About the Project
This project will address a research gap concerning the understanding of the combined use of 3D and 5G technologies to engage heritage audiences. The project will be novel in approach in that it will use a combination of 3D immersive audio and 5G technology to create heritage-specific content and to develop new audiences for the heritage sector. It will create a prototype environment for the creation, curation and dissemination of heritage-specific 3D audio. For this, it will combine the Innovate UK funded Brighton Digital Catapult 5G testbed for high-speed content streaming and low latency, Google Resonance Audio tools for 3D sound, the Echoes Creator for geolocative sound and outdoor Heritage locations in Brighton. This will work with ambisonics, user location, head-related transfer function (HRTF), environmental modelling to provide accurate convolution reverbs for immersive experiences, streaming multi-channel ambisonic audio, 5G technology and other emerging relevant audio and mobile technology. It will advance scientific solutions for achieving low latency spatial audio with 5G. A co-creation methodology will engage audiences and heritage partners throughout the design, production and evaluation process.
The project will analyse the user experience of heritage content when walking around urban outdoor heritage sites (e.g. Brunswick Square in Brighton) with specific headphones linked to a smartphone. They would listen a 3D sonic experience designed to convey information about the specific heritage context (including sounds, music and spoken words), something that could be imagined as an experience that includes features of 3D computer game sound, GPS sound walks, guided heritage tours and immersive AR/VR experiences.
This builds on existing research undertaken at Brighton on 3D immersive audio technology, GPS audio for heritage sector, 5G immersive experiences, augmented reality and cultural/heritage audience development though mobile/digital technologies (e.g. NetPark).
The doctoral project will aim to address the following research questions:
RQ1: What kind of heritage-specific content emerges through experimentation with 3D immersive audio in a 5G testbed?
RQ2: How could this help heritage institutions to engage new audiences and to understand in detail how they behave near cultural heritage (user movement, location, interaction data)?
RQ3: How do audiences experience heritage engagement when delivered through immersive 3D audio in public/urban spaces?
RQ4: What does a prototype public lab for the creation, curation and dissemination of 3D immersive audio look like and what can the heritage sector learn from it?
Methodology
Following a literature review, this project involves a 2-step experimentation phase to create a working setup/prototype environment. In the first step, this involves engaging with the key emerging technologies individually, including Echoes (https://echoes.xyz/), Google’s Resonance Audio (https://developers.google.com/resonance-audio/)
and the 5G testbed (https://www.digitalcatapultcentre.org.uk/tag/5g-brighton-testbed/), reviewing different HRTF techniques/models to find the best match for sonic AR, testing different IMUs (inertial measurement unit) to find the most accurate head-tracking technologies. The second step links these technologies, for example using multi-channel ambisonic (360º) recordings in a locative context to provide soundscapes which react to the orientation of the listener, combining ambisonics and location to enable users to move between ambisonic recordings, working with environmental modelling to provide accurate convolution reverbs to provide immersive experiences, streaming high-resolution 3D sound (4-16 channels) via 4G and 5G technology. This makes a contribution to achieving low latency spatial audio with 5G.
Co-design (beyond user-centred/ux design) will be a key feature of the methodology, including co-creation workshops with heritage and industry partners as well as members of the public (potential audiences). The 3D heritage audio content will be developed through an iterative process that includes user testing at all stages. The analysis of user data (movement, location, interaction) will also be key and will be done in R. Qualitative audience responses will also be collected (questionnaires or focus groups, observations) and the analysis will include triangulation between quantitative user data and qualitative audience response data. Overall, this methodology creates a prototype public lab for the creation, curation and dissemination of 3D immersive audio for the heritage sector.
The application should be submitted by email to: [Email Address Removed]
Please include all of the following:
• a covering letter (2–3 pages) including a clear explanation of your motivation for your proposed project
• a statement of your understanding of your eligibility
• a research proposal (approx. 2,000 words) including project research questions and methodology
• a full CV
• contact details for two academic references
• proof of English language proficiency where necessary.
Funding Notes
This project is a four-year integrated MRes/PhD studentship in the SEAHA Centre for Doctoral Training (www.seaha-cdt.ac.uk), funded by EPSRC, UCL, University of Brighton, University of Oxford, and SEAHA heritage and industrial partners.
The project is fully funded for UK resident students, comprising annual tuition fees for four years, as well as a doctoral stipend for the same period. You must have resided in the UK for three years before starting the studentship to receive funding for tuition fees and a stipend.
The project offers fees-only support for other EU students.
There is no funding available for International applicants.
Continue with Facebook
