Showing papers on "Soundscape published in 2004"

Silent Film Sound

Abstract: Part I: Methodology 1. The History of Silent Film SoundPast Attempts to Write the History of Silent Film SoundAssumptions and Limitations of the Current Project2. Crisis HistoriographyA New Kind of HistoryAnatomy of an Identity CrisisPart II: The Late-Nineteenth-Century Soundscape 3. The Musical Scene4. Lecture LogicPart III: Early Film Sound 5. From Peep Show to Projection6. VaudevillePart IV: Nickelodeon Sound 7. The Crisis of the Late Aughts8. Lectures, Sound Effects, and the Itinerant Exhibition Model9. Films That Talk10. The Nickelodeon Program11. Nickelodeon MusicPart V: The Campaign to Standardize Sound 12. Trade Press Discourse13. Music for Films14. Training Musicians, Training AudiencesPart VI: The Golden Era of Silent Film Music 15. Moving Picture Orchestras Come of Age16. New Roles for Keyboard Instruments17. Cue Sheets and Photoplay Music18. Musical PracticesConclusion

An approach to the acoustic design of outdoor space

Abstract: This paper focuses on soundscape planning, or acoustic design, in the planning and management of open space in both urban and non‐urban areas. It is based on notions, promoted over several decades, that the acoustic aspects of open space can, and should be, subject to design in the same way as are the visual dimensions. The current paradigm for the management of the outdoor acoustic environment is noise control and soundscape planning needs to adopt quite different practices from noise control with respect to acoustic criteria and measurement. The paper explores the specification of acoustic objectives for outdoor soundscapes and the translation of these objectives into acoustic criteria that are amenable to measurement and prediction as part of the design process. Such objectives, termed Proposed Acoustic Environments, focus on the information content in sounds in a particular space and, only indirectly, on characteristics such as level or loudness. Outdoor acoustic design is mostly concerned with avoidi...

Audio games: new perspectives on game audio

Abstract: This paper discusses the design of audio games, a quite new computer game category that originates from games for players with visual impairments as well as from mainstream music games. In the TiM project (Tactile Interactive Multimedia), SITREC develops three sound-based games that point out new directions for game audio design. The TiM games demonstrate different ways in which games can be designed around an auditory experience. Several unique features of audio games are presented emphasising unexplored potentials for interactivity and future development areas are suggested.SITREC proposes an approach to the design of auditory interfaces that takes three listening modes into consideration: casual listening, semantic listening and reduced listening. A semiotic model is presented that illustrates this view on sound object design and ways in which sounds can be combined. The discourse focuses on issues of continuous display, musicality and clarity, and introduces the notion of "spatialised game soundtracks," as opposed to separated background music and game effect sounds.The main challenge when developing auditory interfaces is to balance functionality and aesthetics. Other important issues are the inclusion of meta-level information in order to achieve a high level of complexity and to provide elements of open-endedness. This refers to planning the overall gameplay, as well as to designing individual sound objects and combining them into complex, interactive soundscapes.

Sound design to enhance presence in photorealistic virtual reality

Abstract: The role of soundscape design to enhance the sense of presence in virtual reality is discussed and tested. Preliminary resul ts which compare real versus virtual soundscapes are reported.

The Problem of Classroom Acoustics: The Typical Classroom Soundscape Is a Barrier to Learning

Abstract: The typical classroom acoustic environment or soundscape often is a significant barrier to listening and learning for children with normal hearing and is a barrier especially to children with hearing impairments. How these barriers affect speech perception, attention, task persistence, and reading achievement are overviewed. In addition, acoustic environments are discussed in terms of acoustic access for children with hearing impairment and how acoustics can be viewed as an impediment to teaching.

Creating Functional and Livable Soundscapes for Peripheral Monitoring of Dynamic Data

Abstract: Sonifications must be studied in order to match listener expectancies about data representation in the form of sound. In this study, a system was designed and implemented for dynamically rendering sonifications of simulated real-time data from the stock market. The system read and parsed the stock data then operated unit generators and mixers through a predefined sound mapping to create a ‘soundscape’ of complementary ecological sounds. The sound mapping consisted of a threshold-based model in which a percentage change in price value was mapped to an ecological sound to be played whenever that threshold or gradient had been reached. The system also provided a generic mechanism for fading and transitioning between gradients. The prototype system was presented to stock trader test subjects in their work-listening environment for evaluation as a stand-alone system and in comparison to their preferred tools.

Method and system for authoring a soundscape for a media application

Abstract: A method and system are provided for allowing a sound designer to design and implement interactive soundscapes based on existing waveform audio files, MIDI files, or audio streams. This is accomplished by using a set of tools consisting of an authoring tool for creating specifications of interactive soundscapes visually without having to write complex code, and a graph builder object that recreates the authored soundscape and interacts with it in real-time according to its specification. To give non-programmers the ability to specify and test how a soundscape will interact with programmatic events and user input in an application, the following tools are also provided: an interface to construct a “control panel;” a graphical “trigger-condition-action” specification that defines what actions to take when input from the control panel or application interface is received; a preview mode that enables the sound designer to interact with the soundscape in the same way that the application will; and the ability to save the soundscape as a file that can be edited or used at run-time to recreate the soundscape. Once the interface between the soundscape and the application has been agreed to, the tools allow the sound designer to work independently of the programmer of the media application.

‘Sorry, can’t hear you! I'm on a train!' Ringing tones, meanings and the Finnish soundscape

Abstract: This article explores how the use of mobile phones has changed the contemporary Finnish soundscape. The change manifests itself firstly via telephone conversations which have spread from private premises to public places and secondly via interchangeable ringing tones. Drawing on research carried out among cellular phone users, the article argues that the ringing tones are selected on the basis of musical taste, so they can no longer be regarded as impersonal telephone signals. They can be used as a means of distinction and identity like any music. Even if the quality of ringing tones is inferior to the original interpretation of the tune, they can still be considered to be music, because of their personal and collective associations.

Reproduction of sound source directivity for future audio applications

Abstract: Future generation of audio content will promote immersion and presence, both notions strongly related to the spatial attributes of the auditory scene. Presence is particularly stimulated in active situations where the listener may navigate in the soundscape or interact with the sound objects. In such situations, enabled by WFS or binaural rendering, the continuous update and congruence of the acoustical cues, depending on listener's actions, have a strong impact on presence sensation. Among these acoustical cues, the paper focuses on directional properties of sound source radiation. The paper first reviews the perceptual and cognitive aspects involved by the radiation properties of sound sources and illustrates them in the context of future audio applications. These applications range from the design of various audio devices or active material with controllable radiation patterns, to the sound field reproduction with accurate rendering of directivity properties. In the last example, the stake is to render convincing 3D sound objects instead of 2D sound pictures, allowing the listener to experience coherent direct sound contributions and room effect while wandering around the soundscape. The paper describes different methods dedicated to the reproduction of sound source directivity. They are based on a physical modeling of the radiation properties and use array signal processing. A first approach is studied where a 3D array of transducers is located on stage and is controlled in order to radiate sound in a way equivalent to the simulated source. A dual approach, where the transducer array is distributed around the audience uses WFS in order to create a sound field similar to the one that would have been generated by the virtual source. These two approaches are compared, in their respective application domains, in terms of reproduction accuracy of the direct sound and associated room effect, joined recording technique, practical implementation and flexibility.

Peripheral awareness and smooth notification: the use of natural sounds in process control work

Abstract: This paper describes a study of the auditory environment in a chemical factory and how a group of process operators ascribe meaning to a selection of sound clips from their daily work environment. It is shown that the richness of the auditory environment is a crucial aspect of the distributed work environment. We argue that a phenomenological approach for soundscape studies in relation to HCI is needed to understand auditory interfaces for cooperative environments. One way of doing this is to search in existing work practices, explore how already present sounds are used and to let this knowledge inform the design of new useful auditory environments. Three aspects regarding the meaning of the factory sound events are put forward; how the operators use sound for identifying things and places, notification about status of surrounding artifacts and for maintaining social awareness.

Describing the contemporary sound environment: an analysis of three approaches, their synthesis, and a case study of commercial drive, vancouver, bc.

Abstract: The thesis presents and analyses three approaches to the subjective approach of the everyday sound environment: The World Soundscape Project descriptive model, Barry Truax’s information based Acoustic Communication model, and the perceptual and phenomenological work of French researchers Jean-Francois Augoyard and Pascal Amphoux. These models are then combined in a methodological and analytical framework to study listeners’ relationships to contemporary urban environments. The methodology is applied to a case study—the soundscape of Commercial Drive in Vancouver BC, Canada—in order to explore the various models and provide a practical analysis of the soundscape of Commercial Drive. The methodology used consists of a series of interviews that proceed from the general to the specific, and finally move back to a macro analysis of the soundscape. First, short surveys and “sonic mind maps” were conducted with people chosen randomly on the street. Then, recorded interviews with long-term inhabitants provided more specific information about potential locations to study and various themes of inquiry. Three contrasting locations were selected and recorded, and these recording were used in “reactivated listening sessions” with participants who possess a particular aural knowledge. These subjective accounts and other quantitative information gathered throughout the area are analysed based on a communicational approach to the soundscape and with the help of Amphoux’s qualitative criteria. The results of the case study suggest the presence of a strong acoustic community maintained through active outdoor soundmaking practices, the omnipresence of non-mediated, vocal interactions and a blurring of traditional indoor/private and outdoor/public boundaries. The study has also helped in demonstrating how Amphoux’s qualitative criteria can be used in the context of an acoustic communicational inquiry of the sound environment.

The Soundscape of the Radio : Engineering Modern Songs and Superculture in Nepal

Abstract: Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi ...

Measurements and Descriptions of Underwater Noise in Finland

Abstract: Underwater noise was measured with two hydrophones and an investigator just inshore Lake Jyvasjarvi, the northernmost part of Lake Paijanne in Finland. Lake Jyvasjarvi is an urban lake with heavy boat and cruising vessel traffic in summer times. By nature this research is multidisciplinary: In addition to the perspective of physical acoustics, the perspectives of acoustic ecology and psychoacoustics were also taken into account. Therefore Finnish divers were asked to describe the nature of underwater sounds and soundscapes. According to the divers, the most common sound in Finnish waters was the noise of motor vessels, i.e. ships and motorboats. Inshore Lake Jyvasjarvi, 50 - 100 meters from the waterway, biggest underwater noise levels during vessel traffic were 120 - 140 dB (linear SPL, re 1 µPa). In the measurements most of the sound energy produced by motorboats was centered to frequencies 1-5 kHz, and the noise of motorboats was described as buzzing or whirring. The sound energy produced by steamers was mainly centered at low frequencies. According to the divers, the noise of motor ships was like rumbling and roaring. Most divers considered the technogenic noise as noxious and often frightful. Some very weak natural sounds made by physical phenomena like waves and raindrops were heard in Finnish waters, too, and the silence was considered as the most pleasing underwater soundscape.

The intelligent street: responsive sound environments for social interaction

Abstract: The Intelligent Street is a music installation that is able to respond intelligently to the collective requests of users interacting together. The performance it creates is largely influenced by the collective set of text commands from users' mobile phones. In this way, users in shared environments, subjugated for so long to uncontrollable and often undesired 'Muzak', can now directly influence their sonic environment and collectively create the aural soundscape that they desire. We see our project as enabling inhabitants of any given space from passive consumers to active creators, and anticipate it has significant commercial, social and educational potential.In this paper we present a description of the installation, its software architecture and implementation, as well as a report on subsequent user-evaluation in providing a musical public playground and, moreover, our over-arching goals as musicians and software engineers.

The Temporal Structure of the Urban Soundscape

Abstract: Urban soundscapes emerge naturally due to the typical activities that take place in the public area. Over time, urban soundscapes have evolved. Today, road traffic noise often dominates the acoustic environment. This can result both in a more stressing or a rather dull soundscape. In any case part of the richness of the urban living environment gets lost. Therefore, soundscape design should be included in future urban planning. This requires the selection and use of a number of quality indicators for the acoustic field. An overview of recent developments in the area of urban soundscape research and the quest for relevant indicators for the acoustic field can be found in [2]. Some of this work, mainly based on semantic differential description of the sound environment by laypersons, shows that loudness related measures explain a large part of the subjective categorization. Additional factors include spectral characteristics, temporal structure, and spatial character. This contribution focuses on finding a good indicator for describing the temporal structure of a soundscape and identifying desirable features.

A soundscape study : What kinds of sounds can elderly people affected by dementia recollect?

Abstract: In this study, the kinds of sounds recollected by elderly people with dementia were investigated as a first step towards improving their sound environment. Onomatopoeias were presented to elderly people as keys to recollecting sounds, and they told what they imagined from each onomatopoeia. The results are summarized as follows. (1) Generally speaking, sounds from nature, such as the songs of birds and the sound of rain were recollected easily from onomatopoeias, regardless of gender. (2) Sounds of kitchen work were recollected by women only. (3) Sounds from old routines were recollected clearly. (4) Sounds that elicited feelings of nostalgia were also recollected intensely from onomatopoeias. These results show that elderly people suffering from dementia are able to recollect the sounds that had once occupied very important parts of their lives. However, these sounds in themselves are not unusual sounds in their daily lives. This suggests the importance of soundscape design in daily life.

The acoustical diary as an innovative tool in soundscape evaluation

Abstract: A new field study evaluating soundscapes investigates closely the reactions of traffic noise with a particular regard to the street surface. The combination of methods with different sensibilities for the subject’s process of perceiving and evaluating noise in such ambiences is necessary for a reliable and valid analysis and interpretation of data. Acoustic measurements are carried out in critical segments of the street as well as in the respective apartments of the inhabitants, which are questioned in narrative interviews. The acoustic measurements are taken simultaneously in the apartment and on the street. Apartments were selected which issue into the street; outside measurements are performed in front of the buildings on the sidewalk. During the interviews in the apartments the occurring noises are registered by noisebook. As a rule the measurement spot within the apartment is the area in which the interviewed person mostly resides, when he/she takes repose. Further analysis points out the importance of an extended evaluation with an acoustical diary which combines technical and sociological measurement procedures. Performance of the entire data collection process and first results will be discussed.

Evaluation of urban soundscape by future architects

Abstract: Urban soundscape design has drawn great attention along with the ever increasing urban noise level. Previous research shows that people with different social and demographic backgrounds may have different sound preferences in urban environment. For example, gender, age, and cultural background have been proved to affect peoples soundscape evaluation. In this research the soundscape evaluation by a group of architectural students was made, investigating how the future architectural/urban designers value the urban soundscape they experience everyday, and how they would like to design urban soundscape. The soundscape evaluation/walk was conducted with 60 students in a number of urban open public spaces in Sheffield, UK. The evaluation was both for the overall soundscape and for individual sounds. Eighteen indices with seven‐point bipolar rating scale were used. Both connotative meanings of urban environment sounds, such as calming–agitating, interesting–boring and like–dislike, and denotative meanings, such as quiet–noisy, sharp–flat and smooth–rough, were considered. In addition, the students were asked to give design suggestions. The semantic differential technique was applied for the analysis. Comparison was also made between this special group and general public. The results are useful for studying the links/interactions between general architectural/urban design and the soundscape design. [Work supported by British Academy.]

The meaning of city noises: Investigating sound quality in Paris (France)

Abstract: The sound quality of Paris (France) was investigated by using field inquiries in actual environments (open questionnaires) and using recordings under laboratory conditions (free‐sorting tasks). Cognitive categories of soundscapes were inferred by means of psycholinguistic analyses of verbal data and of mathematical analyses of similarity judgments. Results show that auditory judgments mainly rely on source identification. The appraisal of urban noise therefore depends on the qualitative evaluation of noise sources. The salience of human sounds in public spaces has been demonstrated, in relation to pleasantness judgments: soundscapes with human presence tend to be perceived as more pleasant than soundscapes consisting solely of mechanical sounds. Furthermore, human sounds are qualitatively processed as indicators of human outdoor activities, such as open markets, pedestrian areas, and sidewalk cafe districts that reflect city life. In contrast, mechanical noises (mainly traffic noise) are commonly described in terms of physical properties (temporal structure, intensity) of a permanent background noise that also characterizes urban areas. This connotes considering both quantitative and qualitative descriptions to account for the diversity of cognitive interpretations of urban soundscapes, since subjective evaluations depend both on the meaning attributed to noise sources and on inherent properties of the acoustic signal.

A cognitive approach to soundscape research

Abstract: The present research on cognitive categories for soundscapes focuses on their interpretations and can be seen as mediating between individual sensory experiences and collective representations shared in language and elaborated as knowledge. Results of field inquiries in Paris, Lyon, and Nantes are presented together with results from categorization of recorded soundscapes in laboratory conditions. Categories were identified by means of linguistic analyses of verbal comments and mathematical analyses of similarity judgments. Results indicate that people categorize environmental sounds on the basis of semantic features, namely source identity and pleasantness judgments, rather than perceptual features. Effects of noise on human subjectivity cannot be quantitatively measured thoroughly in terms of physical parameters: auditory judgments depend upon the meaning attributed to acoustic phenomena and noise sources, rather than on inherent properties of the acoustic signal. These findings highlight the fact that ...

Rewriting the Soundscape: Towards a New Understanding of Sami Popular Music and Identity in the New Millennium

Abstract: Title Thesis: REWRITING THE SOUNDSCAPE: TOWARDS A NEW UNDERSTANDING OF SAMI POPULAR MUSIC AND IDENTITY IN THE NEW MILLENNIUM Rebekah E Moore, Master of Arts, 2004 Thesis Directed By: Jonathan Dueck, Lecturer, School of Music The purpose of this thesis is to illuminate the shifting focus of Sami musicians and audiences in expressing identity through an analysis of Sami history and original fieldwork on current Sami popular music In the new millennium musicians increasingly explore musics of many cultures, and identify the Sami vocal tradition of joik as just one aspect of their broad musical influences This does not connote an abandonment of traditional Sami music, however, nor does it signal a lack of interest in asserting a distinctively Sami identity Instead, it reflects a desire of musicians and audiences to explore, through music, the globalized, multicultural worlds in which they live and the increasing interest in self-determination and in the expression of a more internalized, personal sense of identity The study is based on published literature, interviews with experts in music, cultural studies, and radio programming, and attendance of popular music performance REWRITING THE SOUNDSCAPE: TOWARDS A NEW UNDERSTANDING OF SAMI POPULAR MUSIC AND IDENTITY IN THE NEW MILLENNIUM

Designing systems for the creation and evaluation of dynamic peripheral soundscapes: a usability study

Abstract: Sonifications have proven useful as stand-alone displays and in bimodal audio-visual displays. Audio is powerful in a peripheral display due to its unobtrusive and omnidirectional nature. This study examined the creation and usability of peripheral auditory displays or ‘soundscapes’ composed of ecological sounds. A system was created for dynamically generating soundscapes from a data source according to a threshold-based model. In this model, a percentage change in the data is mapped to an ecological sound that is played whenever that threshold has been met or exceeded. The system allows for the creation of soundscapes of arbitrary complexity, providing mechanisms for fading, relative gain, and random timing. With the system, a reference soundscape was developed for sonifying the stock market. This display was then presented to stock trader test participants as part of a usability evaluation.

Recycled soundscapes

Abstract: An interactive system collects noise from a public place and transforms it into content for a public orchestration: the noise is split in specific sounds which are recomposed through sonic interface in a new soundscape. The SoundCam is the most visible part of the Recycling Soundscapes system. It rotates scanning a public space and gives the possibility to spy and to record audio details and voices in the space, even at the big distance. Paradoxically the people in the context involuntary become the center of auditory attention, while the importance of spy fades as the voices start coming out from Sonic Bowls. The Sonic Bowls are instruments that invite passers-by to play with sounds coming from their environment: birds, footsteps, voices. These are collaboratively composed into a new soundscape through SonicBowl interface. The voices are played back randomly as surprise voice messages and build the sound memory of the place. http://www.interaction-ivrea.it/theses/2003-04/architectureofsubtraction/ReSound.htm

Explication and design of soundscape in urban landscape

Abstract: In the traditional urban landscape design, visual sense is regarded as absolutely important while consideration of acoustic environment is inadequate. In order to promote a new viewpoint for urban landscape design and to enrich the design methods, the concept of soundscape was introduced. Combining sound components with landscape design leads to the concept of soundscape and its features. The type and features of soundscape, and its relation with human perception was observed and analyzed in a survey of city parks . The explanation of the factors, stages and levels of soundscape design built up the soundscape design framework. Soundscape plays an important role in urban landscape. Natural, background, man-made and activity sounds provide meaningful information for human landscape cognition. They enrich and complement human cognitive methods and subjective experience of objective environment. With plastic arts and building technology, soundscape design comprehensively meets the functional needs of human activities, advances the relationship between human being and environment, and promotes the humanity of the objective environment.

An approach to soundscape planning

Abstract: This paper focuses on soundscape planning, or acoustic design, in the planning and management of open space in both urban and non-urban areas. It is based on notions, promoted over several decades, that the acoustic aspects of open space can, and should be, subject to design in the same way as are the visual dimensions. The current paradigm for the management of the outdoor acoustic environment is noise control and soundscape planning needs to adopt quite different practices from noise control with respect to acoustic criteria and measurement. The paper explores the specification of acoustic objectives for outdoor soundscapes and the translation of these objectives into acoustic criteria that are amenable to measurement and prediction as part of the design process. Such objectives, termed Proposed Acoustic Environments, focus on the information content in sounds in a particular space and, only indirectly, on characteristics such as level or loudness. Outdoor acoustic design is mostly concerned with avoiding, or achieving, the masking of one set of information in the acoustic signal with other sets of information in the same signal. These are critical methodological issues if soundscape planning is to move from being a good idea to common practice.

Landscape and Soundscape: Geomantic Spatial Mapping in Korean Traditional Music

Abstract: It is known that music perception maps musical parameters against a cognitive template derived from physical spatial perception such that music is experienced in terms of space. Recent research suggests that the spatial dimension of music is general, but varies according to the way different societies construct different shared cultural spaces. The culturally specific East Asian spatial template of geomancy (feng shui in Chinese, p’ungsu in Korean) can be related to the structures of several genres of Korean music, with geomantic influences exerted on the constructions of Korean performance spaces, rhythmic patterns, and pitch sets. Knowing how such practices penetrated and spatialized aspects of Buddhist, Confucian, Shaman, and even secular musical activity alike provides a powerful new interpretive tool for understanding Korea’s multifaceted soundscape.

Discrete mapping of urban soundscapes

Abstract: Since the introduction of the EU directive of 25 June 2002 there has been a profusion of research grants and public-sector spending on quantitative acoustic maps. But what are they going to be used for? Who is going to consult them? Will they serve as the basis for upgrading our urban soundscapes? There is every reason to doubt this. This article reports on work that could form the starting point of a vast research drive to build sound maps of a new sort, maps that are more descriptive and able to supplement the information provided by mapping of acoustic measurements.

Les catégories cognitives du bruit urbain : des discours aux indicateurs physiques

Abstract: A qualitative approach to soundscapes is presented in an attempt to bridge the gap between individual sensory experiences and shared sociological representations of environmental noise. Free sorting task and questionnaire studies were carried out and revealed that people organize environmental sounds into categorical structure categorical structures on the basis of semantic features rather than perceptual ones. This semantic features include the identity of the objects producing sound and the possible interactions with these sound sources through socialized activities. As an example, soundscapes relecting human activities tend to be perceived as more pleasant than soundscapes consisting of mechanical sounds only, regardless of their acoustic parameters such as sound level. These results suggest that effect produced by the noise on human subjectivity cannot be quantitatively measured exhaustively in terms of physical parameters, in so far as auditory judgments rely on the meaning attributed to the sound, rather than the sound itself. Sound interpretation is highly dependant upon cultural values and therefore is not an inherent property of the sound. Finally, methodological and theoretical consequences of these findings are drawn for further research on soundscape. This concept can be seen as one way to overcome the limits of quantitative approaches to account not only for noise annoyance but also for improving and designing better sound quality of urban life.

The aesthetic principles of soundscape in architectural design and built environment

Abstract: The Aesthetic Principles of Soundscape in Architectural Design and Built Environment. (May 2003) Keda Wang, B.Arch., Tsinghua University, Beijing, China Co-Chairs of Advisory Committee: Prof. Rodney Hill Dr. Chang-Shan Huang This thesis is an attempt to establish a practical way for architectural designers to take advantage of the relationship between soundscape and architectural aesthetics. The whole study aides in providing a structural framework by which architectural designers could incorporate acoustic elements into their design, with aesthetic concerns rather than for practical purpose. The discussions of soundscape and architecture forms are organized in the order of point, line, plane and space to present my personal observations on the issue. Three graphic systems are developed based on the previous researches of soundscape to visualize the coexistence of sonic identities and visual identities in built environment and how both of them interact to create a multi-sensory experience for visitors. Among the three systems, the Soundscape Map system is particularly introduced to demonstrate