Thus, in this and difficult to understand [25], Earcons are a requirement paper, we set out to design and carry out an initial pilot for these conditions. These restrictions result in four sep- study to explore these issues by focusing on user perfor- arate conditions, which vary in their complexity see mance both quantitatively and qualitatively over a number Table 1 for a summary : of different audio displays.
This resulted in a between- 1. No Earcons or audio spatialization: When subjects design that allowed us to test our approach and the user entered the activation zone, only the audio clip offered rich and detailed results by participant but at the with information corresponding to that landmark was expense of controlling for cross-subject variation.
The proximity zone was not Eight users 6 men, 2 women, from 24 to 39 years in used. They were all students and 2. Earcons but no audio spatialization: While the members of staff at the University of Madeira and were user was within the activation zone, the Earcon animal sound corresponding to that location played continu- ously.
The audio clip containing information about the location could be played and the animal sound stopped by pressing the central navigation button on the mobile phone. The proximity zone was not used. Basic proximity zone with Earcons and limited audio spatialization distance : When the user entered the proximity zone, the Earcon, i. They all reported normal hearing and were right-handed. Five of these users had used GPS-based systems before.
None were paid for their participation. Two different participants tes- ted each of the four auditory display conditions described in the previous section. The experiment lasted no more than half an hour. First, users were asked to familiarize themselves with the system by finding a landmark situated outside the park. This procedure served to check the system had GPS signal prior to starting the test and also provided participants with the chance to ask questions.
They were then asked to enter the park and explore it freely while looking for the audio landmarks. They were all given a maximum of 30 min to walk around the garden.
Half were directed to start at the part of the park with the isolated landmarks, while the others started where the landmarks were clustered together. As they Fig.
At the end of each trial for each different condition, participants filled in a questionnaire and pro- vided informal feedback about their experience. The objective measures we investigated were the time taken to complete the sound garden experience, the distance walked in metres, walking speed in metres per second, time spent stationary and head-turning data col- lected from participants exposed to spatial audio feedback. For subjective measures, we present feedback from the participant questionnaire.
The distri- experiment on average in 16 min and 15 s, and the average bution of speed by non-spatial and spatial conditions distance covered by each subject was m see Figs. Participants walked at a spending more time walking through the park and covering significantly lower speed during the spatial conditions more distance. Participants exposed to full 3D audio feedback Spatial 3D condition stopped more often as more proximity zones for the audio landmarks overlapped. In contrast, participants in the Spatial condition show a constant percentage of stopping as overlapping increased see Sect.
In contrast, for the conditions lacking audio Fig. Looking more tions being given the same set of instructions before closely at the distributions, we can see that this drop in starting the exploration of the garden. They were all told to average speed was caused less by the participants walking walk through the park in their own time and without more slowly but rather by an increase in the time they spent rushing or walking too fast and that audio landmarks would stationary note the peak at 0 for spatial conditions com- be triggered as they got closer to them.
Overall, sound pared to non-spatial conditions. Informal user feedback is presented was used to identify stationary periods to allow for error in for each of the four auditory display conditions. GPS readings. Error from the GPS readings means that subsequent positions are rarely identical even when the 5. Thus, in order to quantify stationary periods, the threshold was set based on In the first auditory display condition no Earcons or spa- the observation of the distributions in Fig.
Histograms for tialization , the audio clips were simply triggered when both the spatial conditions show a bimodal log distribution. Consequently, the users As we regard a participant to be either stationary or moving, tended to systematically explore to find the audio clips. Given Once they were located, users reported being pleased with an average human walking speed is 4. The value of the information in the Using this threshold, Fig.
The number of overlapping proximity zones for audio 4 Only data from within the proximity zone were considered, and landmarks also had an effect on the percentage of time data points while in the activation zone were excluded as we were participants stayed stationary.
Figure 9 shows that per- only interested in user behaviour while exploring and not once they centage of time participants were stationary per number of had reached the activation zone. A threshold of Fig.
A threshold of less than periods 0. Partici- across something on your way. Despite the resulted in the user overshooting the physical landmark by background noises in the park, the animal sounds suc- the time the audio clip was triggered. One of [the animal sound] was prompting me to press the button. In the third condition which adjusted volume based sound environment. Short splines illustrate the user head taken by one user from the Garden Lake to the statue of Joao Reis direction approx.
The other participant listen to the Earcons. They did not became harder in the area of the park where three animal expect these animal sounds to blend so well and also found sounds overlapped. This was echoed by the opinion that while 5. Overlapping sounds also conveyed benefits as 5. The intensity was reported to remain at a comfortable marks] without spatialization.
The participants in dition. If we examine the distributions of head ori- In addition, we have examined head-turning data and its entation change for the spatial conditions see Fig.
Although this study did not points and broader distribution compared to the Spatial examine a large user sample, the wide range of measure- condition showing a more peaked distribution, i. This means that head change within the park, walked more, and spent more time stationary while regions 36 degrees to degrees contains more data than turning their heads searching for landmarks.
When distance angles closer to 0 and wider angles. Wider angles are likely away from the landmark was the only spatial audio cue to be caused by changes in body position. This would fit available, some participants reported it to be useful while our observation that participants moved their heads from others were confused by the relationship between virtual side to side in the 3D spatial condition to gauge the and physical distance. GPS error also appeared to interfere direction of sounds heard.
Although there is no formal with the overall experience. However, in the Spatial 3D statistic test to compare Kurtosis, a Chi-square test on condition, participants reported that the audio feedback observed counts across five bins as shown in Fig. If we lapped, although heading information was a great help, compare logged information from participants with limited localizing the sounds became harder.
Finally, search and ascertain the direction of the audio, which was Fig. However, far from frustrating users, they appeared to take This participant shows an extreme case example of amount their time to enjoy the sense of discovery on average of head turning to ascertain direction, which frequently 21 min when spatialized compared to This user in particular spatialized and immerse themselves in this mobile audio- spent a substantial time walking and altering his head augmented reality environment.
We also found that Ear- position in order to determine the direction of one of the cons played an important role as a playful element landmarks. Far from frustrating, as user feedback showed, successfully indicating the presence of information at a this searching process was enjoyable and added to the particular location. You will find lessons with a lot of code samples and quick tips.
With these, lessons you will learn to develop more dynamics templates in no time. If you want to improve your CSS workflow, Sass can help you. You can start learning Sass free. I created this course so that there is no more fear about learning something new. Paul Scrivens. Lukew Wroblewski is an internationally recognized digital product leader.
He is currently a Product Director at Google. SmashingMagazine is a very popular website for web designers and developers. They publish high-quality articles, tutorials, and e-books. Well-known names such as Lea Verou, Christian Heilmann and Dmitry Fadeyev have contributed fascinating chapters on various subjects.
In this book Kevin Airgid gives designers step-by-step instructions on how to achieve the following:. Please note I wrote this book in , much of the technical information is out of date. The information about general freelancing is still useful. Kevin Airgid. CrowdSpring offers 2 free ebooks for graphic designer and software developers to understand and protect their rights. No email registration is required to download these PDF books.
If you are a designer and love creating original work that is protected by copyright, then this eBook is for you. Contracts For Designers Who Hate Contracts is a quick, page read and CrowdSpring have shared a template agreement that you can modify for your own use.
You can download this PDF book quickly, email registration is not required to download this free eBook. This is another free e-book by crowdSPRING for a software developer who creates original work that is protected by copyright. This book will help you to understand and protect your rights if you are a software developer.
This is a book about JavaScript, programming, and the wonders of the digital. This book is Written by Marijn Haverbeke. Licensed under a Creative Commons attribution non-commercial license. All code in this book may also be considered licensed under an MIT license.
It seems to me there are eight fundamental areas of computer graphics. Obviously this is debatable, but this classification seems to work. Objects are the usually 3-D conceptual entities that exist in their own coordinate systems; images are the usually 2-D realizations of objects on some media. To get an idea of what is involved in turning 3-D into 2-D, check out this completely oversimplified view of projection.
Physical : Keyboard, mouse, tablet, touch pad, touch screen, data glove, camera, light pen, wand, joystick, joyswitch, trackball, spaceball, microphone, speech recognizer, etc.
Make sure to take a look at the amazing screen resolutions diagram from Wikipedia.
0コメント