The workshop will run on March 9th from 2PM to 18PM
14–>14.45
10 mins talks plus discussion
Developing a 3D interface for sound corpus manipulation
in virtual environments, Matias Vilaplana Stark
Impact of Spatial and Communication Environments on Collabora-
tive Music-Making in Virtual Reality: Insights for Music Education
by Michael Oehler, Leonard Bruns, Benedict Saurbier, and Tray
Minh Voong,
Virtual Reality Music Training for CI Users: Insights and Design
Guidelines by Ali Adjorlu, Emil Sønderskov Hansen, Signe Marie
Kromann Kristiansen, and Stefania Serafin
15->15:45 10 mins talks plus discussion
Room Acoustics affects Immersivity and Musical Behaviour in Vir-
tual Renderings of Real-World Spaces by Marise van Zyl, Matthew
Wright, and Takako Fujioka
Effect of Real and Virtual Environmental Context on Loudness
Scaling by Jiajie Xiong, Leny Vinceslas, Vit Drga, and Ifat Yasin,
15:45 -> 16:15 – Cathered Break for all workshops
16:15->17 10 mins talks plus discussion
Auditory Materiality: Exploring Auditory Effects on Material
Perception in Virtual Reality by Bocheng Zhong, Seungwoo Je, and
Marcel Zaes Sagesser
Measuring Motor Planning using an Affordable Virtual Re-
ality Setup for Accessible Action-Perception Studies, by Roberto
Barumerli et al.
Investigating the Impact of Avatar Action Sounds on the Plau-
sibility Illusion in Virtual Reality, Peter Kurucz
Exploring the Impact of AI-Generated Speech on Avatar Per-
ception and Realism in Virtual Reality Environments, Anders
Bargum.
17: Keynote by Tifanie Bouchara.
18 Closing remarks
Sonic interaction design is defined as the study and exploitation of sound as one of the principal channels conveying information, meaning, and aesthetic/emotional qualities in interactive contexts. This field lies at the intersection of interaction design, and sound and music computing.
In the virtual reality community, the focus on research in topics related to auditory feedback has been rather limited when compared, for example, to the focus placed on visual feedback or even on haptic feedback. However, in communities such as the film community or the product sound design community, it is well known that sound is a powerful way to communicate meaning and emotion to a scene or a product.
The SIVE 2025 is the 8th of this series of workshops: https://sive.create.aau.dk/index.php/pasteditions/
This workshop’s main goal is to increase awareness among the virtual reality community of the importance of sonic elements when designing virtual/augmented/mixed reality environments (XR hereafter). We will also discuss how research in other related fields such as film sound theory, product sound design, sound and music computing, game sound design, and accessibility can inform designers of XR environments. Moreover, the workshop will feature state-of-the-art research on the field of sound for XR environments.
Submissions of research papers outlining ongoing research in interactive sound for virtual environments are welcome.
Topics can include, but are not limited to:
- Sound design and synthesis for XR environments
- Sound modeling and rendering for XR environments
- Multisensory (audio-visual and/or audio-haptics) interactions
- Gestural control and action-sound mapping in XR
- XR for Musical Expression
- Perception-action loop in multimodal XR
- Sound spatialisation and auralization
- Binaural sound and head-related transfer functions
- Headphones and speakers reproduction
- Mobile XR applications and technologies of interactive sonification
- Evaluation of user experience and sound quality
- Virtual prototyping of devices and interactions involving sound
- SIVE for accessibility
- Audio only SIVE
The submission website is: https://new.precisionconference.com (opening and advertised no later than a week before the submission deadline).
We consider three categories of contributions:
(C1) Papers should be 4-6 pages in length and prepared using the IEEE Computer Society conference-style format described at https://tc.computer.org/vgtc/publications/conference/. For accepted papers, authors must prepare a 5 minutes video to be delivered during the workshop.
(C2) Posters should be 2-4 pages in length and prepared according to the same template.
(C3) Demos should be 2-4 pages in length and prepared according to the same template, with an artefact shown at the conference.
Accepted papers/abstracts (all categories) will be included in the IEEE VR Workshop Proceedings and will be published on IEEE Xplore Digital Library (Scopus indexing service and more). Moreover, accepted XR testing scenarios will be hosted in a public repository linked to our SIVE official website (https://sive.create.aau.dk/)
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Important dates
– December 20th, 2024: Scientific Paper submission
– January 9th, 2025: Notification of Scientific Paper acceptance
– January 16th, 2025: Camera-ready material to be published in IEEE XPlore
– February 7th, 2025: Late Breaking Report submission
– February 14th, 2025: Notification of Late Breaking Report acceptance
– March 8th or 9th, 2025: Half-day onsite workshop
SCHEDULE
Early afternoon: quick papers presentations, max 5 minutes, followed by discussion
Late afternoon: poster session, demos
ORGANIZERS
Stefania Serafin sts@create.aau.dk
Ali Adjorlu adj@create.aau.dk
Florent Berthaut florent.berthaut@univ-lille.fr
Tifanie Bouchara tifanie.bouchara@universite-paris-saclay.fr
Federico Fontana federico.fontana@uniud.it
Michele Geronazzo michele.geronazzo@unipd.it
Dorte Hammershøi dh@es.aau.dk
Romain Michon romain.michon@inria.fr
Rolf Nordahl rn@create.aau.dk
Lorenzo Picinali l.picinali@imperial.ac.uk