Proceedings of the 14th International Conference on Auditory Display, Paris, France June 24 - 27, 2008 STRATEGIES FOR SONIC INTERACTION DESIGN: FROM CONTEXT TO BASIC DESIGN Yon Visell Karmen Franinovic Zurich University of the Arts Zurich University of the Arts and Institute for Cultural Studies in the Arts McGill University CIM / CIRMMT [email protected] [email protected] ABSTRACT We advocate a new approach to the design of interactive and sonically augmented artifacts. It is aimed at enriching the con- text within which design takes place, while integrating the level of structured exploration that has been instrumental to formaliz- ing design processes for nearly a century. The proposed process combines the systematic approach of basic design with exploratory studies within an existing everyday setting. The approach is partic- ularly salient for auditory display in products, due to the relative lack of design examples and methods that exist for those work- ing in this area to draw upon. We describe a study undertaken in domestic kitchen, a setting that has long been recognized as ripe with expressive, sonic interactions. The results of this contex- tual research have been used for the design of sonically-augmented lamps. We analyze the relevant results, and describe plans for in- tegrating assessment methods. Figure 1: Everyday objects afford simple, yet causally and soni- 1. INTRODUCTION cally interesting interactions: Pushing the top part of the juicer leads to the deformation of an orange, the activation of a motor, The design of auditory displays for interaction with everyday ob- the rotation of a surface, the grinding of the fruit’s flesh, and the jects is of increasing relevance to product designers, and has al- dripping of the juice into the cup. ready exerted a palpable influence within a research community that is emerging around the subject of sonic interaction design [1], [2]. Economies of scale have contributed to an increased array of We discuss a process for the creation of sonically augmented products with intrinsic sensing and actuating capabilities that can artifacts that are highly responsive to physical manipulation. It be used to shape their interactive appearances and behaviors. Like- is grounded in the analysis of existing activities within a context wise, techniques for the interactive synthesis of sound, including of interest that has been identified as source material for creation everyday sounds, have advanced so as to provide new ways for au- of basic design studies. The studies concerned are constructed ditory displays in products to be seamlessly integrated into activ- from novel links coupling elementary actions and everyday sounds ities and to sonically mesh with diverse sonic environments. The found within the context of investigation. They result in concepts result is an increase in opportunity for the design of interactive for new, abstracted sonic artifacts affording simple actions and pro- sound in everyday products. This development is significant for viding continuous sonic feedback. research, because new challenges are certain to emerge that con- As an example, this process has been applied to the design of front both the design and engineering of auditory displays. One a set of interactive sonic lamps generated from the observation and area of already urgent need concerns the development of new cre- analysis of food preparation activities in a kitchen context (Figure ative strategies, as many existing design methods have not been 5). The resulting artifacts reflect features drawn from and inspired developed with interactive auditory displays in mind. by this context. They are significant for revealing potentially novel The generation of new interactive sonic products requires meth- links between action and sound in the physical manipulation of ods and tools suitable to the design task. There is a need for more artifacts, toward informing the design of computational artifacts knowledge about how to integrate creative practices with contex- that utilize sound in new ways. tual influences (users, environments, or activities) that are seen as key elements of situated design practices. This gap between cre- 1.1. Basic Design Practices for Sonic Interaction Design ative practice and situated practice is particularly acute in sonic in- teraction design, where far fewer design case studies can be found. Historically, Basic Design has combined educational practice with A primary aim of the work we report on is to take steps toward the theoretical and methodological foundation of design [3]. It bridging this methodological gap. originates in the kindergarden movement and was first taught as a ICAD08-1 Proceedings of the 14th International Conference on Auditory Display, Paris, France June 24 - 27, 2008 Figure 2: Overview of design process: Although it is represented as a linear sequence, the activities concerned were conducted on an iterated basis, in which stages or sequences were repeated several times. design practice at Bauhaus School of Art and Architecture, and at Similarly, everyday sound is created through physical interaction the Vhutemas school in Moscow, during the early part of the last that can be readily described in these terms: the sound of pouring century. The practice was based predominantly on visual experi- water, the sound of walking, of cutting, typing, and so forth. Rela- ence, and its analysis in terms of simple, abstract properties, such tions between potential abstract elements or properties of a design as forms, patterns, or colors. are more complex where interactive sonic artifacts are concerned The Bauhaus explored formal abstraction in relation to hu- than they are in the case of purely graphic design. man perception, with the aim of uncovering a universal visual lan- Basic Design’s methods, such as the reduction, translation and guage, independent from such cultural limitations as are present in morphological analysis, and its explorations of tactile properties alphabetical writing. In these experiments, researchers were not and movement, make it particularly suitable for design of every- interested in individual preferences, but in intuitive responses and day sonic interactions. In what follows we provide a case study in the most frequently occurring perceptual relations between ab- for what may be thought of as basic sonic interaction design, a stract properties – graphics, color, texture and so on – influenced practice focused on understanding and designing the relations be- by contemporary developments in psychology. tween sonic, formal and physically interactive, or movement-based Some Bauhaus members disassociated their aims from the quest proprieties of sounding artefacts. of universal language, and began to employ the manipulation of basic elements primarily for generating new design ideas. New artefacts were designed through experimentation with elements of shape, form, color, texture and others, while exploring the per- ceptual experiences they afford. For example, tactile charts and structures explored sensations of pressure, temperature, and vibra- tion, bringing relational complexity into abstract design (Figure 3). “If the same methodology was used generally in all fields we would have the key to our age seeing everything in relationship,” as Moholy-Nagy put it (Moholy-Nagy [4], p. 96). 1.1.1. Basic Sonic Interaction Design Figure 3: Moholy-Nagy’s hand sculptures, basic studies in design- ing for the hand. Applied to interaction design, Basic Design allows to study and to experiment with combinations of elements that contribute to an interactive experience with an artifact. As Mohonly-Nagy did, we 1.2. Situated Basic Design: Sound in Context see design affordances as arising from the interplay of artifact’s properties, rather than upon an understanding of these as separate An emphasis on understanding the situation in which action takes elements. As an extension of these ideas, basic interaction design place was first championed in human-computer interaction (HCI) can be thought of as a practice and theory focused on analyzing by Lucy Suchmann [6], who was inspired, in part, by develop- and designing the relationships between sonic, formal, haptic and ments in educational psychology. She argued against the interpre- behavioural qualities of interactive artefacts. tation of user behavior as a rational planning process, and against In the Bauhaus, an abstract element was linked to its dynamic the interpretation of actions and tasks as separable from their con- properties: “Line is a the track made by the moving point: that is, texts. The material and social circumstances of an experience its product. It is created by movement...” (Kandinsky, [5], p. 71). should be seen, she argued, as essential to intelligent action, and ICAD08-2 Proceedings of the 14th International Conference on Auditory Display, Paris, France June 24 - 27, 2008 interactive artifacts as an opportunity for enhancing situated ac- soundscape), but the object moreover acquires its cultural meaning tions. and patterns of use (i.e. interaction) through this embedding. For Within HCI there has been an increasing exploration of in- this reason, we propose to augment basic product sound design teraction within everyday situations, in part through the adoption practices with contextual elements. Although most of the basic of methods having their origin in ethnography [7]. This has been design exercises developed during the Bauhaus use predefined ge- particularly true of research areas such as computer-supported