Fisher reports using auditory data representations for error detection in classified, remotely sensed images. One of the few applications of sonification to cartography and GIS.

Fisher, S. S., E. J. Wenzel, C. Coler, and M. W. McGreevy. "Virtual Interface Environment Workstations." In Proceedings of the 32nd Annual Meeting of the Human Factors Society, held in Anaheim, CA, 91--95, 1988.

This paper on NASA-Ames Research Center's Virtual Interface Environment Workstation includes an early description of the center's work using binaural auditory display, synthesis of three-dimensional sound cues, speech synthesis and recognition, and associating "sound signatures" with objects or types of information display in a virtual environment.

Fitch, T., and G. Kramer. "Sonifying the Body Electric: Superiority of an Auditory over a Visual Display in a Complex, Multivariate System." In Auditory Display: Sonification, Audification, and Auditory Interfaces, edited by G. Kramer. Santa Fe Institute Studies in the Sciences of Complexity, Proc. Vol. XVIII. Reading, MA: Addison Wesley, 1994.

The authors present an eight-variable auditory interface for anesthesiologists which uses self-labeling streams with data variables "piggy-backed" upon that stream by manipulation of selected acoustic variables. Subjects using the display demonstrated faster and more accurate response using the auditory display than with the visual and the combined auditory/visual displays.

Fletcher, H., and W. A. Munson. "Loudness: Its Definition, Measurement and Calculation." J. Acous. Soc. Am. 5 (1933): 82--88.

The authors refer to "dynamic" as the perceived loudness of a passage of music. This perception of amplitude is discussed in detail.

Forbes, T. W. "Auditory Signals for Instrument Flying." J. Aeronautical Soc. May (1946): 255--258.

After finding that combinations of tones created a confusing display that was difficult to use, the author turned to one signal in which multiple data variables were represented by multiple auditory variables. He found that pilots were able to use the display as well as a visual display after only an hour of training. Four key design points were suggested: (1) Pilots have certain habitual methods of thinking about the airplane, and the signals must be designed to fit these habits of thought. (2) Because most fliers are accustomed to using visual indicators, the auditory indicators must be as simple and self-explanatory as possible. (3) When multiple signals were used, there was a tendency for one signal to "capture" the attention of the pilot, to the exclusion of the other signals. This phenomenon should be avoided. (4) The display should be designed to fit the capabilities of the average pilot and should be subjected to unbiased psychological testing.

Francioni, J. F., L. Albright, and J. A. Jackson. "Debugging Parallel Programs Using Sound." In Proceedings of the ACM/ONR Workshop on Parallel and Distributed Debugging, 68--73. Reading, MA: ACM Press/Addison-Wesley, 1991.

These two articles describe the same research: the mapping of parallel processor activity to sound parameters. By building structures such as jazz-like chords whose notes' pitch, attack, and crescendo describe the activity of various processors, the authors are able to analyze processor loads, flow of processor control, and processor communication.

Francioni, J. F., J. A. Jackson, and L. Albright. "The Sounds of Parallel Programs." In Proceedings of the Sixth Distributed Memory Computing Conference, held in Portland, OR, 570--577, 1991a.

This paper introduces auralization techniques as a means for studying the run-time behavior of parallel programs. Examples are described of simple sound mappings that directly map run-time events of parallel programs to MIDI sound events. Although the sound playbacks discussed in this paper are not synchronized with any graphical representations, the basic feasibility of the auralization idea is demonstrated.

Frantii, G. E., and L. A. Leverault "Auditory Discrimination of Seismic Signals from Earthquakes and Explosions." Bull. Seis. Soc. Am. 55(1) (1965): 1--26.

Twenty-one observers classified 200 time-compressed, audibly displayed seismic events as either earthquakes or explosions correctly 2/3 of the time (where 1/2 corresponds to chance performance). Experiments were done to determine the receiver operating characteristics of listeners, the effect of training on performance, the effect of epicentral distance, and the effect of dual (horizontal and vertical) component playback. Among the significant conclusions was that observers reached plateau performance with the 1500 decisions and that the performance could be improved by using multiple component (stereo) playbacks.

Freed, D. J., and W. L. Martens. "Deriving Psychophysical Relations for Timbre." In Proceedings of the International Computer Music Conference, held October 20--24, 1986, in The Hague, The Netherlands, 1986.

The authors present acoustic analyses and experiments on the auditory perception of mallet hardness; one of the few examples of studies of everyday listening.

Frysinger, S. P. "Pattern Recognition in Auditory Data Representation." Unpublished Thesis, Stevens Institute of Technology, Hoboken, 1988.

Frysinger, S. P. "Applied Research in Auditory Data Representation." In Extracting Meaning From Complex Data--Proceedings of the SPIE/SPSE Symposium on Electronic Imaging, held February 1990, edited by E. J. Farrell. Springfield, VA: SPIE, 1990.

These two papers include an investigation of auditory/visual representations of multivariate time-series data. Two forced-choice experiments were conducted in which subjects determined which of two data sets was correlated. Subjects' data interpretation performance was found to depend upon detection task. For correlation detection, time-series dimensionality was a significant variable in display performance, and the combined auditory/visual display proved superior to the auditory-only display, while for trained pattern detection, dimensionality was not a factor, and the performance of the auditory/visual display was essentially the same as the auditory-only display.

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