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- "Hear & There: Augmented Reality Audio System" -

Explore the Hear & There system, linking audio to locations in an augmented reality setting. Learn about its purpose, scenario, hardware, authoring, playback, and security features. Witness a scenario in augmented Boston Common, where users experience immersive audio tied to specific spots. See how authors create SoundSpots and organize them with Activation Networks. Discover the playback modes, spatialized sound, and future enhancements. Join the project's evolution and contact the primary contributors for more information. -

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- "Hear & There: Augmented Reality Audio System" -

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Presentation Transcript

  1. Hear&ThereAn Augmented Reality System of Linked Audio Joey Rozier Karrie Karahalios and Judith Donath Sociable Media Group MIT Media Lab ICAD 2000 Conference - April 3, 2000

  2. Overview • Project Purpose and Goals • Brief Scenario • Basic Augmentation Details • Hardware • Authoring and Playback • Security and Privacy

  3. Purpose and Goals • Augment Environment with Audio • Augmented Reality (or Mixed Reality) • Develop Social Augmentations • Oral Histories • Focus on Authoring • Activation Networks - Linking • Self-Contained and Portable • Limit Use of Visual Cues

  4. Example Scenario • Augmented Boston Common • Can hear audio “left behind” (maybe history) • Guided towards related audio (moo...) • Author can add his/her own sound • Others are unaware

  5. Augmentation Details • The SoundSpot • Basic unit of augmentation • Any type of audio (voice, music, whatever) • “Placed” at a specific location (longitude/latitude) • Has a specified size • Other audio properties (braids, etc.) • User walking “into” SoundSpot hears it

  6. Augmentation Details • Example

  7. Augmentation Details • Must Determine User’s Location • GPS • Typical Accuracy: Order of 10m • Accuracy of Ours: sub-meter • Refresh Rate: 10Hz • Drawback: Bulk • Result: Media Lab Courtyard

  8. Hardware • GPS • Compass • PalmPilot • Laptop • Headphones • Microphone

  9. Authoring and Playback • Focus on user authoring • Most other systems do not • Simple! • Playback is still very important • New author options lead to new playback issues

  10. Authoring • Author creates SoundSpots • In-Field • Using GUI

  11. Playback: Basics • User dons system • Very simple start-up • Moves through environment • Hears sound tied to location

  12. Playback: Spatialized Sound • Each sound “appears” to be coming from center of a SoundSpot • Java 3D API • Compass attached to headphones • Do not deal with environment effects (enclosed spaces, etc.) • Future work will improve spatialized sound

  13. Playback: Two Modes • Explorer • All SoundSpots activated • Can be very cluttered • Ultimate control with listener • Activation Networks

  14. Playback: Activation Networks • For Linking and Organizing Sounds • Author creates Link Categories • e.g. My Family, About Media Lab • Author associates Link Categories with a SoundSpot • User can activate Link Category when standing in SoundSpot • StartSpots

  15. Playback: Activation Networks Example • StartSpot in Boston’s Public Garden • Link Categories • SMG: SMG SoundSpots • Weeping Willow: interesting SoundSpots about weeping willow trees • My Favorites: my favorite SoundSpots • When entering StartSpot, activate “Weeping Willow”; now those “exist” • Weeping Willow spots may have their own LinkCategories

  16. Playback: Directing the User • Palm Interface • Easy, intuitive • But uses visual information! • Audio Beacons?

  17. Security and Privacy • Authentication for Authors • Open System for Users • Wireless Connection to Server?

  18. Future Work • Finish Implementation! • More Portable System • Temporal Information • Other forms of audio augmentation

  19. Contact and Contributors • E-mail: jrozier@mit.edu • http://smg.media.mit.edu • Primary Contributors • Judith Donath • Karrie Karahalios • Birendro Roy and Tuan Phan

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