Sonic interaction design studies sound perception in active embodied contexts rather than passive listening

Evidence

Sonic interaction design is thus approached using knowledge from a number of fields, such as interactive arts, electronic music, cultural studies, psychology, cognitive sciences, and communication acoustics. It shifts the focus from reception-based psychoacoustic studies to studies of perception of sound in active, embodied, and emotionally engaging situations. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 2571

Categorization

• XREF: Parallels the shift in deep listening / soundscape work toward embodied, active listening. — connects to: Ordinary listening blends analytic and synthetic modes simultaneously — Eric J. Heller, Why You Hear What You Hear- An…, 2178; Interactive audio applets teach sound better than static text can; Acoustics, perception, and signal processing underpin sound-technology R&D (+6 more)
• corroborated: 2 independent passages support this claim — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 2571

Broader Connections

• Listening actively shapes the sound it perceives rather than merely registering it #corroborates (0.85) — Pauline Oliveros, Deep Listening, 346
• Room acoustics and presentation method alter how listeners perceive sounds #expands (0.80)
• Listeners verify perception by reproducing sounds, not narrating them #corroborates (0.75) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 505
• Sound reproduction quality depends on both physical acoustics and human perception #expands (0.72)