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Intelligible Sonifications

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Sonification Design

Part of the book series: Human–Computer Interaction Series ((HCIS))

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Abstract

The previous chapter traced a path towards an understanding of the inadequacy of epistemological approaches to knowledge formation that do not account for the deeply-embodied nature of perception, to succeed in solving any but highly constrained problems. The slower-than-expected rise in the effectiveness of artificial intelligence provided the impetus for a more critical examination of the ontological dimensions of perception and human knowledge, which necessitated the re-cognition of another form of truth which is not derived empirically but from meaningful action. This chapter enunciates this Pragmatist approach as it can be applied to sonification design: a generative activity in which bespoke design skills are supported by scientific research in biology, perception, cognitive science–in the field of conceptual metaphor theory in particular, and aesthetics. It proceeds to outline pertinent features of a broad design methodology based on the understandings developed that could yield to computational support.

The domain of the unknown surrounds us, like an ocean surrounds an island. We can increase the area of the island, but we never take away much from the sea.

J. B. Peterson (1999)

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Notes

  1. 1.

    The inclusion of the terms perceived relations and communication or interpretation in this definition highlights the need for an understanding of perceptual and cognitive processes in the development of effective auditory displays, although interestingly, the working group for this report initially disagreed over including perception in the definition of sonification.

  2. 2.

    See Chap. 3, especially Sects. 3.3.7 and 3.3.8.

  3. 3.

    A distinction is expressed by using the word “world” for a human centered domain, whilst “earth” and “planet” are used for the physical environment and “universe” for the sky and stars etc. A world is a place in an environment (see Sect. 4.2), not just an abstract space.

  4. 4.

    German: Ding an sich, which Kant called noumena as distinct from a thing as it is knowable by the senses through its phenomenal attributes. See Chap. 3 for a more detailed discussion.

  5. 5.

    German: Vorhandenheit.

  6. 6.

    This classical scientific attitude was revealed to be artificial in the twentieth-century by quantum mechanics. For some of the early considerations of the consequences of these discoveries for brains, minds and consciousness see William James (1992, 227).

  7. 7.

    Chapter 3 contains a perception-oriented introduction to Pragmatism.

  8. 8.

    Continuing the theme of Footnote 3, the analogy is that empirical truth is to pragmatic truth as space is to place.

  9. 9.

    German: Zuhandenheit.

  10. 10.

    Ode of a Grecian Urn. (1820).

  11. 11.

    See Chap. 3, especially Sects. 3.3.7 and 3.3.8. Husserl’s conception of intentionality differs from his teacher’s Brentano’s, through which it came from the Scholastics. This difference can be traced in the thought of William James (Mullane 1973, 48).

  12. 12.

    Dasein in vernacular German means existence. However, Heidegger, following Nietzsche and others sought to use it as a term for the primal nature of Being (Sein); always engaged, not just subjectively or objectively, but coherently as Being-in-the-world. This favoring of active, practical engagement with one’s environment is thus ontologically opposed the Cartesian concept of abstract agency. Collins and Selina (1998, 48–61)

  13. 13.

    Such as “Here is ear to hear”, which is not at all vacuous, except for the empty-headed.

  14. 14.

    The reference it to the Middle Ages, and prior, during which the mind and body were seen to interlink in ways that have remarkable modern resonances (Saunders and Fernyhough 2016).

  15. 15.

    Even skillful chess, once the holy grail of AI, seems to rely more on memory that computational power. De Groot found that, after only five seconds exposure, grandmasters were able to reproduce real-game board configurations with a high degree of accuracy while less-skilled players were far less accurate (1966). Further, Chase and Simon found that there were no differences between expert players and others if the original configuration of the pieces was random, rather than from real games (1973).

  16. 16.

    This paralysis is triggered by action of structures in a dorsal area of the pons under the influence of noradrenalin. If a cat’s cerebral cortex is removed, this paralysis is not induced and when dreaming, the animal moves around (Jouvet and Jouvet 1963, 1967; Bjursten et al. 1976; Louie and Wilson 2001).

  17. 17.

    See Chap. 3, Sect. 3.3.7.

  18. 18.

    From Latin limbus meaning “edge” or “border” [in this discussion, between the cerebral cortex and the brain core], related to limb, limbo, limber, limen, and perhaps limp [OED].

  19. 19.

    This discussion of the limbic system is informed by Jorden Peterson’s insightful Maps of Meaning (1999, 48–61), pp. 48–61 supplemented details from many Wikipedia articles on various brain structures. Other sources are referenced in the normal manner.

  20. 20.

    This convex (outward-oriented) need can in some way be considered as a partner to the concave (inward-oriented) need for homeostatic regulation, as performed by the hypothalamus.

  21. 21.

    This is a biological version of the Pragmatist’s solution for determining if an ideational solution is accurate or not by constructing an interpretative framework that contains a models based on a mapping strategies that has a targets or goals. See Sect. 4.1.2.

  22. 22.

    The acoustic startle reflex is thought to be caused by an auditory stimulus greater than 80 decibels with as little as 10 ms. latency. Reactions to it include invoking muscular contractions that protect the cochlear itself (Musiek 2003).

  23. 23.

    This research and its implications are discussed in more detail in Chapt. 3: Sects. 3.5 and 3.6.

  24. 24.

    A summary of that work can be found in (Worrall 2010).

  25. 25.

    This is not to discount performative gesticulations, such as for dramatic visual effect.

  26. 26.

    See, for example, Kubovy and Valkenber (2001).

  27. 27.

    Imagination is related to but distinct from imager, aural imagination , for example.

  28. 28.

    Merleau-Ponty describes the intentional arc as the way our successful coping continually enriches the way things in the world reveal themselves to us ([1945] 1962, 137).

  29. 29.

    The expression “pedestrian language” is itself a flourish, a “flowery” way of saying “ordinary language, as heard when walking on the street.” By convention, metaphors are capitalized in the cognitive science literature.

  30. 30.

    Positivism’s principle tenet was that information derived from sensory experience that is interpreted through reason and logic (that is empirical evidence), is the exclusive source of all (“positively”) certain knowledge. Comte’s most controversial claim was that, not only does the natural world operate according to this tenet, but so also does society (Macionis 2012). Positivism is part of a more general ancient dispute between philosophy and poetry, laid out by Plato and enunciated in different forms over the intervening period, including as a quarrel between the sciences and the humanities.

  31. 31.

    As traditionally, ‘prudence’ here means “caution”; not to be confused with ‘prudish’, which today has negative connotations.

  32. 32.

    This is known in natural language scholarship as under-determinacy, which occurs not just in the metaphorical A-B relations but within a metaphor itself. For example, the expression “it is all downhill from here” could mean two opposite things depending upon context. In general, it is a feature of metaphors that they exhibit noticeable context-sensitivity. That is, they are as plain as the nose on one’s face, or stick out like a sore thumb.

  33. 33.

    Discussed in more detail in Chap. 1, Sect. 1.5.

  34. 34.

    “Brighter” here is also clearly metaphorical; a term and also used to represent sounds that have broader spectral distribution of energy as experienced, due to dorsal-ventral (front-back) asymmetry of our hearing: Sounds in front of us appear brighter than those behind.

  35. 35.

    As defined by the International Standards Organization ISO 226.

  36. 36.

    The use of ‘environment’ rather than ‘auditory scene’ is deliberate. Because, in common parlance, a scene is in front of us; something we look at; to which we are paying attention, it seems unnecessarily obtuse or inappropriate to apply the term to the synthesis of an omnidirectional soundfield. The term “soundfield” tends to be used as a substitute for auditory space, i.e. the physically dimensioned space in which sounds or sound-streams can be placed, using appropriate (“soundfield” technologies) such as loudspeaker arrays. The term ‘soundscape’ has historical connotations which associate it with acoustic ecology. According to The International Organization for Standardization, there is a diversity of opinions about its definition and aims and the use of the term has become idiosyncratic and ambiguous (ISO 2014). So, given the distinction made in the text between ‘space’ and ‘place’, ‘environment’ seems the least undesirable term in this context.

  37. 37.

    Different uses of sound for the purpose of data sonification are introduced in Chap. 2.

  38. 38.

    Tonal harmony based on major and minor keys in which chords function in various schema to produce quasi-predictable flow sequences such as cadences (interruptions and closures).

  39. 39.

    Musical Interface Digital Instrument. See http://www.midi.org/

  40. 40.

    The term data (singular datum) comes from Latin dare, meaning ‘something given’. The term information comes from Latin information (n-), from the verb informare, meaning to shape, fashion or describe into a form. Thus ‘information’ contains the sense of informing, of fitting (as in a mold) into some recognizable “thing”. The relationship between data and information is discussed in more detail in Chap. 3.

  41. 41.

    From digitus, the Latin word for finger.

  42. 42.

    While recommending texts to anonymous readers is a thankless task, The Computer Music Tutorial (Roads et al. 1996) contains and excellent outline of most of the standard digital sound and music analysis and synthesis concepts and techniques. It’s 1200-odd pages is well written for readers with average mathematical skills.

  43. 43.

    Python has excellent pattern-matching tools. The re module provides regular expression matching operations similar to those found in Perl. Both patterns and strings to be searched can be Unicode strings as well as 8-bit strings.

  44. 44.

    See, for example, the Anaconda Python distribution of pandas.

  45. 45.

    This issue is discussed in Chap. 2 (2.5.1).

  46. 46.

    John Bull (1562-3–12 March 1628) was renowned for his technical experiments and the solution of unusual musical problems—enharmonic modulations, for example, and asymmetrical rhythmic patterns. Some of his music is in Parthenia (1612), the first published book of English virginal music.

  47. 47.

    A piece of music can be formulaically transformed to reliably elicit one of several emotion (Friberg et al. 2000; Kirke and Miranda 2009).That type of transformation may be applied to a sonification to enhance cohesiveness.

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Authors and Affiliations

  1. Department of Audio Arts and Acoustics, Columbia College Chicago, Chicago, IL, USA

    Prof. David Worrall

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  1. Prof. David Worrall
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Correspondence to David Worrall .

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Worrall, D. (2019). Intelligible Sonifications. In: Sonification Design. Human–Computer Interaction Series. Springer, Cham. https://doi.org/10.1007/978-3-030-01497-1_4

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  • DOI: https://doi.org/10.1007/978-3-030-01497-1_4

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