Factors Affecting the Accessibility of Voice Telephony for People with Hearing Loss: Audio Encoding, Network Impairments, Video and Environmental Noise

This paper describes four studies with a total of 114 individuals with hearing loss and 12 hearing controls that investigate the impact of audio quality parameters on voice telecommunications. These studies were first informed by a survey of 439 individuals with hearing loss on their voice telecommunications experiences. While voice telephony was very important, with high usage of wireless mobile phones, respondents reported relatively low satisfaction with their hearing devices’ performance for telephone listening, noting that improved telephone audio quality was a significant need. The studies cover three categories of audio quality parameters: (1) narrowband (NB) versus wideband (WB) audio; (2) encoding audio at varying bit rates, from typical rates used in today's mobile networks to the highest quality supported by these audio codecs; and (3) absence of packet loss to worst-case packet loss in both mobile and VoIP networks. Additionally, NB versus WB audio was tested in auditory-only and audiovisual presentation modes and in quiet and noisy environments. With WB audio in a quiet environment, individuals with hearing loss exhibited better speech recognition, expended less perceived mental effort, and rated speech quality higher than with NB audio. WB audio provided a greater benefit when listening alone than when the visual channel also was available. The noisy environment significantly degraded performance for both presentation modes, but particularly for listening alone. Bit rate affected speech recognition for NB audio, and speech quality ratings for both NB and WB audio. Packet loss affected all of speech recognition, mental effort, and speech quality ratings. WB versus NB audio also affected hearing individuals, especially under packet loss. These results are discussed in terms of the practical steps they suggest for the implementation of telecommunications systems and related technical standards and policy considerations to improve the accessibility of voice telephony for people with hearing loss.

Examining the digital renewal of news communication: A categorization of presentation modes in digital journalism

Our daily dealings with media products are shaped by the use of generic designations such as journalistic presentation modes, for example, news, commentary, and Instagram-story. Yet, scholarship has examined presentation modes only selectively and lacks empirical investigations in this domain. Based on literature and a quantitative content analysis of jury protocols of the German online journalism award “Grimme Online Award,” this article explores how presentation modes are constructed and further develops a framework for a categorization of presentation modes with eight dimensions: Content and Function, Author, Sources, Periodicity, Material Substrate, Structure, Media, and Interactive-Engagement Elements. This study is the first to empirically assess journalistic presentation mode dimensions and manifestations.

"We Never Knew": The Differences between Museum History and Academic History Explored through an Exhibition of the New Zealand Wars

<p>Public history and academic history have been viewed both as opposites, two practices related only by their concern with sharing the past, as well as conceptualised as similar fields with close connections to each other. Museum history exhibitions are an obvious example of public history in action. However, is the history that exhibitions present all that different from what is produced in the academy, or is this history academia in another form? Initially this dissertation aimed to explore the relationships between academic and public histories as discipline and practice, assuming a relationship rather than divide between the two fields as suggested in some of the literature. However, the eventual results of the research were different than expected, and suggested that in fact public histories manifest very differently to academic histories within a museum context. Using an adapted ethnographic research methodology, this dissertation traces the development of a single history exhibition, "Te Ahi Kā Roa, Te Ahi Kātoro Taranaki War 1860–2010: Our Legacy – Our Challenge", from its concept development to opening day and onwards to public programmes. This exhibition opened at Puke Ariki in New Plymouth in March 2010, and was a provocative display not only of the history of the wars themselves, but of the legacy of warfare in the Taranaki community. Other methods include partially structured interviews which were conducted with ten people involved in creating this exhibition, who outlined their roles in its production and provided their views on its development, and also a brief analysis of the broader social and historical context in which the exhibition was staged. Through tracing the creation of this history, the findings suggested that the history produced at Puke Ariki is a history in its own right, with noticeable differences from academic histories. The strongest correlation between public and academic history in this instance was the shared aspiration to be rigorous in conducting research and, as far as possible, to create an accurate portrayal of the past. Otherwise the history created by Puke Ariki through the exhibition proved to be different in that it was deliberately designed to be very accessible, and it utilised a number of presentation modes, including objects, text, audiovisual and sound. It was interactive, and had a clear aim of enabling the audience to participate in a discussion about the history being presented. Finally, it was a highly politicised history, in that decision making had to be negotiated with source communities in a collaborative fashion, and issues of censorship worked through with the council, a major funding source. The dissertation concludes that producing history in a museum context is a dynamic and flexible process, and one that can be successful despite not necessarily following theoretical models of exhibition development.</p>

"We Never Knew": The Differences between Museum History and Academic History Explored through an Exhibition of the New Zealand Wars

<p>Public history and academic history have been viewed both as opposites, two practices related only by their concern with sharing the past, as well as conceptualised as similar fields with close connections to each other. Museum history exhibitions are an obvious example of public history in action. However, is the history that exhibitions present all that different from what is produced in the academy, or is this history academia in another form? Initially this dissertation aimed to explore the relationships between academic and public histories as discipline and practice, assuming a relationship rather than divide between the two fields as suggested in some of the literature. However, the eventual results of the research were different than expected, and suggested that in fact public histories manifest very differently to academic histories within a museum context. Using an adapted ethnographic research methodology, this dissertation traces the development of a single history exhibition, "Te Ahi Kā Roa, Te Ahi Kātoro Taranaki War 1860–2010: Our Legacy – Our Challenge", from its concept development to opening day and onwards to public programmes. This exhibition opened at Puke Ariki in New Plymouth in March 2010, and was a provocative display not only of the history of the wars themselves, but of the legacy of warfare in the Taranaki community. Other methods include partially structured interviews which were conducted with ten people involved in creating this exhibition, who outlined their roles in its production and provided their views on its development, and also a brief analysis of the broader social and historical context in which the exhibition was staged. Through tracing the creation of this history, the findings suggested that the history produced at Puke Ariki is a history in its own right, with noticeable differences from academic histories. The strongest correlation between public and academic history in this instance was the shared aspiration to be rigorous in conducting research and, as far as possible, to create an accurate portrayal of the past. Otherwise the history created by Puke Ariki through the exhibition proved to be different in that it was deliberately designed to be very accessible, and it utilised a number of presentation modes, including objects, text, audiovisual and sound. It was interactive, and had a clear aim of enabling the audience to participate in a discussion about the history being presented. Finally, it was a highly politicised history, in that decision making had to be negotiated with source communities in a collaborative fashion, and issues of censorship worked through with the council, a major funding source. The dissertation concludes that producing history in a museum context is a dynamic and flexible process, and one that can be successful despite not necessarily following theoretical models of exhibition development.</p>

Mechanism Linking AR-Based Presentation Mode and Consumers’ Responses: A Moderated Serial Mediation Model

The technological development of online product presentation modes (e.g., augmented reality, virtual reality) will greatly impact the future of e-retailing. The potential benefits of applying these new technologies for e-retailers need further investigation. Based upon the stimulus-organism-response (S–O-R) model, this study examines the effect of AR-based presentation modes on consumer patronage intention, with the mediating role of immersion, enjoyment, perceived product risk and attractiveness of the online store. Furthermore, it explores the moderating effect of technophilia that reflects consumers’ positive attitude towards technology. A single factor between-subject experiment study was conducted with a sample of 420 university students. Results suggest that the serial indirect effects of AR presentation on patronage intention through immersion/enjoyment/perceived product risk and attractiveness of online store are conditional upon the level of technophilia. Technophilia is a critical factor that explains consumers’ psychological and behavioral responses when they are using new technologies. The study provides new knowledge for e-marketing practitioners, as well as AR literature by indicating how and when new technology-based presentation works in evoking consumers’ patronage intention.

Subtitling 3D VR Content with Limited 6DoF: Presentation Modes and Guiding Methods

All multimedia services must be accessible. Accessibility for multimedia content is typically provided by means of access services, of which subtitling is likely the most widespread approach. To date, numerous recommendations and solutions for subtitling classical 2D audiovisual services have been proposed. Similarly, recent efforts have been devoted to devising adequate subtitling solutions for VR360 video content. This paper, for the first time, extends the existing approaches to address the challenges remaining for efficiently subtitling 3D Virtual Reality (VR) content by exploring two key requirements: presentation modes and guiding methods. By leveraging insights from earlier work on VR360 content, this paper proposes novel presentation modes and guiding methods, to not only provide the freedom to explore omnidirectional scenes, but also to address the additional specificities of 3D VR compared to VR360 content: depth, 6 Degrees of Freedom (6DoF), and viewing perspectives. The obtained results prove that always-visible subtitles and a novel proposed comic-style presentation mode are significantly more appropriate than state-of-the-art fixed-positioned subtitles, particularly in terms of immersion, ease and comfort of reading, and identification of speakers, when applied to professional pieces of content with limited displacement of speakers and limited 6DoF (i.e., users are not expected to navigate around the virtual environment). Similarly, even in such limited movement scenarios, the results show that the use of indicators (arrows), as a guiding method, is well received. Overall, the paper provides relevant insights and paves the way for efficiently subtitling 3D VR content.

Subtitling 3D VR Content with Limited 6DoF: Presentation Modes and Guiding Methods

Every (multimedia) service needs to be accessible. Accessibility for multimedia content is typically provided by means of access services, of which subtitling is likely the most widespread one. Up to date, many recommendations and solutions for subtitling classical 2D audiovisual services are available. Likewise, recent efforts have been devoted to devising adequate subtitling solutions for VR360 video content. This paper, for the first time, goes a step beyond, by exploring two key requirements to fulfill remaining challenges towards efficiently subtitling 3D Virtual Reality (VR) content: presentation modes, and guiding methods. By leveraging insights from earlier work on VR360 content, the paper proposes novel presentation modes and guiding methods to not only deal with the freedom to explore the omnidirectional scenes, but also with additional specificities of 3D VR compared to VR360 content: depth, 6 Degrees of Freedom (6DoF), and viewing perspectives. The obtained results prove that always-visible and a novel proposed comic-style presentation mode are far more appropriate than state-of-the-art fixed-positioned subtitles, mainly in terms of immersion, ease and comfort of reading, and identification of speakers, when applied to professional pieces of content with limited displacement of speakers and with limited 6DoF (i.e. users are not expected to largely navigate around the virtual environment). Likewise, even in such limited movement scenarios, the results show that the use of indicators (arrows), as guiding methods, is well received. Overall, the paper provides relevant insights and paves the way toward efficiently subtitling 3D VR content.

The trade-off between design fixation and quality: Physical objects or multiperspective pictures?

Physical objects and their pictures are two main kinds of design stimuli of creative activity, which can improve design quality but may induce design fixation. Previous studies are focused on the case where participants face a single picture, and their design stimulus may be incomplete as compared with the participants facing objects. To fully explore the influence of physical and pictorial examples on design novices, we investigated design fixation and design quality when they were provided with multiperspective pictures having information remarkably similar to physical objects. Specifically, two novice groups individually created their own designs after observing several examples by the way of the above two presentation modes. These designs were evaluated by two evaluators in terms of similarity, originality, and completeness. Statistical analysis showed that no significant difference was found in similarity and originality between the two groups, whereas the designs of the physical group outperformed those of the pictorial group in terms of completeness. This finding indicated that the two groups showed the same degree of design fixation, as multiperspective pictures presented most of the form information of the physical object. The results suggest that when instructing design novices, it is essential to control how to present design examples at different stages of the design process.

Testing Speech Perception with Cochlear Implants Through Digital Audio Streaming in a Virtual Sound Booth: A Feasibility Study

Objective For patients who have received cochlear implants (CIs), speech-perception testing requires specialized equipment. This limits locations where these services can be provided, which can introduce barriers for provision of care. Providing speech test stimuli directly to the CI via wireless digital audio streaming (DAS) or wired direct audio input (DAI) allows for testing without the need for a sound booth (SB). A few studies have investigated the use of DAI for testing speech perception in CIs, but none have evaluated DAS. The goal of this study was to compare speech perception testing in CI users via DAS versus a traditional SB to determine if differences exist between the two presentation modes. We also sought to determine whether pre-processing the DAS signal with room acoustics (reverberation and noise floor) to emulate the SB environment would affect performance differences between the SB and DAS. Design In Experiment 1, speech perception was measured for monosyllabic words in quiet and sentences in quiet and in noise. Scores were obtained in a SB and compared to those obtained via DAS with unprocessed speech (DAS-U) for 11 adult CI users (12 ears). In Experiment 2, speech perception was measured for sentences in noise, where both the speech and noise stimuli were pre-processed to emulate the SB environment. Scores were obtained for 11 adult CI users (12 ears) in the SB, via DAS-U, and via DAS with the processed speech (DAS-P). Results For Experiment 1, there was no significant difference between SB and DAS-U conditions for words or sentences in quiet. However, DAS-U scores were significantly better than SB scores for sentences in noise. For Experiment 2, there was no significant difference between the SB and DAS-P conditions. Similar to Experiment 1, DAS-U scores were significantly better than SB or DAS-P scores. Conclusions By pre-processing the test materials to emulate the noise and reverberation characteristics of a traditional SB, we can account for differences in speech-perception scores between those obtained via DAS and in a SB.

Web-based Exploration of Annotated Multi-Layered Relightable Image Models

We introduce a novel approach for exploring image-based shape and material models registered with structured descriptive information fused in multi-scale overlays. We represent the objects of interest as a series of registered layers of image-based shape and material data. These layers are represented at different scales and can come out of a variety of pipelines. These layers can include both Reflectance Transformation Imaging representations, and spatially varying normal and Bidirectional Reflectance Distribution Function fields, possibly as a result of fusing multi-spectral data. An overlay image pyramid associates visual annotations to the various scales. The overlay pyramid of each layer is created at data preparation time by either one of the three subsequent methods: (1) by importing it from other pipelines, (2) by creating it with the simple annotation drawing toolkit available within the viewer, and (3) with external image editing tools. This makes it easier for the user to seamlessly draw annotations over the region of interest. At runtime, clients can access an annotated multi-layered dataset by a standard web server. Users can explore these datasets on a variety of devices; they range from small mobile devices to large-scale displays used in museum installations. On all these aforementioned platforms, JavaScript/WebGL2 clients running in browsers are fully capable of performing layer selection, interactive relighting, enhanced visualization, and annotation display. We address the problem of clutter by embedding interactive lenses. This focus-and-context-aware (multiple-layer) exploration tool supports exploration of more than one representation in a single view. That allows mixing and matching of presentation modes and annotation display. The capabilities of our approach are demonstrated on a variety of cultural heritage use-cases. That involves different kinds of annotated surface and material models.