E. Rovithis, N. Moustakas, K. Vogklis, K. Drossos, and A. Floros, "Design Recommendations for a Collaborative Game of Bird Call Recognition Based on Internet of Sound Practices," in Journal of the Audio Engineering Society, vo. 69 (12), pp. 956-966, 2021, doi:
Citizen Science aims to engage people in research activities on important issues related to their well-being. Smart Cities aim to provide them with services that improve the quality of their life. Both concepts have seen significant growth in the last years and can be further enhanced by combining their purposes with Internet of Things technologies that allow for dynamic and large-scale communication and interaction. However, exciting and retaining the interest of participants is a key factor for such initiatives. In this paper we suggest that engagement in Citizen Science projects applied on Smart Cities infrastructure can be enhanced through contextual and structural game elements realized through augmented audio interactive mechanisms. Our interdisciplinary framework is described through the paradigm of a collaborative bird call recognition game, in which users collect and submit audio data that are then classified and used for augmenting physical space. We discuss the Playful Learning, Internet of Audio Things, and Bird Monitoring principles that shaped the design of our paradigm and analyze the design issues of its potential technical implementation.
A. Triantafyllopoulos, M. Milling, K. Drossos, and B. - W. Schuller, "Fairness and underspecification in acoustic scene classification: The case for disaggregated evaluations," in Proceedings of the 6th Detection and Classification of Acoustic Scenes and Events (DCASE) Workshop, pp. 70-74, Barcelona, Spain, 2021
Underspecification and fairness in machine learning (ML) applications have recently become two prominent issues in the ML community. Acoustic scene classification (ASC) applications have so far remained unaffected by this discussion, but are now becoming increasingly used in real-world systems where fairness and reliability are critical aspects. In this work, we argue for the need of a more holistic evaluation process for ASC models through disaggregated evaluations. This entails taking into account performance differences across several factors, such as city, location, and recording device. Although these factors play a well-understood role in the performance of ASC models, most works report single evaluation metrics taking into account all different strata of a particular dataset. We argue that metrics computed on specific sub-populations of the underlying data contain valuable information about the expected real-world behaviour of proposed systems, and their reporting could improve the transparency and trustability of such systems. We demonstrate the effectiveness of the proposed evaluation process in uncovering underspecification and fairness problems exhibited by several standard ML architectures when trained on two widely-used ASC datasets. Our evaluation shows that all examined architectures exhibit large biases across all factors taken into consideration, and in particular with respect to the recording location. Additionally, different architectures exhibit different biases even though they are trained with the same experimental configurations.
Konstantinos Drossos, Andreas Floros, Andreas Giannakoulopoulos, and Nikolaos Kanellopoulos, “Investigating the Impact of Sound Angular Position on the Listener Affective State”, IEEE Transactions on Affective Computing, Vol. 6, No. 1, pp. 27–42, 2015
Emotion recognition from sound signals represents an emerging field of recent research. Although many existingworks focus on emotion recognition from music, there seems to be a relative scarcity of research on emotion recognition fromgeneral sounds. One of the key characteristics of sound events is the sound source spatial position, i.e. the location of the sourcerelatively to the acoustic receiver. Existing studies that aim to investigate the relation of the latter source placement and theelicited emotions are limited to distance, front and back spatial localization and/or specific emotional categories. In this paper we analytically investigate the effect of the source angular position on the listener’s emotional state, modeled in the well–established valence/arousal affective space. Towards this aim, we have developed an annotated sound events dataset using binaural processed versions of the available International Affective Digitized Sound (IADS) sound events library. All subjective affective annotations were obtained using the Self Assessment Manikin (SAM) approach. Preliminary results obtained by processing these annotation scores are likely to indicate a systematic change in the listener affective state as the sound source angular position changes. This trend is more obvious when the sound source is located outside of the visible field of the listener.
Vassilis Psarras, Andreas Floros, Konstantinos Drossos, and Marianne Strapatsakis, “Emotional Control and Visual Representation Using Advanced Audiovisual Interaction”, International Journal of Arts and Technology, Vol. 4 (4), 2011, pp. 480-498
Modern interactive means combined with new digital media processing and representation technologies can provide a robust framework for enhancing user experience in multimedia entertainment systems and audiovisual artistic installations with non-traditional interaction/feedback paths based on user affective state. In this work, the ‘Elevator’ interactive audiovisual platform prototype is presented, which aims to provide a framework for signalling and expressing human behaviour related to emotions (such as anger) and finally produce a visual outcome of this behaviour, defined here as the emotional ‘thumbnail’ of the user. Optimised, real-time audio signal processing techniques are employed for monitoring the achieved anger-like behaviour, while the emotional elevation is attempted using appropriately selected combined audio/visual content reproduced using state-of-the-art audiovisual playback technologies that allow the creation of a realistic immersive audiovisual environment. The demonstration of the proposed prototype has shown that affective interaction is possible, allowing the further development of relative artistic and technological applications.