DOCSLIB.ORG

Concurrency in Auditory Displays for Connected Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Concurrency in Auditory Displays for Connected Television Concurrency in auditory displays for connected television Alistair Francis Hinde Doctor of Philosophy University of York Electronics September 2016 Abstract Many television experiences depend on users being both willing and able to visually attend to screen-based information. Auditory displays offer an alternative method for presenting this information and could benefit all users. This thesis explores how this may be achieved through the design and evaluation of auditory displays involving varying degrees of concurrency for two television use cases: menu navigation and presenting related content alongside a television show. The first study, on the navigation of auditory menus, looked at onset asynchrony and word length in the presentation of spoken menus. The effects of these on task duration, accuracy and workload were considered. Onset asynchrony and word length both caused significant effects on task duration and accuracy, while workload was only affected by onset asynchrony. An optimum asynchrony was identified, which was the same for both long and short words, but better performance was obtained with the shorter words that no longer overlapped. The second experiment investigated how disruption, workload, and preference are affected when presenting additional content accompanying a television programme. The content took the form of sound from different spatial locations or as text on a smartphone and the programme's soundtrack was either modified or left unaltered. Leaving the soundtrack unaltered or muting it negatively impacted user experience. Removing the speech from the television programme and presenting the secondary content as sound from a smartphone was the best auditory approach. This was found to compare well with the textual presentation, resulting in less visual disruption and imposing a similar workload. Additionally, the thesis reviews the state-of-the-art in television experiences and auditory displays. The human auditory system is introduced and important factors in the concurrent presentation of speech are highlighted. Conclusions about the utility of concurrency within auditory displays for television are made and areas for further work are identified. 3 4 Table of contents Abstract 3 Table of Contents 5 List of Figures 11 List of Tables 15 Acknowledgements 17 Declaration 19 1 Introduction 21 1.1 Overview: The dominance of vision in television displays . 21 1.2 Users effected by visio-centric design . 23 1.3 Auditory display . 25 1.4 Hypothesis . 25 1.5 Contributions . 26 1.6 Structure of thesis . 27 2 Television experiences: Now and the near future 29 2.1 Introduction . 29 2.2 Programme delivery . 30 2.3 Television devices . 31 2.4 Elements of the television experience . 33 2.4.1 Navigation and choice . 34 2.4.2 Additional media activities . 38 2.4.3 Adaptive programming: object-based broadcasting . 43 2.4.4 Input mechanisms . 43 2.5 Discussion . 44 2.5.1 Programme delivery . 45 2.5.2 Devices . 45 2.5.3 Input mechanisms . 46 5 Table of contents 6 2.5.4 Navigation . 46 2.5.5 Additional media activities . 47 3 Audition 49 3.1 Introduction . 49 3.2 Hearing: key principles . 50 3.2.1 Physiology of the human auditory system . 50 3.2.2 Spatial auditory perception . 54 3.2.3 Masking . 57 3.2.4 Auditory streams . 59 3.2.5 Auditory attention . 61 3.2.6 The influence of vision . 62 3.3 Speech perception . 64 3.3.1 Speech as a signal . 64 3.3.2 Recognising words and understanding meaning . 65 3.3.3 Concurrent speech . 66 3.3.4 Influences of visual information on speech perception . 76 3.4 Summary . 76 4 Auditory Display 79 4.1 Serial speech displays . 80 4.2 Non-speech auditory displays . 82 4.2.1 Audification, parameter mapping and model-based sonification . 83 4.2.2 Auditory icons . 84 4.2.3 Earcons . 85 4.2.4 Musicons . 88 4.2.5 Spearcons . 89 4.2.6 Auditory scrollbars and Spindex . 91 4.2.7 Discussion . 92 4.3 Concurrent auditory displays . 93 4.3.1 Concurrent earcons . 94 4.3.2 Concurrent auditory icons . 97 4.3.3 Concurrent speech displays . 99 4.4 Summary . 110 5 Menu navigation 113 5.1 Introduction . 113 5.2 Display design . 115 5.2.1 Number of talkers . 115 5.2.2 Spatial configuration . 116 Table of contents 7 5.2.3 Interaction design . 116 5.2.4 Implementation . 119 5.3 Pilot Study . 120 5.3.1 Methodology . 120 5.3.2 Findings . 124 5.4 Experiment Proper . 125 5.4.1 Methodology . 125 5.4.2 Results . 131 5.4.3 Discussion . 138 5.5 Summary . 143 6 Orchestrated synchronous companion experiences: Non-visual design considerations 145 6.1 Introduction . 145 6.2 Attention with visual secondary programme content . 147 6.3 Auditory presentation of secondary programme content . 151 6.4 Design . 152 6.4.1 Content representation . 153 6.4.2 Concurrency of presentation . 155 6.4.3 Talker/performance factors . 160 6.4.4 Interaction design . 161 6.4.5 Notification design . 162 6.4.6 Spatial location . 164 6.4.7 Personal or shared experiences . 167 6.5 Secondary content applications . 169 6.6 Summary and outstanding questions . 170 7 The effects of secondary content modality, location and the modification of programme soundtrack on television user experience 173 7.1 Introduction . 173 7.2 Experimental design . 174 7.2.1 Independent variables . 174 7.2.2 Dependent variables . 175 7.3 Methodology . 179 7.3.1 Experiment structure . 179 7.3.2 Experiential limitations . 180 7.3.3 Prototype system . 181 7.3.4 Stimuli . 183 7.3.5 Pilot Study . 187 7.3.6 Methodological changes following the Pilot . 191 Table of contents 8 7.4 Experiment proper . 192 7.4.1 Demographics . 192 7.4.2 Procedure . 192 7.4.3 Experiment set-up . 193 7.4.4 Data treatment . 195 7.4.5 Quantitative Results . 197 7.4.6 Qualitative Results . 204 7.4.7 Discussion . 218 7.4.8 Limitations and future work . 228 7.5 Summary . ..
Load more

Recommended publications
  • East Tower Inspiration Page 6
    The newspaper for BBC pensioners – with highlights from Ariel online East Tower inspiration Page 6 AUGUST 2014 • Issue 4 TV news celebrates Remembering Great (BBC) 60 years Bing Scots Page 2 Page 7 Page 8 NEWS • MEMORIES • CLASSIFIEDS • YOUR LETTERS • OBITUARIES • CROSPERO 02 BACK AT THE BBC TV news celebrates its 60th birthday Sixty years ago, the first ever BBC TV news bulletin was aired – wedged in between a cricket match and a Royal visit to an agriculture show. Not much has changed, has it? people’s childhoods, of people’s lives,’ lead to 24-hour news channels. she adds. But back in 1983, when round the clock How much!?! But BBC TV news did not evolve in news was still a distant dream, there were a vacuum. bigger priorities than the 2-3am slot in the One of the original Humpty toys made ‘A large part of the story was intense nation’s daily news intake. for the BBC children’s TV programme competition and innovation between the On 17 January at 6.30am, Breakfast Time Play School has sold at auction in Oxford BBC and ITV, and then with Channel 4 over became the country’s first early-morning TV for £6,250. many years,’ says Taylor. news programme. Bonhams had valued the 53cm-high The competition was evident almost ‘It was another move towards the sense toy at £1,200. immediately. The BBC, wary of its new that news is happening all the time,’ says The auction house called Humpty rival’s cutting-edge format, exhibited its Hockaday.
    [Show full text]
  • The True Story of Mission to Hell Page 4
    The newspaper for BBC pensioners – with highlights from Ariel online The true story of Mission to Hell Page 4 August 2015 • Issue 4 Trainee Oh! What operators a lovely reunite – Vietnam War TFS 1964 50 years on Page 6 Page 8 Page 12 NEWS • MEMORIES • CLASSIFIEDS • YOUR LETTERS • OBITUARIES • CROSPERO 02 BACK AT THE BBC Departments Annual report highlights ‘better’ for BBC challenge move to Salford The BBC faces a challenge to keep all parts of the audience happy at the same time as efficiency targets demand that it does less. said that certain segments of society were more than £150k and to trim the senior being underserved. manager population to around 1% of But this pressing need to deliver more and the workforce. in different ways comes with a warning that In March this year, 95 senior managers Delivering Quality First (DQF) is set to take a collected salaries of more than £150k against bigger bite of BBC services. a target of 72. The annual report reiterates that £484m ‘We continue to work towards these of DQF annual savings have already been targets but they have not yet been achieved,’ achieved, with the BBC on track to deliver its the BBC admitted, attributing this to ‘changes Staff ‘loved the move’ from London to target of £700m pa savings by 2016/17. in the external market’ and the consolidation Salford that took place in 2011 and The first four years of DQF have seen of senior roles into larger jobs. departments ‘are better for it’, believes Peter Salmon (pictured). a 25% reduction in the proportion of the More staff licence fee spent on overheads, with 93% of Speaking four years on from the biggest There may be too many at the top, but the the BBC’s ‘controllable spend’ now going on ever BBC migration, the director, BBC gap between average BBC earnings and Tony content and distribution.
    [Show full text]
  • Captioning and Subtitling for D/Deaf and Hard of Hearing Audiences Captioning and Subtitling for D/Deaf and Hard of Hearing Audiences
    Soledad Zárate Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences Soledad Zárate First published in 2021 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.uclpress.co.uk Text © Author, 2021 Images © Author and copyright holders named in captions, 2021 The author has asserted her rights under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work. A CIP catalogue record for this book is available from The British Library. This book is published under a Creative Commons 4.0 International licence (CC BY 4.0). This licence allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Zárate, S. 2021. Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences. London: UCL Press. https://doi.org/10.14324/111.9781787357105 Further details about Creative Commons licences are available at http://creative commons.org/licenses/ Any third-party material in this book is published under the book’s Creative Commons licence unless indicated otherwise in the credit line to the material. If you would like to reuse any third-party material not covered by the book’s Creative Commons licence, you will need to obtain permission directly from the copyright holder.
    [Show full text]
  • A Quantitative Analysis of Red Button Television Content in the UK
    Pushing the button: A quantitative analysis of red button television content in the UK Submitted in partial fulfilment of the Requirements of the Degree of Doctor of Philosophy. July 2014 Andrew Fox 1 Table of Contents Abstract p. 8 Chapter 1: Introduction 1.1 Introduction p. 10 1.2 Technohype p. 11 1.3 Internet Television p. 13 1.4 Television and Interactivity p. 14 1.5 Research Aims p. 17 1.6 Field Interviews p. 18 1.7 Thesis Structure p. 18 Chapter 2: Theoretical framework and literature review 2.1 Introduction p. 20 2.2 Has the sociological position of television changed? p. 20 2.2.1 ‘The Death of Television’ p. 21 2.2.2 Convergence p. 23 2.2.3 Uncertain future p. 26 2.3 Is interactive television happening and if so why? p. 29 2.3.1 Institutional attitudes p. 29 2.3.2 Regulatory policy p. 33 2.4 What does interactivity mean for television? p. 38 2.4.1 Participatory experience p. 39 2.4.2 Individualistic experience p. 43 2.5 What does interactivity mean for television content? p. 46 2.5.1 Enhanced content p. 46 2.5.2 Freedom of choice p. 48 2 2.6 What does interactive television mean for the audience? p. 50 2.6.1 A more questioning audience p. 51 2.6.2 An everyday experience? p. 52 2.6.3 Choice means responsibility p. 55 2.7 What does interactive television actually offer? p. 57 2.7.1 Defining ‘interactivity’ p. 58 2.7.2 Forms of interactive TV p.
    [Show full text]
  • Notice of Opposition Opposer Information Applicant Information Goods/Services Affected by Opposition
    Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA1098521 Filing date: 11/30/2020 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Notice of Opposition Notice is hereby given that the following party opposes registration of the indicated application. Opposer Information Name Corporacion de Radio y Television Espanola, S.A Granted to Date 11/28/2020 of previous ex- tension Address AVDA RADIO TELEVISION 4 EDIF PRADO DEL R POZUELO DE ALARCON MADRID, 28223 SPAIN Attorney informa- TODD A. SULLIVAN tion HAYES SOLOWAY PC 175 CANAL STREET MANCHESTER, NH 03101 UNITED STATES Primary Email: [email protected] Secondary Email(s): [email protected] 603-668-1400 Docket Number Isern 20.01 Applicant Information Application No. 88647258 Publication date 09/29/2020 Opposition Filing 11/30/2020 Opposition Peri- 11/28/2020 Date od Ends Applicant HONER, JODI 20845 CHENEY DR TOPANGA, CA 90290 UNITED STATES Goods/Services Affected by Opposition Class 038. First Use: 0 First Use In Commerce: 0 All goods and services in the class are opposed, namely: Transmission of interactive television pro- grams; Transmission of interactive television program guides and listings; Transmission of streaming television programs, namely, streaming of television programs on the internet; Transmission of sound, video and information from webcams, video cameras or mobile phones, all featuring live or re- corded materials; Television transmission services; Televisionbroadcasting;
    [Show full text]
  • The Streaming Television Industry: Mature Or Still Growing?
    The Streaming Television Industry: Mature or Still Growing? Johannes H. Snyman Metropolitan State University of Denver Debora J. Gilliard Metropolitan State University of Denver This paper is about the streaming television industry. It begins by defining the industry and provides a brief history of the television industry in general, from the first transatlantic television signal in 1928 to 2018. From that point, it emphasizes the streaming television industry, which started in 2007, when Netflix first streamed movies over the internet. The main section of the paper focuses on Michael Porter’s theory of the industry life cycle to determine the current stage of the industry. The research question is developed, proposing that the industry is in the growth phase. Then, the number of paid subscribers of the top streaming providers in 2018 is used to address the research question. The results indicate that the industry is in the growth phase. The final section provides an outlook for the industry’s future. Keywords: Streaming TV Industry, OTT TV, Growth Industry INTRODUCTION The television industry is rapidly changing, moving toward “over-the-top”, or streaming, television. Cord cutting is occurring as millennials and traditional viewers discontinue and unbundle their television, internet, and landline telephone services (Snyman & Gilliard, 2018). Millennials are keeping their monthly expenses down by subscribing to streaming services that provide the content they are interested in watching, and binge-watching of serial television shows is the new norm (Prastien, 2019). “Over-the-top” (OTT) television and “online video distribution” (OVD) are terms that originally referred to the streaming television services provided by Netflix, Hulu and Amazon.
    [Show full text]
  • Annual Report and Accounts 2007/08 the BBC Executive’S Review and Assessment 07 08
    PART TWO: Annual Report and Accounts 2007/08 The BBC Executive’s review and assessment 07 08 Director- General ’s introduction 01 About the BBC 02 BBC & me 04 BBC Executive Board 24 BBC at a glance 26 Review of services Future Media & Technology 29 Vision 32 Audio & Music 38 Journalism 44 Commercial activities 52 Engaging with audiences 54 ...quality programming that informs Performance us, educates us and more often BBC People 58 than not, entertains us. These three Operations 62 Statements of Programme Policy tenets are as important today as commitments 2007/08 70 when they were first uttered around Finance 80 years ago. Financial overview 82 Governance and financial statements 86 Getting in touch with the BBC 148 Other information Inside back cover THE DIRECTOR -GENERAL 01 WELCOME When I wrote to you a year ago, our award- Despite these difficulties, the BBC has had a downloads and streams. And it’s still growing. winning Gaza correspondent Alan Johnston year of outstanding creative renewal. From There is no evidence that it is impacting was still missing. We didn’t know if we would Cranford to Sacred Music to Gavin and Stacey, our linear television and radio ratings which ever see him again. And then, what we’d all television has lived up to our aim – to delight remain very strong. been hoping, working and praying for: Alan’s audiences. And we have seen the nation share tired but smiling face as he was led to freedom. some of the events that unite us all – from the With Freesat now launched, complementing Concert for Diana to Wales’ triumph at the Six our popular Freeview service, it’s clear But within a few days, we had fresh problems Nations Rugby championship.
    [Show full text]
  • BBC Research and Development White Paper List Colorimetric And
    BBC Research and Development White Paper List Ref Publication date Number Main author Title Year Month White Paper link Keywords WHP001 J. Middleton The calibration of VHF/UHF field strength measuring equipment 2001 April http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP001.pdf VHF/UHF field strength, calibration WHP002 J. Middleton The validation of interference reduction techniques used in planning the UK DTT network 2001 July http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP002.pdf Interference reduction, DTT network planning WHP003 T. Everest Multiplex coverage equalisation 2001 August http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP003.pdf digital television, planning RTS Award submission WHP004 J.H. Stott Cumulative effects of distributed interferers 2001 August http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP004.pdf DSL, PLT, PLC, emissions, broadcasting, aircraft safety, cumulative interference WHP005 R. Walker Acoustic modelling - approximations to the real world 2001 September http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP005.pdf Acoustic modelling, sound propagation WHP006 M.R. Ellis Digital Radio - Common problems in DAB receivers 2001 November http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP006.pdf Digital Radio; DAB; Digital Audio Broadcasting; receiver; common problems WHP007 O. Grau Applications of depth METADATA 2001 September http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP007.pdf METADATA, depth sensing WHP008 A. Roberts How to recognise video image sources 2001 October http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP008.pdf video image recognition WHP009 R.
    [Show full text]
  • The Effects of the Cord-Cutting Counterpublic
    Utrecht University The Effects of The Cord-Cutting Counterpublic How the Dynamics of Resistance and Resilience between the Cord-Cutters and the Television Distribution Industry Are Redefining Television Eleonora Maria Mazzoli Academic Year 2014-2015 Page intentionally left blank Utrecht University The Effects of the Cord-Cutting Counterpublic How the Dynamics of Resistance and Resilience between the Cord-Cutters and the Television Distribution Industry Are Redefining Television Master Thesis Eleonora Maria Mazzoli 4087186 RMA Media and Performance Studies Words: 37600 Supervisor: Prof. Dr. William Uricchio Second Reader: Prof. Dr. Eggo Müller Academic Year: 2014-2015 Cover picture by TechgenMag.com © 2015 by Eleonora Maria Mazzoli All rights reserved Page intentionally left blank To my parents, Donatella and Piergiovanni, and to my little sister, Elena “La televisiun, la g'ha na forsa de leun; la televisiun, la g'ha paura de nisun.” “Television is as strong as a lion; Television fears nobody.” Enzo Jannacci. La Televisiun.1975. Page intentionally left blank Table of Content Abstract 1 Preface: Television as A Cross-Media Techno-Cultural Form 2 1. Introduction - Cord-Cutting 101: A Revolution Has Begun 5 1.1. Changing Habits in a Changing Ecosystem 5 1.2. The Question of the Cord-Cutting Counterpublic 8 1.3. Methodology: Sources, Approach and Structure 11 1.4. Relevance 15 2. The Cutters within a Cross-Media Television Ecosystem 17 2.1. Re-working of the U.S. Television Distribution Platforms 18 2.2. Legitimating Newfound Watching Behaviours 23 2.3. Proactive Viewers, Cord-Killers, Digital Pirates: Here Come the Cord-Cutters 25 3.
    [Show full text]
  • Free Internet Tv Watch
    Free internet tv watch click here to download Free TV. More than channels from around the world. News, Music, Business,Sport. Watch free online TV stations from all over the world. Find the best free Internet TV, and live web TV on Streema. How to watch TV online for free with these sites, including Hulu, Veoh, Daily, and Sidereel. Find news, sports, movies, and lots more. WWITV: World Wide Internet TV Your Portal to watch free live online TV broadcasts. Thank you for visiting the World Wide Internet TV website (wwiTV). No money in the budget for a cable subscription? Or even for Hulu? Fear not: As long as you've got internet, you can enjoy a wealth of free TV. Watch live TV from the BBC, ITV, Channel 4, Five, Dave and other UK channels on TVPlayer online for FREE. TV on your laptop, smart phone, tablet, smart TV or Xbox. IOS, Android, Windows mobile TV apps. Over TV channels. Watch TV free with Zattoo Internet TV. Watch Free Internet TV Stations from around the world on your computer. Over Free online TV channels. Large collection of live Web TV stations. Find quickly and easily live TV channels on the Internet. Watch TV Broadcasts from USA, India, Europe & all other countries on your PC / MAC, Phone, or Tablet . Tue 10/23 PM. pm pm; pm pm; pm pm; pm pm; pm pm. Now. © Copyright Pluto TV; Privacy Policy. Watch free TV and movies on your Android Phone and Android TV. Pluto TV has over live channels and 's of movies from the biggest names like: NBC.
    [Show full text]
  • Streaming Television Content an Alternative Way to Offer Video Services by Ken Pyle, Viodi, LLC
    Streaming Television Content An Alternative Way to Offer Video Services By Ken Pyle, Viodi, LLC Last month, we reviewed the Prismiq MediaPlayer, a device that is currently available to consumers wishing to browse the Internet, post email and view MPEG and other media files on their television sets. This set-top box and its associated software could be the basis for a new approach to telco-delivered video. This article will delve into some possible ways a telco could exploit “Streaming Television” to provide a robust video service offering quickly and with much lower upfront cost than traditional approaches. What is streaming television content and how is it different than content delivered via traditional television distribution means described in the previous section? Streaming Television Content, for the purposes of this article, is defined as: content that is delivered via the Internet to provide a television-like experience to PCs, Televisions (via set-tops) or other Internet-enabled appliances. This approach offers even the smallest independent telephone companies with the potential to quickly and cost-effectively offer video services. The upfront, fixed costs are minimized with this method, as the marginal costs are mostly associated with consumer premise devices. Unlike the traditional distribution of content to televisions, this approach: • Reduces the costs associated with a traditional headend • May not require regulatory authority (at least for the content portion) • Does not necessarily involve retransmission of local broadcasters or national cable programming networks This approach to content delivery could appeal to those telcos too small to justify the expense of a switched digital headend, as well as provide a low-risk, low-cost, entry into video services for those larger telcos that have a long-term plan to offer content via a more traditional distribution system.
    [Show full text]
  • Introduction: Streaming and the Re-Education of the Audience
    . Volume 16, Issue 2 November 2019 Introduction: Streaming and the re-education of the audience Barbara Klinger, Indiana University, US In May 1999, in an early digital experiment with feature-length films, Edward Vilga’s low- budget neo-noir Dead Broke premiered simultaneously at New York’s Tribeca Film Center via digital file and on Ifilm.net, an early online film distributor, for users equipped with Windows Media Player. Unfortunately, all did not go as planned. Critics complained about glitches in the theatrical presentation that included the then familiar herky-jerky images and muddy soundtracks that ensued from uneven delivery of the compressed data involved in transmitting large data files. Meanwhile, many logging on to Ifilm.net to watch the movie were similarly vexed – either unable to stream the film or subjected to other technical difficulties resulting in a heavily pixelated picture. One month later and with more success at least on one of these platforms, George Lucas arranged for the digital projection of Star Wars: Episode 1 – The Phantom Menace in a handful of specially-equipped theaters and then went on to shoot Star Wars: Episode 2 – Attack of the Clones (2002) using high- definition digital cinematography. Uncertain commentators asked whether such pioneering experiments might signal the dawn of the digital era in cinema production, distribution and exhibition (Nickell 1999). Twenty years later, we know that the answer to this particular question is a resounding yes. More broadly speaking, traditional media industries like music, television and film have each had their own complicated history with respect to the emergence and increasingly pervasive dominance of digital technology.
    [Show full text]