Capturing and Sharing Sonic Experiences through Web-Based Acoustic Maps Daniela Fogli1 and Elisa Giaccardi2 1
Dipartimento di Elettronica per l’Automazione, Università di Brescia, Italy
[email protected] 2 Department of Computer Science, University of Colorado at Boulder, USA
[email protected]
Abstract— Due to the widespread availability of web mapping services, Internet users can now contribute cartographic content and easily create, modify, and share geographic maps. Several web mapping services that are currently available enable users to geographically locate text, pictures, and movies on a map and then share them with family, friends, and other interested users. However, few services give emphasis to the importance of sounds in human experience. In addition to contributing to filling an existing gap in collaborative web mapping, the authors argue that using sounds represents a personal and powerful way to remember, re-encounter, and gain new understandings of everyday space—thus facilitating expression and interpretation of personal meanings through richer and more immersive map-based interactions. The paper describes a collaborative mapping system, TheSilence.org, based on Web 2.0 technologies, that enables users to contribute and share sounds. The importance of sounds in collaborative web mapping with respect to multimedia content and immersive map-based interaction is discussed through the results of a pilot study.
mapping system based on Web 2.0 technologies for the creation and sharing of web-based acoustic maps. The system enables users to map and annotate the soundscapes of urban and natural environments, and to use sounds to capture and share their sonic experiences and express the personal meanings they associate with these sounds. We conducted an experimental activity in Boulder, Colorado, in the summer of 2007. It involved 20 participants for a period of 6 weeks and allowed us to evaluate the usability and usefulness of such a mapping system. Much data was collected, and several findings emerged from the analysis of these data. In this paper, we discuss in particular those findings concerned with the importance of sounds in collaborative web mapping with respect to multimedia content and immersive map-based interaction.
Index Terms—web mapping, collaborative systems, graphical user interfaces, map-based interaction, multimedia, sounds
2. Related Work
1. Introduction Due to the increasing sophistication in web technologies and the widespread availability of web mapping services, webbased maps are becoming popular tools to trace and visualize location-based information. Internet users can now contribute cartographic content and easily create, modify, and share geographic maps. This opportunity offers people new ways to connect with each other and with their urban and natural environments, opening up the possibility for mapping and visualizing both individual and collective meanings ascribed to particular locations [2][6]. Different kinds of content can be contributed and shared through web-based maps. Several web mapping services are currently available that enable users to geographically locate text, pictures, and movies on a satellite or street map (“geotagging”) and then share them with family, friends, and other interested users. However, few web mapping services enable users to contribute and share sounds; the importance of sounds in human experience with respect to immersive map-based interaction is usually not given much emphasis. Sounds play an important role in understanding the nature of the acoustic environment, or “soundscape,” in which we live [16], and sounds can significantly contribute to improve the quality of our lives [5]. This paper describes a collaborative
“Geospatial web,” or “geoweb,” is a term used to indicate a new infrastructural paradigm that enables users to navigate, access, and visualize geo-referenced data on the web as they would in the physical world [13]. This architecture offers users the possibility to easily create, modify, and share online maps. Popular web mapping services, such as Google Maps [10] and Google Earth [9], enable users to create personalized 2D and 3D maps and annotate them with texts, photographs, and videos. Maps enriched by users’ commentaries, pictures, and movies are increasingly offered also by “mashups,” such as WikiMapia [19] and CommunityWalk [3]. Even media-sharing services, such as Flickr [4] and YouTube [12], are now either providing collaborative mapping features or extending their uploading capabilities to enable users to add location metadata to their photos and videos and to use these “geotags” to organize and search multimedia content by place. However, despite the growing popularity of collaborative web maps, few services enable users to contribute and share sounds, giving little emphasis to the importance of sounds in human experience. A project attempting to fill this gap is Wildsanctuary [18]. Wildsanctuary aims to add environmental sounds to Google Maps and Google Earth to provide users with an immersive experience of place through access to the world’s soundscape. While offering access to a large archive of field sounds, the project does not provide collaborative mapping features for users to contribute audio files and engage directly in soundscape creation. On the map provided by Wildsanctuary, sounds are represented by icons that visually indicate the type of envi-
ronment in which a sound was recorded. Listening to the sound requires the user to click on the icon, and then click on the play button that appears in the pop-up window—thus interrupting the flow of soundscape exploration. Despite the attempt to create a more immersive environment by “giving voice to the map” [18], the absence of collaborative mapping capabilities and interaction features in Wildsanctuary prevents users from exploring personal sonic experiences and limits map-based interaction with respect to multimedia content. We argue that the main limitation of current web maps is that they visually display where information is located but they neither display how information is interpreted nor encourage any interpretation; this is true even when maps are enriched by textual, visual, or other multimedia content. Mapping and visualization of location-based information highly benefit from cartographic semantics supporting expression and sharing of personal perceptions and interpretations [6]. From this perspective, using sounds not only enriches maps, filling an existing gap in collaborative web mapping, it also represents a personal and powerful way to remember, re-encounter, and gain new understandings of everyday space. The use of sounds can encourage users’ expressions and interpretations through sensorially richer and more immersive map-based interactions.
ping that supports users in the creation and sharing of acoustic maps. 4.1 Overview of Information Architecture The information architecture of TheSilence.org is shown in Figure 1. PDA C++ APPLICATION GPS MODULE
USER zip/tar file
TheSilence.org CLIENT
SERVER
Web Browser AJAX engine (OpenLayers + extensions)
4. Creating and Sharing Acoustic Maps in TheSilence.org TheSilence.org is an application for collaborative web map-
Views (HTML templates)
CGI Interface
MapServer CGI
Controllers (PHP scripts)
OGR Library
3. TheSilence.org The application for collaborative web mapping presented in this paper is called TheSilence.org and is part of the long-term project Silence of the Lands [17]. Silence of the Lands is a cross-media infrastructure that uses sounds to promote the active role of local communities in the interpretation and management of their urban and natural environments [7]. Based on the belief that sounds are important and personal elements of our encounters with environmental settings [5][16], the goal of Silence of the Lands is to engage people in listening to each other’s experiences, connecting with each other’s perceptions, and unfolding new understandings of the places in which they live and that they share. This goal is undertaken by enabling people to capture their sonic experiences and then create and share soundscapes of the places where sounds were recorded. Users record sounds by using a Personal Digital Assistant (PDA), which we call a sound camera, outfitted with GPS mapping software. Recorded sounds are then uploaded to an online database through the web application for collaborative mapping, TheSilence.org, where they are associated with their owners and placed on a map. The result is an acoustic map that changes over time according to users’ perceptions and interpretations of their environmental settings. Silence of the Lands was initiated by Giaccardi in 2005 and currently involves an international collaboration among the Center for LifeLong Learning & Design of the University of Colorado at Boulder (USA), the University of Brescia (IT) and the Institute of Digital Art and Technology of the University of Plymouth (UK).
Web Server
Models (PHP scripts)
Data access
Other servers (e.g. Google Server)
Satellite Maps
ODBC
DBMS
Shape Files Database
Figure 1: The information architecture of TheSilence.org.
In order to contribute his/her content on TheSilence.org, the user interacts at first with a PDA application that has been properly developed to collect ambient sounds from the natural environment and geo-reference them with Global Positioning System (GPS) data. This application produces a file archive (zip or tar) that contains the recorded sounds as mp3 files and the GPS data related with the sounds, which determine their location in time and space and permit the visualization of sounds on an interactive map. The archive can be easily uploaded through the web application in a MySQL database. During uploading, a validity check is performed on the data, and errors generated by the GPS device are recognized and managed before data registration on the database. A unique identifier is assigned to each registered sound; therefore, if two sounds are recorded in the same geographical position, they are stored in the database as two different records. The visualization of the sounds on the map will then depend on filtering options (see Subsection 4.3). The database is successively accessed and updated through the web application TheSilence.org by means of two main classes of functionalities: (1) functionalities for managing and representing data, such as user profiles and logging information; and (2) functionalities for interacting with maps and sounds. The first class of functionalities has been implemented in PHP
according to a Model-View-Controller architecture; it exploits the CakePHP framework in order to guarantee code reuse and maintainability. This part of the application runs on the web server and interacts directly with the database. The second class of functionalities has been developed as a Rich Internet Application (RIA) and runs on the client. In order to limit page refresh, provide users with an easy access to sounds and associated data, and support efficient map navigation, we have chosen AJAX technology to implement the RIA. We have used and extended the AJAX-based library OpenLayers to visualize the map in the web browser and provide functionalities for map zooming and panning, sound playing, and pop-up activation and filling. OpenLayers acquires satellite images from existing services such as Google Maps and Yahoo! Maps, and then overlaps information layers to build the interactive map. In our architecture, information layers are created through MapServer, a Geographic Information System (GIS) installed and running on the web server. Using MapServer as a Web Feature Service (WFS), the system connects to the database and creates an information layer with geo-referenced sounds. Next, OpenLayers interfaces to MapServer to obtain the information layer and create sound objects (markers in the OpenLayers terminology) with which users can interact. Flash MP3 Player is used to play sounds. It is controlled through JavaScript APIs activated on marker events. 4.2 Edit Mode: Collaborating with Acoustic Web Mapping The geographical position, time, and date associated with sounds are entered automatically in the application during the uploading phase; they are obtained by processing the data in the file archive generated by the sound camera. Then, users can visually associate their own sounds with a color and also annotate sounds with verbal tags and textual narratives. This provides sounds with user-generated metadata about how their owners have subjectively interpreted them and what personal meaning they associate with them. We expect tagging to be an important feature for personalizing soundscape exploration, just as color rating has proven to be an important activity for the effectiveness of web mapping and visualization [6]. Color rating contributes to the mapping and visualization of what we have called “affective meaning” [6], expressing users’ likes and dislikes in an immediate and personal fashion and encouraging serendipitous map-based interactions. The color scheme adopted is based on the principles of the Abaque de Régnier, a method used today in areas as diverse as human resources, regional planning, and sustainable development to help people express themselves and build shared understanding of common problems [15]. The method uses a color-coded scale that includes dark green, light green, yellow, light red, and dark red. This scale ranges from the most favorable position (dark green) to the most unfavorable (dark red). Additionally, white and black indicate whether the respondent does not have any opinion (white) or refuses to answer (black). For the sake of our project, we use only dark green, light green, yellow, light red, and dark red. White is used exclusively in the Edit mode to indicate to a registered user what sounds he/she has not yet annotated.
Figure 2: Sound annotation and color rating in the Edit mode.
Sounds are visualized on the map as dots. In the Edit mode, registered users can visualize on the map their own sounds and distinguish between sounds they have already annotated (colored dots) and sounds they have not yet annotated (white dots). Mousing over a dot enables users to “preview” the sound, whereas clicking on a dot selects the sound—which then can be either endlessly reproduced or paused—and automatically opens a pop-up window asking for color rating and sound annotation (title, tags, and sound journal; see Figure 2). In the acoustic web mapping of TheSilence.org, sound editing aims to recreate the sensory experience of “listening to the land” and to maintain the unique connection to place that is responsible for the meaning one may attribute to a recorded sound. By listening to a recorded sound during the editing process, users can sonically recall their personal experiences. Furthermore, visualizing it directly on the map in relation to previously recorded and rated sounds facilitates the elicitation of users’ environmental knowledge and emotional response with respect to the specific place where the recording was performed. 4.3 Explore Mode: Immersive Map-Based Interaction Through users’ personal recordings, ratings, and annotations, a shared representation of the acoustic environment is produced in the form of an immersive soundscape in which both registered and unregistered users can seamlessly browse from one sound to another. From a visual standpoint, the map presents as a satellite image with brilliant green and blue layers for aesthetic appeal and easy detection of urban and natural areas. Street and hybrid views are also available, but the satellite view (with green and blue layers for open space and rivers where geographic information is available) is the system default. On this map, colored dots serve the function of both locating where a sound was recorded and visualizing the interpretation ascribed to that sound. Colored dots visually define both the space mapped by users (geo-location) and the subjective quality of the places users encountered (color rating) [6]. The dots assume different sizes according to the zoom level: the higher the zoom level, the smaller the dot (from a cloud of small dots to the view of a clickable individual dot). This supports the localization and signification of individual sounds, as
well as the immediate visualization of public trends. A single dot expresses a sound location and the user’s personal interpretation with respect to the sonic experience captured by the recording, whereas color patterns allow immediate identification at a bird’s-view of areas of positive agreement (majority of greens), negative agreement (majority of reds), uncertainty (majority of yellows), dissension (mixed colors), and anomalous positions (isolated red dots within a majority of greens and, vice versa, isolated green dots within a majority of reds). From a sonic standpoint, consistent with map-based interaction in the Edit mode, the map enables immediate audio streaming. A 60-second snippet of the recorded sound can be played and put into a loop by simply mousing over the dot. Browsing on the map from one sound to another causes sounds to fade in and out, generating the impression of a living soundscape. A sound control panel (play, pause, volume) and relevant information (date/time, recorder, title, tags, description, and users’ comments) are provided by clicking on a single dot and accessing the pop-up window associated with the selected sound (Figure 3).
regional level of social patterns (local clusters of sounds and colors), to the global level of the community (overall trends of sounds and colors with respect to a specific community). In turn, these readings can be conducted at the local level of a specific site, the regional level of a specific topological area, or the global level of a larger geographic area.
5. Pilot Study In collaboration with the City of Boulder Open Space and Mountain Parks (OSMP) and Water Quality departments, we engaged the local community of Boulder, Colorado, in capturing and sharing sonic experiences for a period of 6 weeks [8]. The goal of the pilot—a joint public program called Community of Soundscapes—was to evaluate the usefulness, impact, and potential applications of acoustic web mapping technology. In particular, we were interested in investigating how an immersive multimedia interaction with geo-located sounds can encourage people to reflect on their perception and interpretation of the natural environment and facilitate the sharing of such perceptions and interpretations with others. 5.1 Methodology
Figure 3: Accessing sound-related information in the Explore mode.
Within this multimedia environment, the Explore mode provides users with the capability to navigate the soundscape by filtering the cartographic output according to several criteria. Users can choose and combine several filtering options by selecting (a) the color of the sounds to be visualized, (b) the users who performed the recordings, and (c) the time and season of the recordings (or date/time in advanced searches), as well as by entering tags of interest. Filtering options become useful also when different sounds have been recorded in the same geographical position: they can be alternatively visualized on the map according to the values of the other attributes (e.g., recording time). Consistent in both the Edit mode and the Explore mode, the aesthetically and emotionally engaging map-based interaction of TheSilence.org aims to recreate the sensory experience of “listening to the land.” In the Explore mode, the unique connection to place responsible for the meaning one may attribute to a recorded sound is explored by allowing several permutations of the cartographic output. These permutations enable multiple readings of the same territory and can be performed (both visually and sonically) at different levels: from the local level of the individual (single sound and single color), to the
A sample of 20 volunteers (4 males and 16 females) participated in the pilot study. Their ages ranged from 20 to 62 years. They all held higher education degrees and represented varied professional backgrounds, including writers, engineers, scientists, managers, designers, educators, therapists, musicians, and college students. Participants in the pilot were asked to capture their sonic experiences and upload sounds on TheSilence.org, where they could annotate and share them with other participants. They were asked to take at least three sound walks in the period from July 2007 to September 2007 (two mandatory and one of their choosing). A total of 1338 sounds were recorded, and 567 sounds were selected and made available on the web application. We triangulated different kinds of qualitative data collected from (a) three focus groups, (b) two questionnaires (a pre- and a post-questionnaire) and (c) unstructured interviews and direct observations conducted during participants’ activities. Section 6 provides findings relevant to evaluate and discuss the importance of sounds in collaborative web mapping. Other and more general aspects of user interface and map-based interaction are briefly summarized in this section and have been more extensively discussed by us elsewhere [6]. 5.2 Findings 5.2.1 Capturing and Sharing Sonic Experiences One of the general themes that emerged from the pilot is whether users felt able to express and share their sonic experiences and, through them, their personal perspectives on the environment. The possibility of associating colors and textual narratives to sounds and immediately accessing them through the map highlighted a broad range of personal connections to place, providing a discursive context for choice and rating of the sounds mapped. In general, pilot results seem to suggest that being able to record and contribute sounds, locate them on
the map, rate them, and annotate them by color and textual narratives allow people to capture and share perceptions and interpretations of the environment in which they live in a novel and engaging way. 5.2.2 Exploring the Soundscape Another general theme that emerged from the pilot is whether users felt interested in exploring and understanding other people’s experiences. Generally speaking, participants appreciated the possibility of enjoying sounds collected by other participants and sometimes could visualize in their minds the place where these sounds were recorded. Other participants emphasized the differences in perceptions and interpretations that emerged within the community and stressed the enrichment they gained from these differences. Colors in particular appeared useful to participants, guiding them in map-based interaction. Some comments provided a helpful account of how participants read the map and what aspects were paid more attention. In general, participants tended to explore the extremes (areas with a lot of red dots or dark green dots). In fact, at a bird’s-eye view, color patterns allowed participants to identify which areas were more contaminated with traffic and which were quieter, and this identification guided decisions about places to visit. Overall, the combination of colors and sounds seemed to be particularly effective. Through visual clues, participants were able to notice differences and in general find their own way through map exploration and interpretation. At the same time, geo-location proved useful to make users aware of the dependency between an individual sound, its color rating, and the environmental context of the recording. This aspect made users curious and engaged.
6. Sounds in Collaborative Web Mapping 6.1 Importance of Sounds Pilot results suggest that sounds are an important and personal element of the everyday environment people experience. In the pre-questionnaire, we asked explicitly: “How do sounds affect your appreciation of the natural environment (or anything, for that matter)?” Some of the answers were significant: “Without sound, the world would be less connected and intimate. We share in part through sounds. Then we understand and appreciate.” “I enjoy the sounds I encounter in the natural environment, sometimes more than the scenery. I think I feel this way because sounds tell us so much more about a place than we can pick up visually.” These answers seem to express the need for collaborative mapping systems where sounds (not only visual content) can be used to reflect on one’s own experience of place, and connect one’s personal experience to that of other individuals. Pilot results demonstrate that such activities require an easy and engaging map-based interaction with sounds, similar to the one designed for TheSilence.org. At the question “What features of the web application did you find most engaging?” answers similar to the following were the most common:
“The ease of hearing sounds. By moving the pointer, you can actually ‘cruise’ along a trail.” “Ability to rollover data points and hear the sound instantaneously … I like that you only had to move the mouse over the icon to hear the sound.” “Definitely the ease of listening. Just rolling over the dots to hear the sounds is quick and easy for exploring.” 6.2 Taking Pictures versus “Taking” Sounds Through the post-questionnaire question “How would you describe the difference between taking and sharing pictures versus taking and sharing sounds?” we tried to understand what kind of experience is afforded by capturing and sharing sonic experiences through our sound mapping technology, and how this differs from creating and sharing pictures. Some answers to this question well highlight the dynamic nature of sounds with respect to pictures and visual content in general. For example, one participant commented: “A picture is fun to take and share, but sounds are more interactive to me and cause more of a deeply moving response than a still photo.” Another participant commented on the different sense of connection to a place that sounds can evoke compared to pictures: “Sounds are more intimate ... Pictures feel more detached to me, like we’re observers only. Sounds feel more like being immersed in the experience.” Participants generally agreed that sounds are a trigger more powerful than pictures in helping to remember, re-encounter, and gain new understandings of everyday space: “Sounds have more room for the imagination.” “The sound evoked more memories than pictures.” These answers support the argument that web mapping is much more engaging and fun when different senses are involved, and that sounds play a role in conveying emotions and values often more important than visual content. 6.3 Fostering Novel Practices through Acoustic Web Mapping The collaborative sound-mapping technology proposed encourages novel interaction experiences with web-based maps, fostering novel phonographic practices of sound recording and sharing that we call “acoustic web mapping.” Pilot results suggest that sound (1) is fun, (2) is an important natural resource, and (3) can serve as a critical social indicator. The experimental acoustic web mapping technology used during the pilot makes phonographic practice mobile, location-based, and potentially accessible to anyone equipped with a GPS-enabled mobile device and Internet access (“just in my purse,” as a participant indicated). This possibility democratizes sound recording and sharing, and opens the door to a broad range of recreational activities (“sound as fun”). As suggested by the pilot participants, these activities may include mapping one’s neighborhood, recording a friend’s child speaking, recording a vacation as a way to remember and share one’s memories with friends and family, and creating artistic sound recordings.
Sound can also be considered “as a natural resource,” as suggested by the naturalists and educators involved in the pilot as stakeholders. In this context, the same technology can be used as a tool for amusing and spontaneous forms of informal education. For example, collaborative sound mapping can support the interpretative experience of natural parks visitors, helping them connect emotionally to places, bringing them closer to wildlife that they sometimes cannot even see, and aiding them in understanding natural resources [1]. Additionally, it can also support longitudinal mapping and monitoring of fragile and critical wildlife areas, thus providing naturalists and land managers with a tool for assessment and decision-making and virtual nature-based tourism (“ecotourism”) offerings for areas closed to the public. Finally, as prospective stakeholders suggested on the basis of pilot results, sound can also serve “as a social indicator.” The same technology can enable administrations and public organizations to visualize how communities perceive and interpret their environmental settings and how these public trends change over time. Collaborative sound mapping can represent here a participatory and democratic way to engage communities on issues such as land management, urban development, environmental justice, and noise pollution, with the goal of supporting public awareness and social dialogue over sustained periods of time. Studies have demonstrated that people do not act unless they connect with the problem emotionally [14]; collaborative sound mapping is an intimate way to connect emotionally to places and develop a sense of ownership and commitment toward the environment.
7. Conclusions and Future Work This paper has focused on how to enable users to contribute and share sounds. The work fills an existing gap in collaborative web mapping and highlights the importance of sounds in human experience with respect to map-based interaction. The system described, TheSilence.org, brings together sounds and affective mapping and visualization of geo-located content [6] with the goal of generating an aesthetically and emotionally engaging map-based interaction that recreates the unique and sensory experience of “listening to the land.” Through this approach, users can sonically recall or imagine one’s personal experiences by listening to the recorded sounds. Visualizing and contextualizing the sound directly on the map facilitates the elicitation of users’ environmental knowledge and emotional responses with respect to the specific place where the recording was performed. The pilot study results presented and discussed in the paper suggest that sounds are an important element of the everyday environment, and that sounds can effectively help reflect one’s experiences of place and connect to other people’s experiences. These activities require an easy and immersive mapbased interaction, similar to the one users experienced through the described system. Pilot results also highlight the dynamic nature of sounds with respect to pictures and visual content in general, suggesting that sounds are a trigger more powerful than pictures in helping people to remember, re-encounter, and gain new understandings of everyday space. Collaborative web
mapping is more engaging and fun when different senses are involved, and sounds in particular play an important role in conveying emotions and values. Finally, pilot results suggest that what we have called “acoustic web mapping” is likely to foster novel interaction experiences and novel practices of sound recording and sharing. Future work includes an exploration of the social networking aspects of acoustic web mapping, with the goal of creating a platform that can be used in different ways and elicit different forms of community engagement. Further evaluation studies will include a collaboration with the Off-Campus Student Services and the Restorative Justice Program at CU-Boulder to assist college students in understanding and experiencing the impact their own and their friends’ recreational activities may have on the neighborhoods in which they live. The project, which is scheduled for 2009, will provide a second case study in the different domain of environmental justice.
Acknowledgments The authors thank Ilaria Gelsomini, Francesca Pedrazzi, Guido Pollini, Gianluca Sabena, and Chris Speed for their contribution to the development of the collaborative web mapping application. This research was supported by: (1) the National Science Foundation grant IIS-0613638, (2) CU-Boulder’s Outreach Committee grant 2006-2007, (3) the Università degli Studi di Brescia and (4) the Arts Council England.
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