Where the action is: the foundations of embodied interaction
Where the action is: the foundations of embodied interaction
Understanding contexts by being there: case studies in bodystorming
Personal and Ubiquitous Computing
Sketching User Experiences: Getting the Design Right and the Right Design
Sketching User Experiences: Getting the Design Right and the Right Design
Toward the design and evaluation of continuous sound in tangible interfaces: The Spinotron
International Journal of Human-Computer Studies
Beyond clicks and beeps: in pursuit of an effective sound design methodology
HAID'07 Proceedings of the 2nd international conference on Haptic and audio interaction design
A toolkit for explorations in sonic interaction design
Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound
Performativity in design and evaluation of sounding interactive commodities
Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound
The curse of the where-rabbit: research through design of auditory trajectories
Proceedings of the 9th ACM SIGCHI Italian Chapter International Conference on Computer-Human Interaction: Facing Complexity
Design of an audio-based mobile journey planner application
Proceedings of the 15th International Academic MindTrek Conference: Envisioning Future Media Environments
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An increasing number of interactive consumer products make use of the auditory channel. Consequently, sound has become an important part of the interaction designer's palette. Nevertheless, sound is a difficult medium for nonexperts to sketch in. We propose Vocal Sketching as a methodology for addressing sounding design, alleviating the challenges inherent for non-experts when thinking and communicating about sound and sounding objects in the early stages of design. The method was tested in a workshop with 35 participants, who, working in groups, used only their voices to sketch sonic interactions for three object props. Observations and results from a post-workshop questionnaire study show this methodology to be feasible and enjoyable, and applicable to the design process even without prior vocal training. The emerging pros and cons of this method, as well as results relating to social comfort in using the voice and group strategies for using multiple voices, are discussed. Further work should include a comparative study of this methodology and other sonic sketching strategies.