authenticity of sports games, transporting players into the heart of the action. Furthermore, interactive interfaces enable players to customize their gaming experience, from choosing team strategies to controlling player movements, adding depth and complexity to gameplay. With advancements in technology, such as virtual reality and augmented reality, multimedia feature fusion is poised to revolutionize sports game design, offering unprecedented levels of immersion and interactivity for players worldwide. This paper explores the application of multimedia feature fusion in sports game design, utilizing the Multimedia Feature Fusion Classification (MFFC) framework alongside key feature extraction with the genetic model. By integrating various multimedia elements including audio, video, graphics, and interactive interfaces, the MFFC framework enhances the realism and excitement of sports games, offering immersive experiences for players. Through the genetic model, key features are extracted and optimized to improve gameplay dynamics, player interactions, and overall gaming experience. The effectiveness of the proposed approach is evaluated through simulated experiments and empirical validations, demonstrating significant enhancements in game realism, user engagement, and satisfaction. Results indicate a 30% increase in player immersion and a 25% improvement in gameplay dynamics compared to traditional game design methods.
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Mohanapriya, Dr M. "Campus Navigator Pro." International Journal for Research in Applied Science and Engineering Technology 12, no. 3 (March 31, 2024): 1008–19. http://dx.doi.org/10.22214/ijraset.2024.58845.

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Abstract: The Campus Navigator Pro project represents a significant advancement in how users navigate and engage with campus environments. At its core lie two pivotal components: the Virtual Tour and Around Campus Guide, meticulously crafted to offer users an immersive and enlightening journey. Powered by cutting-edge 360-degree imagery, the Virtual Tour beckons users to delve into campus locales through mobility and information hotspots, embellished with audio embedding and card popups for a truly engaging experience. Concurrently, the Around Campus Guide streamlines navigation by providing seamless access to nearby amenities, ensuring convenience and efficiency for users on the move. Moreover, the project introduces innovative features such as audio integration with the existing campus map [5], smoothly blending audio resources with physical locations to enrich the exploration process. The inclusion of the Audio Atlas further elevates accessibility by serving as a comprehensive repository of audio files tailored to various campus locales, fostering deeper immersion and understanding. Additionally, the implementation of an Events Tab adds a layer of community engagement, showcasing campus event details alongside captivating location images, thereby fostering a sense of belonging and awareness within the campus community. Through these groundbreaking features, the Campus Navigator Pro project aims to redefine the landscape of campus exploration, setting a new standard for interactive, enriching, and user-centric experiences
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Ellison, Steve. "Creating an immersive audio experience at National Sawdust." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A150. http://dx.doi.org/10.1121/10.0015851.

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Venues designed to create immersive audio experiences may include adjustable active acoustics and spatial audio mixing. One such venue is National Sawdust in Brooklyn, New York, which has presented many spatial audio events. For one of these, the electronic music duo “Mouse on Mars,” comprised of Jan St. Werner and Andi Thoma, collaborated with the late Jamaican record producer Lee “Scratch” Perry to create an immersive audio experience presented in March 2022. This audio production presented a challenge, as the content was prepared in Berlin and delivered in Brooklyn using audio systems with significantly different loudspeaker configurations. National Sawdust incorporates a Meyer Sound Constellation active acoustic system with 86 small full-range loudspeakers, 16 compact low-frequency loudspeakers, and a left/right PA system. The Berlin studio includes 20 loudspeakers. Audio sources were spatially mixed to the loudspeakers in both systems using an integrated Spacemap System. The workflow used to prepare this concert and the impact of additional production elements, including active acoustics, lighting, seating, and video, are discussed.
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Mattos, Tiago F., and Bennett M. Brooks. "Comparison of recording studio control room operational response measurements for single, stereo, and immersive audio monitor configurations." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A104. http://dx.doi.org/10.1121/10.0015691.

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Audio monitoring in recording studio control rooms has evolved continuously since the beginning of multitrack systems. In recent years, control rooms have adapted to using multiple audio monitors (loudspeakers) needed for the immersive audio experience. The primary technical recommendations for determining the acoustical quality of a control room are given in EBU-TECH-3276 and ITU BS.1116. The results of measuring the Operational Room Response Curve (ORRC) can differ significantly for only one audio monitor operating compared to the two monitors required for stereo. For multichannel immersive audio configurations, there can also be significant differences in the measured ORRC. A recent immersive system, known as Dolby Atmos, follows the Dolby Laboratories recommendations which generally comply with the EBU/ITU specifications. The goal of this research is to analyze and compare the measurements of the ORRC per the EBU/ITU/Dolby standards for various audio monitor configurations in a control room. These include individual monitors operating alone, two monitors in a stereo configuration operating at the same time, and combinations of monitors in the multichannel immersive audio system. The impact of the coupled system of room acoustics and multiple loudspeakers on the decision quality for the studio user will be addressed.
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Xie, Lei, Longbiao Wang, Janne Heikkilä, and Peng Zhang. "Guest Editorial: Immersive Audio/Visual Systems." Multimedia Tools and Applications 75, no. 9 (April 22, 2016): 5047–53. http://dx.doi.org/10.1007/s11042-016-3443-x.

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Kim, Ji-young, and Gewon Kim. "Applying Audio Drama to Immersive Environment." Korean Journal of animation 19, no. 3 (September 30, 2023): 96–107. http://dx.doi.org/10.51467/asko.2023.09.19.3.96.

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BERRY, GABRIELLE. "[inaudible]: Point of Audition Representations of Deafness and the Cochlear Implant in A Quiet Place (2018)." Music, Sound, and the Moving Image 15, no. 2 (December 1, 2021): 109–31. http://dx.doi.org/10.3828/msmi.2021.8.

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Interrogating point of audition (POA) sound through the silences, noises, and closed captions of A Quiet Place’s critically lauded soundscapes, this article examines the ways point of audition aurally and rhetorically constructs deafness, technology, and the audio-viewer. In its sonic rendering of the post-apocalyptic world, A Quiet Place actively involves the audio-viewer in its fantastical conceit and ‘fantasy’ of deafness, folding the audience into the complex cyborgian politics and potential of the malfunctioning cochlear implant. This diegetic technological breakdown merges and tangles with the technology of the film, the point of audition sound highlighting the immersive capabilities and audist expectations of cinematic soundscapes. Yet, in this straining towards ‘immersion’, the uncaptioned silences of Regan’s point of audition further accentuate issues of access, raising questions of the composition and meaning of immersion and silence. Through the shades of silence and sharp whining feedback of A Quiet Place, this article ultimately details the possibilities and complications of analysing point of audition sound, in the process, illustrating the harmonic resonation of the studies of sound, deafness, and disability. This article is the winner of the 2020 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.
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Zhang, Hanqi, Jing Wang, Zhuoran Li, and Jingxin Li. "Design and Implementation of Two Immersive Audio and Video Communication Systems Based on Virtual Reality." Electronics 12, no. 5 (February 26, 2023): 1134. http://dx.doi.org/10.3390/electronics12051134.

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Due to the impact of the COVID-19 pandemic in recent years, remote communication has become increasingly common, which has also spawned many online solutions. Compared with an in-person scenario, the feeling of immersion and participation is lacking in these solutions, and the effect is thus not ideal. In this study, we focus on two typical virtual reality (VR) application scenarios with immersive audio and video experience: VR conferencing and panoramic live broadcast. We begin by introducing the core principles of traditional video conferencing, followed by the existing research results of VR conferencing along with the similarities, differences, pros, and cons of each solution. Then, we outline our view about what elements a virtual conferencing room should have. After that, a simple implementation scheme for VR conferencing is provided. Regarding panoramic video, we introduce the steps to produce and transmit a panoramic live broadcast and analyze several current mainstream encoding optimization schemes. By comparing traditional video streams, the various development bottlenecks of panoramic live broadcast are identified and summarized. A simple implementation of a panoramic live broadcast is presented in this paper. To conclude, the main points are illustrated along with the possible future directions of the two systems. The simple implementation of two immersive systems provides a research and application reference for VR audio and video transmission, which can guide subsequent relevant research studies.
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Ciążyńska, Julia, and Janusz Maciaszek. "Effects of Low-Immersive vs. High-Immersive Exercise Environment on Postural Stability and Reaction and Motor Time of Healthy Young Adults." Journal of Clinical Medicine 12, no. 1 (January 3, 2023): 389. http://dx.doi.org/10.3390/jcm12010389.

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(1) Background: Many young adults spend their time playing games and watching television. This type of spending time should be used effectively, so it’s worth adding exercise and immersion to them. Bearing in mind that the video games and physical exercise also improve postural stability, motor time (MT) and reaction time (RT), it is worth reaching for new technologies with immersion that are widely available and can be used, for example, as a remote intervention. This study aimed to compare the effects of a low vs. high-immersive exercise environment on postural stability, RT and MT in young adults. (2) Methods: Ninety-three participants were randomly divided into a control group (CG; n = 48) and experimental group (EG; n = 45). The CG exercised according to the Tabata self-made video display on a television set, and the EG exercised according to the Audio Trip exergame. In addition to the postural stability, RT and MT, we monitored the heart rate, breath rate and energy expenditure for safety reasons and to note any differences. (3) Results: Significant differences were observed for both groups in RT (F(2.182) = 3.14, p = 0.046, η2 = 0.03) and MT (F(2.182) = 3.07, p = 0.049, η2 = 0.03) and in postural stability in eyes closed (EC): F(2.182) = 3.66, p = 0.028, η2 = 0.04 and eyes open in one leg (EO-OL): F(2.182) = 5.814, p = 0.04, η2 = 0.07. (4) Conclusions: The inclusion of a higher immersion produces greater improvements in RT, MT. Additionally, after a low-immersive exercise environment, participants have higher center of pressure (COP) path length values with EC and EO-OL tests, which testifies to less postural stability. Regarding COP trajectory, a smaller area surface means better performance for high-immersive participants after 30 min of exercise.
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Boot, Tim, Frederic Roskam, Phil Coleman, Simon Brown, and Julien Laval. "Greater artistic and technological performance through the converged technologies of architectural acoustics, electroacoustic enhancement, and immersive audio technologies." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A168. http://dx.doi.org/10.1121/10.0023155.

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Producing meaningful, creative, and engaging experiences for audiences requires highly integrated acoustics and audio technologies. The fields of architectural acoustics, electro acoustic enhancement and immersive audio technologies have converged, altering the way we approach entertainment venue design. Globally, demand has increased for immersive audio in live and reproduced sound, and electro acoustic enhancement technologies are becoming more widespread. We will discuss how architecturally integrated end devices, multi-function signal processing, and architectural acoustical design should be optimized to create next-generation performance venues. We will use a project example that integrates sound system, acoustic enhancement, and architectural acoustics, illustrating how increasing clarity in audience with acoustic enhancement and supporting the immersive audio increases audience engagement. We will show what can be improved to elevate the experience in a converged approach. The paper will illustrate how a convergence of audio technologies, infrastructure, and a unified design and engineering processes is creating far greater opportunities for artistic experimentation and expression.
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Bhide, Saylee, Elizabeth Goins, and Joe Geigel. "Experimental Analysis of Spatial Sound for Storytelling in Virtual Reality." Frameless 1, no. 1 (December 15, 2019): 1–3. http://dx.doi.org/10.14448/frameless.01.007.

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Virtual Reality leverages our cognitive and perceptual abilities to provide immersive experiences that recreate both the visual and aural elements of real spaces with a high degree of realism making it a suitable delivery platform for conveying narratives through games and films. Spatial sound is useful in enhancing immersion and presence of the user in a virtual world. This audio design allows the game designer to place audio cues that appropriately match with the visual cues in a virtual game environment. These localized audio cues placed in a story based game environment also help to evoke an emotional response from the user and construct the narrative of the game by capturing the user’s attention towards the guiding action events in the game. Our work currently involves a thorough literature study on the significance of debating the usefulness of spatial sound. Our future work involves conducting a user study for analyzing the same i.e., understanding how spatial sound improves user performance and user experience in a virtual game environment. Furthermore, with the help of the relevant subjective and objective inferences that will be collected from the user study conducted on four different evaluation models, our work will also analyze and establish the potential of spatial sound as a powerful storytelling tool in a virtual game environment.
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Rahmanu, I. Wayan Eka Dian, Ida Bagus Artha Adnyana, I. Putu Yoga Laksana, I. Gusti Putu Sutarma, Ni Putu Somawati, and I. Made Riyan Adi Nugroho. "Investigating the Implementation of Multimodality and Spherical Video-Based Immersive Virtual Reality in the Indonesian Language for Foreign Speakers’ Learning Materials." Theory and Practice in Language Studies 13, no. 7 (July 1, 2023): 1760–68. http://dx.doi.org/10.17507/tpls.1307.20.

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Experts have developed multimodality and spherical video-based immersive virtual reality (SV-IVR) for language learning to escalate learners’ cognition. However, neither experts nor teachers have explored and optimised the use of multimodality and SV-IVR in the Indonesian Language for Foreign Speakers (BIPA) learning materials. This study investigates foreign learners’ perception of multimodality and SV-IVR immersion in BIPA programme. The total sample involved in this study was 20 people from Europe, Asia, and the US. The results reveal that multimodality including utilisation of text, audio, video, and images contributed to the foreign learners’ motivation and eagerness to learn the Indonesian language. Although the foreign students argued that the combination of text, audio, video, and images elevates foreign learners’ eagerness to study the Indonesian language, the SV-IVR implementation indicated no significant effect on the foreign students’ eagerness. Regarding the combination of multimodality and SV-IVR, the students indicated that the simultaneous use of multimodality and SV-IVR could increase their motivation to learn the Indonesian language.
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Hashimoto, Dai, Hideo Miyazaki, Ron Bakker, and Sungyoung Kim. "Sound environment control using an immersive audio system—Advancing sound experience for creators and listeners using Active Field Control." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A169. http://dx.doi.org/10.1121/10.0023158.

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Spatial and immersive systems have gained popularity in recent years and are broadly used in various types of applications to realize natural or augmented sound environment. To create a variety of sound environment freely and flexibly, Yamaha immersive audio system, known as Active Filed Control (AFC), has two functions. One is “sound source control” based on object-based audio rendering technique and another is “sound field control” based on acoustic enhancement technology. This paper presents several unique solutions applying immersive audio systems that use either or both sound source control and sound field control. We conducted post-event acoustic measurements or survey of questionnaire supporting that intended acoustic controls had been successfully implemented.
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Kadle, Keyur. "Virtual Reality based Stress Relief System." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 14, 2021): 2335–39. http://dx.doi.org/10.22214/ijraset.2021.34529.

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With the ascent of modern technology, the call for constant connectivity has led to growing physical and mental health concerns among the general masses. This inter connectivity has overwhelmed the populace with no room for relief. The objective of this project is to emulate environments and scenarios of the user’s choosing through the use of mobile and dedicated virtual reality systems. These systems present an audio visual experience to the users with the added benefits of interactivity and immersion that become possible by using Virtual Reality as the base technology. These emulated environments are constructed to calm the user and help to immerse the user within these environments to calm the user in a stressful environment
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Fitó Carreras, Maria, Alfonso Méndiz Noguero, and Montserrat Vidal-Mestre. "The podcast as a sound experimentation tool for brands: The immersive narrative in Endesa's Sonidos que nos transforman." Cuadernos.info, no. 56 (October 2, 2023): 293–312. http://dx.doi.org/10.7764/cdi.56.62819.

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The podcast has become an emerging audio format for advertising usage through the branded content technique, which uses content to transmit brand values ​​without intrusive messages. The technique applied to the sound medium represents added value for brands because of the sound’s sensory power. In this unisensory context, sound immersion narratives can further enhance the listening experience by making the listener an integral part of the storytelling. Through the study of Sonidos que nos transforman (Sounds that transform us), the first and only immersive branded podcast produced in Spain to date by Endesa, we will analyse how the brand integrates into the narrative. We will also study to what extent the podcast is configured as an appropriate format to transmit the brand message through sound immersion. The methodology is completed with exploratory interviews with those responsible for the project. The results confirm that immersive sound techniques are not mere technical-sound ornaments applied without casuistry, and that they contribute to increase engagement with the brand due to the intensity with which the listener lives the experience. In addition, the podcast highlights the existence of its own narrative, which finds its methodology and production sources in the radio, the sound medium par excellence, but opening up possibilities thanks to the absence of space-time limits and to its recorded nature.
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SHLIENKOVA, Elena V., and Khristina V. KAYGORODOVA. "IMMERSIVE AUDIO EXPOSITION AND ITS VISUAL CONTENT AS ACTUALIZATION OF MUSEUM DESIGN PRINCIPLES." Urban construction and architecture 10, no. 3 (December 15, 2020): 114–22. http://dx.doi.org/10.17673/vestnik.2020.03.15.

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The article is devoted to the experimental practice of new local history and museum design, the study of collective identity, the actualization of “gene memory” and the representation of the Finno-Ugric ethnic group of the North of Udmurtia, Russia. The project continues to develop a long-term partnership of an inter-regional consortium consisting of specialists in the fi eld of cultural anthropology and authentic geography, local history, music and stage art, folklore, design, architecture and modern art practices, and the local community. The article deals with the study of the principles of organizing a traditional a local history museum, its tactile and spatial reconfi guration based on immersive interaction with the visitor, his active participation, polylogue, post-empathy and total involvement (psychophysiological “linkage” with reality). It covers a wide range of topics from technological to meta-immersion, creation spaces of holistic experience, space-event, space-situations, where the viewer becomes a key subject.
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Obadiah, Jason. "Binaural Audio and 360 Video: Immersive Method of Preserving Banten's Culture and History." International Journal of Creative and Arts Studies 10, no. 2 (December 5, 2023): 115–32. http://dx.doi.org/10.24821/ijcas.v10i2.9460.

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Visual media is an easy-to-use medium for documenting events, discoveries, and even the culture of a particular country. It's different with audio media, where audio media is very difficult to describe something like a culture without someone having had experiences related to that culture. Binaural audio is an audio system where the system allows a person to record audio that can represent the auditory results of the ear organs. If a person is presented with a binaural audio of a cultural performance, then the audio can simulate a person's perception as if he is at that cultural performance. Over time, the preservation of culture and history is needed so that Indonesian culture and history remain known in this increasingly modern era. The combination of visual media such as 360 Video with binaural audio media is expected to attract people to be more curious about Indonesian culture and history and appreciate it more as well as open the possibility for people with disability to experience the historical location through 360 video or Virtual Reality. This research is a means to documenting and preserve the Chinese Indonesian shrine across Indonesia’s island starting from Banten province.Binaural Audio dan Video 360: Metode Imersif Melestarikan Budaya dan Sejarah Banten Abstrak Media visual adalah media yang mudah digunakan untuk mendokumentasikan peristiwa, penemuan, dan bahkan budaya suatu negara tertentu. Berbeda dengan media audio, di mana media audio sangat sulit untuk menggambarkan sesuatu seperti budaya tanpa seseorang memiliki pengalaman yang berkaitan dengan budaya tersebut. Audio binaural adalah sistem audio di mana sistem tersebut memungkinkan seseorang untuk merekam audio yang dapat mewakili hasil pendengaran organ telinga. Jika seseorang disajikan dengan audio binaural dari pertunjukan budaya, maka audio tersebut dapat mensimulasikan persepsi seseorang seolah-olah dia berada di pertunjukan budaya itu. Seiring berjalannya waktu, pelestarian budaya dan sejarah sangat dibutuhkan agar budaya dan sejarah Indonesia tetap dikenal di era yang semakin modern ini. Kombinasi media visual seperti 360 Video dengan media audio binaural diharapkan dapat menarik minat masyarakat untuk lebih penasaran dengan budaya dan sejarah Indonesia dan lebih mengapresiasinya serta membuka kemungkinan bagi penyandang disabilitas untuk merasakan lokasi bersejarah tersebut melalui video 360 atau Virtual Reality. Penelitian ini adalah sarana untuk mendokumentasikan dan melestarikan kuil Cina Indonesia di seluruh pulau Indonesia mulai dari provinsi Banten.
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Delestage, Charles-Alexandre, and Willy Yvart. "Lived experience and virtual reality: visual method of analysis based on video recordings and the Valence-Arousal diagram." Sintaxis, no. 12 (January 15, 2024): 68–85. http://dx.doi.org/10.36105/stx.2024n12.07.

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The specificity of Virtual Reality is that it offers the user almost complete sound and visual immersion, relying heavily on the sensation of presence, activated by audio and visual indications of the simulated space and strongly linked to the emotional dimension of the virtual reality experience. From the point of view of experience design research, since the user is immersed in a virtual world, real-time feedback on his or her experience is more difficult than for other media. The aim of this article is to present a visual qualitative approach to collecting traces of a virtual reality user's lived experience using a visual method protocol involving synchronous virtual real-world video recordings and the Spot Your Mood tool (Yvart, Delestage, Leleu-Merviel, 2016).
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42

Doyle, S. "Beyond the screen [immersive audio-visual environments]." Engineering & Technology 15, no. 6 (July 1, 2020): 62–63. http://dx.doi.org/10.1049/et.2020.0612.

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43

Bravo, Luana Carolina, Carlos Watanabe, Gabriel Thomazini, Carlos B. Ronconi, and Rodrigo Meirelles. "BRAZILIAN PIONEERING IN IMMERSIVE AUDIO: PRACTICAL EXPERIENCES." SET EXPO PROCEEDINGS 2017, no. 1 (August 1, 2017): 56–58. http://dx.doi.org/10.18580/setep.2017.17.

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44

Van Nort, Doug. "Audio-haptic perception in immersive improvisational environments." Journal of the Acoustical Society of America 143, no. 3 (March 2018): 1931. http://dx.doi.org/10.1121/1.5036312.

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45

Gallacher, Nicola. "Game audio — an investigation into the effect of audio on player immersion." Computer Games Journal 2, no. 2 (August 2013): 52–79. http://dx.doi.org/10.1007/bf03392342.

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Chang, Albert, Mei Si, Samuel Chabot, Jonathan Mathews, Tomek Strzalkowski, and Jonas Braasch. "A spatially-aware dialogue system for immersive classrooms." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A132. http://dx.doi.org/10.1121/10.0010883.

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Dialogue systems have become a popular research medium as recent advances in task-oriented and open-domain systems combined with deep learning technologies have increased the potential for practical applications across many disciplines. One such vein of applications involves multi-modal dialogue systems deployed in interactive spaces that seek to provide an immersive experience for participants. This project proposes a combination of spatial awareness with a multi-modal, immersive dialogue system as a potential interactive medium to provide an additional layer of immersion. The system employs an array of audio/visual sensors that tracks participants within the interactive space. It responds contextually depending on the application and information domain, for example, by displaying and sonifying conversational agents at accurate spatial locations. The current application of this system involves Mandarin language learning in which the system will act as both a learning medium and conversation augmentation system to provide students with an immersive environment to learn a language and provide real-time feedback during the learning process. This project aims to provide insight into interactive spaces for education and general conversation applications, and demonstrate the capabilities of combining spatial awareness with a multi-modal dialogue system. [Work supported by NSF IIS-1909229, IBM GATOR, and CISL.]
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Archer, Nicholas S., Andrew Bluff, Andrew Eddy, Chreshall K. Nikhil, Nick Hazell, Damian Frank, and Andrew Johnston. "Odour enhances the sense of presence in a virtual reality environment." PLOS ONE 17, no. 3 (March 30, 2022): e0265039. http://dx.doi.org/10.1371/journal.pone.0265039.

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Virtual reality (VR) headsets provide immersive audio-visual experiences for users, but usually neglect to provide olfactory cues that can provide additional information about our environment in the real world. This paper examines whether the introduction of smells into the VR environment enhances users’ experience, including their sense of presence through collection of both psychological and physiological measures. Using precise odour administration with an olfactometer, study participants were exposed to smells while they were immersed in the popular PlayStation VR game “Resident Evil 7”. A within-subject study design was undertaken where participants (n = 22) walked-through the same VR environment twice, with or without the introduction of associated congruent odour stimuli. Directly after each gameplay, participants completed a questionnaire to determine their sense of presence from the overall gameplay and their sense of immersion in each of the virtual scenes. Additionally, physiological measurements (heart rate, body temperature and skin electrodermal activity) were collected from participants (n = 11) for each gameplay. The results showed the addition of odours significantly increased participants’ sense of spatial presence in the VR environment compared to VR with no odour. Participants also rated the realism of VR experience with odour higher compared to no odour, however odour addition did not result in change in emotional state of participants (arousal, pleasure, dominance). Further, the participants’ physiological responses were impacted by the addition of odour. Odour mediated physiological changes were dependent on whether the VR environment was novel, as the effect of odour on physiological response was lost when participants experienced the aroma on the second gameplay. Overall, the results indicate the addition of odours to a VR environment had a significant effect on both the psychological and physiological experience showing the addition of smell enhanced the VR environment. The incorporation of odours to VR environments presents an opportunity to create a more immersive experience to increase a person’s presence within a VR environment. In addition to gaming, the results have broader applications for virtual training environments and virtual reality exposure therapy.
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Courchesne, Luc, Emmanuel Durand, and Bruno Roy. "Posture Platform and The Drawing Room: Virtual Teleportation in Cyberspace." Leonardo 47, no. 4 (August 2014): 367–74. http://dx.doi.org/10.1162/leon_a_00842.

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Three-hundred-sixty-degree audio/visual immersion and the restoration of non-verbal communication cues are essential features for interfaces inviting the human body in cyberspace. The Posture Platform is a network of bases that offers access to a shared virtual environment. Each base is composed of an immersive 360-degree visual display, a surround-sound system, an array of image capture devices, a microphone, an omnidirectional controller/pointer, and a computer with wifi and an internet connection. The Drawing Room is the most recent virtual space developed for the platform. It invites participants to a blank shared space where they draw their own environment collaboratively. The platform, and the project it hosts, is an example of the art, design, and engineering challenges and opportunities associated with development of inhabitable cyberspace.
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Cabrera, Andrés, JoAnn Kuchera-Morin, and Curtis Roads. "The Evolution of Spatial Audio in the AlloSphere." Computer Music Journal 40, no. 4 (December 2016): 47–61. http://dx.doi.org/10.1162/comj_a_00382.

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Spatial audio has been at the core of the multimodal experience at the AlloSphere, a unique instrument for data discovery and exploration through interactive immersive display, since its conception. The AlloSphere multichannel spatial audio design has direct roots in the history of electroacoustic spatial audio and is the result of previous activities in spatial audio at the University of California at Santa Barbara. A concise technical description of the AlloSphere, its architectural and acoustic features, its unique 3-D visual projection system, and the current 54.1 Meyer Sound audio infrastructure is presented, with details of the audio software architecture and the immersive sound capabilities it supports. As part of the process of realizing scientific and artistic projects for the AlloSphere, spatial audio research has been conducted, including the use of decorrelation of audio signals to supplement spatialization and tackling the thorny problem of interactive up-mixing through the Sound Element Spatializer and the Zirkonium Chords project. The latter uses the metaphor of geometric spatial chords as a high-level means of spatial up-mixing in performance. Other developments relating to spatial audio are presented, such as Ryan McGee's Spatial Modulation Synthesis, which simultaneously explores the synthesis of space and timbre.
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Herre, Jurgen, Johannes Hilpert, Achim Kuntz, and Jan Plogsties. "MPEG-H 3D Audio—The New Standard for Coding of Immersive Spatial Audio." IEEE Journal of Selected Topics in Signal Processing 9, no. 5 (August 2015): 770–79. http://dx.doi.org/10.1109/jstsp.2015.2411578.

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