Car Phone Usability: A Human Factors Laboratory Test

1993 ◽  
Vol 37 (3) ◽  
pp. 220-224 ◽  
Author(s):  
Colleen Serafin ◽  
Cathy Wen ◽  
Gretchen Paelke ◽  
Paul Green
Keyword(s):  
Laboratory Test ◽  
Human Performance ◽  
Driving Simulator ◽  
Driving Performance ◽  
Performance Model ◽  
Instrument Panel ◽  
Long Distance ◽  
The Subject ◽  
And Performance ◽  
The Voice

This paper describes an experiment that examined the effect of car phone design on simulated driving and dialing performance. The results were used to help develop an easy to use car phone interface and to provide task times as input for a human performance model. Twelve drivers (six under 35 years, six over 60 years) participated in a laboratory experiment in which they operated a simple driving simulator and used a car phone. The phone was either manually dialed or voice-operated and the associated display was either mounted on the instrument panel (IP) or a simulated head-up display (HUD). The phone numbers dialed were either local (7 digits) or long distance (11 digits), and could be familiar (memorized before the experiment) or unfamiliar to the subject. Four tasks were performed after dialing a phone number; two of the tasks were fairly ordinary (listening, talking) and two required some mental processing (loose ends, listing). In terms of driving performance, dialing while driving resulted in greater lane deviation (16.8 cm) than performing a task while driving (13.2 cm). In addition, the voice-operated phone resulted in better driving performance (14.5 cm) than the manual phone (15.5 cm) using either the IP display or HUD. In terms of dialing performance, older drivers dialed 11-digit numbers faster using the voice phone (12.8 seconds) than the manual phone (19.6 seconds). Dialing performance was also affected by the familiarity of numbers. Dialing unfamiliar numbers using the voice phone was faster (9.7 seconds) than using the manual phone (13.0 seconds) and 7-digit unfamiliar numbers were dialed faster (8.2 seconds) than 11-digit unfamiliar numbers (14.5 seconds). Thus, the voice-operated design appears to be an effective way of improving the safety and performance of car phone use, but the location of the display is not important.

scholarly journals Isolating the Effect of Off-Road Glance Duration on Driving Performance: An Exemplar Study Comparing HDD and HUD in Different Driving Scenarios

2021 ◽  
pp. 001872082110314
Author(s):  
Missie Smith ◽  
Kiran Bagalkotkar ◽  
Joseph L. Gabbard ◽  
David R. Large ◽  
Gary Burnett
Keyword(s):  
Visual Attention ◽  
User Interfaces ◽  
Human Performance ◽  
Driving Simulator ◽  
Driving Performance ◽  
Behavioral Changes ◽  
The Road ◽  
Driving Behaviors ◽  
Novel Method ◽  
The Impact

Objective We controlled participants’ glance behavior while using head-down displays (HDDs) and head-up displays (HUDs) to isolate driving behavioral changes due to use of different display types across different driving environments. Background Recently, HUD technology has been incorporated into vehicles, allowing drivers to, in theory, gather display information without moving their eyes away from the road. Previous studies comparing the impact of HUDs with traditional displays on human performance show differences in both drivers’ visual attention and driving performance. Yet no studies have isolated glance from driving behaviors, which limits our ability to understand the cause of these differences and resulting impact on display design. Method We developed a novel method to control visual attention in a driving simulator. Twenty experienced drivers sustained visual attention to in-vehicle HDDs and HUDs while driving in both a simple straight and empty roadway environment and a more realistic driving environment that included traffic and turns. Results In the realistic environment, but not the simpler environment, we found evidence of differing driving behaviors between display conditions, even though participants’ glance behavior was similar. Conclusion Thus, the assumption that visual attention can be evaluated in the same way for different types of vehicle displays may be inaccurate. Differences between driving environments bring the validity of testing HUDs using simplistic driving environments into question. Application As we move toward the integration of HUD user interfaces into vehicles, it is important that we develop new, sensitive assessment methods to ensure HUD interfaces are indeed safe for driving.

‘Steely Velvet’: The Voice of James Mason

2015 ◽  
Vol 12 (1) ◽  
pp. 83-100
Author(s):  
Adrian Garvey
Keyword(s):  
Film Studies ◽  
Performance Style ◽  
The Subject ◽  
Critical Responses ◽  
And Performance ◽  
The Voice ◽  
Film Sound

This article argues that, although the subject of film sound is a developing field of interest in film studies, the voice, despite its centrality to issues of performance and stardom, remains an under-examined subject within the discipline. It considers some existing work on the topic and proposed methodologies for the analysis of voice and performance. The work of James Mason is used as a case study, offering an overview of his career and a discussion of the changes in his star persona and performance style as he moved from star to character actor. Consideration is given to the ways in which Mason's distinctive voice became the defining aspect of his star persona and a subject for impersonation. Critical responses to his vocal style throughout his career are examined and sequences from three Mason films, The Pumpkin Eater (1964), Fanny by Gaslight (1944) and The Upturned Glass (1947) are analysed in order to explore Mason's use of voice and gesture in detail.

Goals and Performance in Computer Programming

1974 ◽  
Vol 16 (1) ◽  
pp. 70-77 ◽  
Author(s):  
Gerald M. Weinberg ◽  
Edward L. Schulman
Keyword(s):  
Human Performance ◽  
Management Practices ◽  
Computer Programming ◽  
Individual Performance ◽  
Future Experimentation ◽  
The Subject ◽  
And Performance

In all studies of human performance, the experimenter must be certain that the subject is performing the task that the experimenter believes he has set; otherwise results become uninterpretable. Early studies of computer programming have shown such wide variations in individual performance that one might suspect that subjects differed in their interpretation of the task. Experiments are reported which show how programming performance can be strongly influenced by slight differences in performing objectives. Conclusions are drawn from these results regarding both future experimentation and management practices in computer programming.

Timbral Heuristics and the Sonorous Presence of Steven Jesse Bernstein

Resonance ◽  
2021 ◽  
Vol 2 (3) ◽  
pp. 353-376
Author(s):  
Daniel W. Siepmann
Keyword(s):  
Large Scale ◽  
Spoken Word ◽  
Spoken Word Poetry ◽  
Key Concepts ◽  
Surface Moment ◽  
The Subject ◽  
And Performance ◽  
The Voice ◽  
Recorded Performance ◽  
Organizing Principles

In recent years, music analysts have grappled with the sonic strategies from popular expressions that evade traditional notation. Their approaches often rely on harmonic spectrographs or various textual tools to decode the creative mechanics of these art forms. But for many practices with innate musicality—such as spoken-word poetry—these common techniques make limited explanatory headway. This article proposes an alternate path to fill the gaps: Adopt an analytic perspective, grounded in phenomenology, that listens for the musical subject’s negotiation of embodiment through their calculated treatment of timbre in the voice. Here, the analyst traces their perception of the subject’s bodily resonance through diagrams called timbral maps. And through these maps, two key concepts are discovered that structure the creator’s interior logic: timbral surfaces and timbral moments. Surfaces and moments are built into recognizable patterns, which in turn disclose the methods of these artists as lucid on their own terms. This “surface-moment” model is prototyped using a recorded performance of “This Clouded Heart” by the grunge-era Seattle poet and performance artist Steven Jesse Bernstein. The model reveals several stylistic tactics honed by Bernstein through his play with resonant shifts, but more significantly, argues for recasting timbre in analytic contexts: first, as a sustained and winding musical dimension, able to unfurl like other large-scale organizing principles; and second, as a heuristic capable of engaging listeners in an empathetic web between themselves and the subject through the mimetic connection of their bodies.

scholarly journals Effectiveness Analysis on Human-Machine Information Interaction of Intelligent Highway

2022 ◽  
Vol 2022 ◽  
pp. 1-9
Author(s):  
Yicheng Zhou ◽  
Tuo Sun ◽  
Shunzhi Wen ◽  
Hao Zhong ◽  
Youkai Cui ◽  
...  
Keyword(s):  
Early Warning ◽  
Information Structure ◽  
Driving Simulator ◽  
Eye Tracker ◽  
Long Distance ◽  
Information Interaction ◽  
Driving Assistance ◽  
Traffic Level ◽  
The Voice ◽  
Low Traffic

Different human-machine collaboration modes and driving simulation tests with the orthogonal method considered are designed for a series of typical intelligent highway landscapes. The feedback of drivers under different interaction modes is evaluated through NASA-LTX questionnaire, driving simulator, eye tracker, and electroencephalograph (EEG). This optimal interaction mode (including voice form, broadcasting timing, and frequency) of each driving assistance scene in CVI (Cooperative Vehicle Infrastructure) environment under the conditions of high and low traffic is determined from subjective and objective perspectives. In accordance with feedback of these subjects on each set scene, the voice information structure of each assistance mode plays the most important role on drivers followed by the broadcasting timing and frequency. These broadcasts which provide good effects include scenarios such as various assistance scenes at curves and an early warning timing at a long-distance trip as well as a high early warning frequency; in addition, as for an exit-tip assistance scenario, a voice mode assistance is preferred; and for various speed assistance scenes, the beep mode is better. Furthermore, it is found that, at a higher traffic level but a short-distance trip, an early warning timing is favored generally for various scenes while under a low traffic level, a long-distance early warning timing is better.

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  
Keyword(s):  
Performance Practice ◽  
Piano Music ◽  
Traumatic Experiences ◽  
Special Role ◽  
Native Culture ◽  
History Of ◽  
The Subject ◽  
And Performance ◽  
The Many ◽  
Special Meaning

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

Dramatis Personae

2018 ◽  
Author(s):  
Susan Mitchell Sommers
Keyword(s):  
Birth Order ◽  
Formal Education ◽  
The Family ◽  
The Subject ◽  
The Voice ◽  
Official Records

This chapter introduces the family: father Edmund, a shoemaker turned bookseller, and his three or four wives, their social and religious status, questions of literacy and formal education. The children are introduced more or less in their birth order: Kezia, Ebenezer, Manoah, Job, and Charity. The difficulties of tracing women is discussed. Particular attention is paid to Kezia, who was the subject of one of Ebenezer’s astrological cases, and Charity, who left a decades-long trail through official records, marking her as one of the most economically savvy members of the family. Since many of the Sibly men took shorthand, there is a brief discussion of contemporary shorthand uses, accuracy, and to what extent shorthand takers preserved the voice of the speaker. Ebenezer’s daughter Urania is also introduced, though like Ebenezer and Manoah, she has her own chapter later in the work

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