This seven-volume set LNCS 14054-14060 constitutes the proceedings of the 25th International Conference, HCI International 2023, in Copenhagen, Denmark, in July 2023. For the HCCII 2023 proceedings, a total of 1578 papers and 396 posters was carefully reviewed and selected from 7472 submissions. Additionally, 267 papers and 133 posters are included in the volumes of the proceedings published after the conference, as “Late Breaking Work”. These papers were organized in the following topical sections: HCI Design and User Experience; Cognitive Engineering and Augmented Cognition; Cultural Issues in Design; Technologies for the Aging Population; Accessibility and Design for All; Designing for Health and Wellbeing; Information Design, Visualization, Decision-making and Collaboration; Social Media, Creative Industries and Cultural Digital Experiences; Digital Human Modeling, Ergonomics and Safety; HCI in Automated Vehicles and Intelligent Transportation; Sustainable Green Smart Cities and Smart Industry; eXtended Reality Interactions; Gaming and Gamification Experiences; Interacting with Artificial Intelligence; Security, Privacy, Trust and Ethics; Learning Technologies and Learning Experiences; eCommerce, Digital Marketing and eFinance.
"Sense of Touch and its Rendering" presents a unique and interdisciplinary approach highlighting the field of haptic research from a neuropsychological as well as a technological point of view. This edited book is the outcome of the TOUCH-HapSys European research project and provides an important contribution towards a new generation of high-fidelity haptic display technologies. The book is structured in two parts: A. Fundamental Psychophysical and Neuropsychological Research and B. Technology and Applications. The two parts are not however separated, and the many connections and synergies between the two complementary domains of research are highlighted in the text. The eleven chapters discuss the recent advances in the study of human haptic (kinaesthetic, tactile, temperature) and multimodal (visual, auditory, haptic) perception mechanisms. Besides the theoretical advancement, the contributions survey the state of the art in the field, report a number of practical applications to real systems, and discuss possible future developments.
Sound, devoid of meaning, would not matter to us. It is the information sound conveys that helps the brain to understand its environment. Sound and its underlying meaning are always associated with time and space. There is no sound without spatial properties, and the brain always organizes this information within a temporal–spatial framework. This book is devoted to understanding the importance of meaning for spatial and related further aspects of hearing, including cross-modal inference. People, when exposed to acoustic stimuli, do not react directly to what they hear but rather to what they hear means to them. This semiotic maxim may not always apply, for instance, when the reactions are reflexive. But, where it does apply, it poses a major challenge to the builders of models of the auditory system. Take, for example, an auditory model that is meant to be implemented on a robotic agent for autonomous search-&-rescue actions. Or think of a system that can perform judgments on the sound quality of multimedia-reproduction systems. It becomes immediately clear that such a system needs • Cognitive capabilities, including substantial inherent knowledge • The ability to integrate information across different sensory modalities To realize these functions, the auditory system provides a pair of sensory organs, the two ears, and the means to perform adequate preprocessing of the signals provided by the ears. This is realized in the subcortical parts of the auditory system. In the title of a prior book, the term Binaural Listening is used to indicate a focus on sub-cortical functions. Psychoacoustics and auditory signal processing contribute substantially to this area. The preprocessed signals are then forwarded to the cortical parts of the auditory system where, among other things, recognition, classification, localization, scene analysis, assignment of meaning, quality assessment, and action planning take place. Also, information from different sensory modalities is integrated at this level. Between sub-cortical and cortical regions of the auditory system, numerous feedback loops exist that ultimately support the high complexity and plasticity of the auditory system. The current book concentrates on these cognitive functions. Instead of processing signals, processing symbols is now the predominant modeling task. Substantial contributions to the field draw upon the knowledge acquired by cognitive psychology. The keyword Binaural Understanding in the book title characterizes this shift. Both books, The Technology of Binaural Listening and the current one, have been stimulated and supported by AABBA, an open research group devoted to the development and application of models of binaural hearing. The current book is dedicated to technologies that help explain, facilitate, apply, and support various aspects of binaural understanding. It is organized into five parts, each containing three to six chapters in order to provide a comprehensive overview of this emerging area. Each chapter was thoroughly reviewed by at least two anonymous, external experts. The first part deals with the psychophysical and physiological effects of Forming and Interpreting Aural Objects as well as the underlying models. The fundamental concepts of reflexive and reflective auditory feedback are introduced. Mechanisms of binaural attention and attention switching are covered—as well as how auditory Gestalt rules facilitate binaural understanding. A general blackboard architecture is introduced as an example of how machines can learn to form and interpret aural objects to simulate human cognitive listening. The second part, Configuring and Understanding Aural Space, focuses on the human understanding of complex three-dimensional environments—covering the psychological and biological fundamentals of auditory space formation. This part further addresses the human mechanisms used to process information and interact in complex reverberant environments, such as concert halls and forests, and additionally examines how the auditory system can learn to understand and adapt to these environments. The third part is dedicated to Processing Cross-Modal Inference and highlights the fundamental human mechanisms used to integrate auditory cues with cues from other modalities to localize and form perceptual objects. This part also provides a general framework for understanding how complex multimodal scenes can be simulated and rendered. The fourth part, Evaluating Aural-scene Quality and Speech Understanding, focuses on the object-forming aspects of binaural listening and understanding. It addresses cognitive mechanisms involved in both the understanding of speech and the processing of nonverbal information such as Sound Quality and Quality-of- Experience. The aesthetic judgment of rooms is also discussed in this context. Models that simulate underlying human processes and performance are covered in addition to techniques for rendering virtual environments that can then be used to test these models. The fifth part deals with the Application of Cognitive Mechanisms to Audio Technology. It highlights how cognitive mechanisms can be utilized to create spatial auditory illusions using binaural and other 3D-audio technologies. Further, it covers how cognitive binaural technologies can be applied to improve human performance in auditory displays and to develop new auditory technologies for interactive robots. The book concludes with the application of cognitive binaural technologies to the next generation of hearing aids.
Cognitive neuroscientists have started to uncover the neural substrates, systems, and mechanisms enabling us to prioritize the processing of certain sensory information over other, currently less-relevant, inputs. However, there is still a large gap between the knowledge generated in the laboratory and its application to real-life problems of attention as when, for example, interface operators are multi-tasking. In this Element, laboratory studies on crossmodal attention (both behavioural/psychophysical and cognitive neuroscience) are situated within the applied context of driving. We contrast the often idiosyncratic conditions favoured by much of the laboratory research, typically using a few popular paradigms involving simplified experimental conditions, with the noisy, multisensory, real-world environments filled with complex, intrinsically-meaningful stimuli. By drawing attention to the differences between basic and applied studies in the context of driving, we highlight a number of important issues and neglected areas of research as far as the study of crossmodal attention is concerned.
An illusion of auditory space can be generated by the appropriate filtering of sounds presented over headphones: the so-called virtual auditory space (VAS). This book provides a bridge between many of the different disciplines that are involved in developing and exploiting this technology. The first part is fairly introductory in nature, while the second examines a number of issues relating to the generation of high fidelity virtual auditory space. The last two chapters review current research applications of VAS.
In this text, philosophers, psychologists and art historians explore the implications of theories of vision for our understanding of the nature of pictorial representation and picture perception.
Academic Press Series in Cognition and Perception: The Unity of the Senses: Interrelations Among the Modalities focuses on the perceptual processes, approaches, and methodologies involved in studies on the unity of the senses. The publication first elaborates on the doctrines of equivalent information, analogous sensory attributes and qualities, and common psychophysical properties. Discussions focus on discrimination, sensitivity, sound symbolism, intensity, brightness, and cross-modal perception of size, form, and space. The text then examines the doctrine of neural correspondences and sound symbolism in poetry, including sound and meaning, analogue and formal representation, vowel symbolism in poetry, coding perceptual information, coding sensory attributes, and evolution and development. The manuscript takes a look at synesthetic metaphor in poetry, as well as unity of the senses and synesthetic metaphor, warm and cool colors, synesthetic metaphors of odor and music, metaphorical imperative, and the music of Conrad Aiken. The publication is a valuable source of data for researchers interested in the unity of the senses.
Here’s what three pioneers in computer graphics and human-computer interaction have to say about this book: “What a tour de force—everything one would want—comprehensive, encyclopedic, and authoritative.” — Jim Foley “At last, a book on this important, emerging area. It will be an indispensable reference for the practitioner, researcher, and student interested in 3D user interfaces.” — Andy van Dam “Finally, the book we need to bridge the dream of 3D graphics with the user-centered reality of interface design. A thoughtful and practical guide for researchers and product developers. Thorough review, great examples.” — Ben Shneiderman As 3D technology becomes available for a wide range of applications, its successful deployment will require well-designed user interfaces (UIs). Specifically, software and hardware developers will need to understand the interaction principles and techniques peculiar to a 3D environment. This understanding, of course, builds on usability experience with 2D UIs. But it also involves new and unique challenges and opportunities. Discussing all relevant aspects of interaction, enhanced by instructive examples and guidelines, 3D User Interfaces comprises a single source for the latest theory and practice of 3D UIs. Many people already have seen 3D UIs in computer-aided design, radiation therapy, surgical simulation, data visualization, and virtual-reality entertainment. The next generation of computer games, mobile devices, and desktop applications also will feature 3D interaction. The authors of this book, each at the forefront of research and development in the young and dynamic field of 3D UIs, show how to produce usable 3D applications that deliver on their enormous promise. Coverage includes: The psychology and human factors of various 3D interaction tasks Different approaches for evaluating 3D UIs Results from empirical studies of 3D interaction techniques Principles for choosing appropriate input and output devices for 3D systems Details and tips on implementing common 3D interaction techniques Guidelines for selecting the most effective interaction techniques for common 3D tasks Case studies of 3D UIs in real-world applications To help you keep pace with this fast-evolving field, the book’s Web site, www.3dui.org, will offer information and links to the latest 3D UI research and applications.
Since the 1950s, Sound and Music Computing (SMC) research has had a profound impact on the development of culture and technology in our post-industrial society. SMC research approaches the whole sound and music communication chain from a multidisciplinary point of view. By combining scientific, technological and artistic methodologies it aims at understanding, modeling, representing and producing sound and music using computational approaches. This book, by describing the state of the art in SMC research, gives hints of future developments, whose general purpose will be to bridge the semantic gap, the hiatus that currently separates sound from sense and sense from sound.
