1. Multi-Modal Interface for A Real-Time CFD Solver Maryia Kazakevich, Pierre Boulanger, Walter Bischof and Manuel Garcia Nov 4, 2006

2. Outline Sonification Background –Psychoacoustics –Sonification methods –Example sonification Project –Background –Specifics –Example Further work

3. Sonification Background Sonification is the use of non-speech audio to convey information [B.N. Walker] –Data -> to sound As an alternative or to complement visual and possibly other displays (e.g.haptic) –Increasing information bandwidth, reinforcement –Recognition of features not obvious from visual displays –Possibility to concentrate on different complementary information by two senses: Global events through sound, local details through visual cues

4. Psychoacoustics Possibility to map field data to: –Loudness, Frequency, Envelope, Spatial location … Sound parameters require a certain percentage of change for the change to be noticed: –Minimum audible angle, intensity change, Tone duration Softer tone is usually masked by a louder tone if their frequencies are similar Relation between subjective sound traits and their physical representations –Loudness relation to intensity and frequency

5. Sonification Background What is being sonified: –General sonification toolboxes –Specific to data sets Time dependent or static data How: –Prerecorded sound –Modifying physical properties of sound, pressure, density, particle velocity –Modifying pitch, envelope, duration, timber, etc… Sonification in real-time or not

6. Comparison of sonification methods

7. Sonification Example IX Sonification of Vector Fields [E. Klein] Rectilinear grids of vectors A sphere at the listener’s position. Random samples within that sphere Mapping vector direction and magnitude of sampled particle: –Vector direction to sound location –Vector magnitude to sound level and pitch

8. Sonification Example IX Sonification of 3D Vector Fields Two consecutive vector samples taken at random locations within the listener’s head volume Hermite curve to achieve C1 continuity between two sound positions

9. Sonification Example IX Sonification of 3D Vector Fields Vorticity (turbulence) in the sampled area: –All of the samples in the area are roughly the same magnitude and direction: constant and smooth sound – low vorticity –Vectors vary widely: sound appears to shift more, giving the impression of higher turbulence –Size of the sample volume in relation to the density of the vectors within the field plays an important role

10. Project Background Input: –Fluid field with velocity vector, pressure, plus potentially density, temperature and other data –Changes with time Output: –Sound characterizing the given fluid field –Ambient: global to the whole field –Local: at the point or area of interaction

11. Project: sound options Global –Every particle in the field contributes to the sound –The further sound source is from the virtual pointer the less contribution it makes, the quieter it is Local point –Only the field characteristics at the virtual pointer position contribute to the sound Local region –Particles of the specific subset area around the pointer contribute to the sound –Possibility to add zoom factor to expand or contract the space of interaction

12. Structure –Each rendering program is independent of any other Solution Data Server Max/MSP Program Main Program as Max/MSP object Visualization Program Haptic Program Haptic Device Image Sound

13. Haptic Program Read from the haptic device and sends pointer info to the sound and visual programs –Pointer position and orientation (converted to the data field dimensions) –Interaction sphere diameter - local region Gives a force feedback: –Virtual walls: provides a force disallowing movement of the device outside of the data field boundary –Other feedback possible: produce a force that is proportional to the flow density and its direction

14. Visualization program –Displays vector field, virtual pointer (microphone) and interaction sphere SGI OpenGL Performer Library for graphical representation

15. Max/MSP –Max/MSP is a graphical programming environment for sound manipulation –Allows you to write your own objects –Large capability for a very sophisticated program –Various built in audio signal processing objects: noise~ - generates white noise reson~ - filters input signal, given center frequency and bandwidth *~ - product of two inputs, in given case scales a signal’s amplitude by a value

16. Max/MSP object –Calculates velocity vector at the position of the virtual microphone depending on interaction sphere radius (using Schaeffer’s interpolation scheme): Small : from vertices of the grid cell Large: from all the vertices inside the influence sphere velocity value & angle at that position

17. Max/MSP object –Two output values for both angle and velocity: Output = value / max value Output = (value / max value) 5/3 –Relationship between loudness level and intensity: S ~ a 3/5 [B.Gold] Thus, a function between values and amplitude should be: a = const * data value 5/3 to imply S ~ data value

18. Max/MSP program Frequency ~, were v -> [0,1] -> [500, 1500] Amplitude ~ * 5/3, were v 5/3 -> [0,1] and a 5/3 -> [0.5, 1] white band noise is modified in amplitude and frequency to simulate a wind effect:

19. Exploration example Shows sound exploration of the wind flow over the Mount St Helens

20. Further work Refining the program –Possible other set-ups for Max/MSP sound program –Using headphones or speakers to convey spatial sound Experiments –To study user interaction with given environment –Short case-tests to determine user ability to navigate within the flow using Only visual clues Only sound clues Both visual and sound clues

21. References [1] B.N. Walker, J.T. Cothran, July 2003, Sonification Sandbox: a Graphical Toolkit For Auditory Graphs, Proceedings of the 2003 International Conference on Auditory Display, Boston, MA [2] H.G. Kaper, S. Tipei, E. Wiebel, 5July 2000, Data Sonification and Sound Visualization [3] K. Metze, R.L. Adam, N.J. Leite, Cell Music: The Sonification of Digitalized Fast-Fourier Transformed Microscopic Images [4] M. Ballora, B. Pennycook, P.C. Ivanov, L.Glass, A.L. Goldberger, 2004, Heart Rate Sonification: A New Approach to Medical Diagnosis, LEONARDO, Vol. 37, No. 1, pp. 41–46 [5] M. Noirhomme-Fraiture, O. Schöller, C. Demoulin, S. Simoff, Sonification of time dependent data

22. References [6] Y. Shin, C. Bajaj, 2004, Auralization I: Vortex Sound Synthesis, Joint EUROGRAPHICS - IEEE TCVG Symposium on Visualization [7] E. Childs, 2001, The Sonification of Numerical Fluid Flow Simulations, Proceedings of the 2001 International Conference on Auditory Display, Espoo, Finland, July 29-August 1 [8] E. Klein, O.G. Staadt, 2004, Sonification of Three-Dimensional Vector Fields, Proceedings of the SCS High Performance Computing Symposium, pp 8 [9] G. Kramer, B. Walker, T. Bonebright, P. Cook, J. Flowers, N. Miner, J. Neuhoff, R. Bargar, S. Barrass, J. Berger, G. Evreinov, W.T. Fitch, M. Gröhn, S. Handel, H. Kaper, H. Levkowitz, S. Lodha, B. Shinn-Cunningham, M. Simoni, S. Tipei, Sonification Report: Status of the Field and Research Agenda, http://www.icad.org/websiteV2.0/References/nsf.html

23. References [10] C.Wassgren, C.M. Krousgrill, P. Carmody, Development of Java applets for interactive demonstration of fundamental concepts in mechanical engineering courses, http://widget.ecn.purdue.edu/~meapplet/java/flowvis/Index.html [11] W.A. Yost, 2000, Fundamentals of Hearing: An Introduction, Forth Edition [12] S.A. Gelfand, 2004, Hearing: An Introduction to Psychological and Physiological Acoustics, Forth Edition, Revised and Expanded [13] T. Bovermann, T. Hermann, H. Ritter, July 2005, The Local Heat Exploration Model for Interactive Sonification, International Conference on Auditory Display, Limerick, Ireland [14] B. Gold, N. Morgan, 2000, Speech and Audio Signal Processing: Processing and Perception of Speech and Music