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© Institut für Hörtechnik und Akustik

A special day for the Institute of Hearing Technology and Acoustics (IHTA/ITA), was created by all active and former members of the Institute on Saturday, August 19, 2023, when they celebrated its 60th anniversary.

The Institute of Technical Acoustics was officially founded on January 2, 1964 under the leadership of Professor Wilhelm Janovsky and since then has had an impressive history in the research and development of acoustic technologies and hearing techniques. Over the years, outstanding individuals have taken the helm of the Institute, including Professor Heinrich Kuttruff in 1972, Professor Michael Vorländer in 1996, and finally Professor Janina Fels, who has headed the current Institute of Hearing Technology and Acoustics since 2020.
The anniversary celebration drew more than 120 former and active members of the institute who joined in a day full of festivities and activities. The event featured tours of the Institute’s facilities and demonstrations of current research topics highlighting advances and innovations in the field of acoustics and hearing technology. Of course, food, drinks and live music by the IHTA band were not to be missed to round out the festivities.

Special thanks were given to the Association for Technical Acoustics (GfTA), which contributed significantly to the organization and realization of this anniversary celebration. The GfTA is an association that focuses on the promotion of acoustics in Aachen, especially with regard to young talent. It made it possible that the event became an unforgettable event and supports and strengthens the community of the former and active members as well as the new generation in the field of acoustics.

© Institut für Hörtechnik und Akustik

For more on the anniversary celebration, visit the Acoustics Blog. Their goals as well as further information about the Association for Technical Acoustics and all current news and research projects of the Institute of Hearing Technology and Acousticsare available.

Professorin Janina Fels © Gottfried Behler, Janina Fels und Alexander Raake

A conference like a booster shot for the dynamics of basic research aiming to bridge the gap between auditory perception and cognition on the one hand and virtual reality on the other.

With recent developments in hardware and software technologies, audiovisual virtual reality (VR) has reached a high level of perceptual plausibility, which allows to overcome the limitations of simple laboratory situations. This creates good conditions to explore in a controlled way the ability to interact with a complex audiovisual scene – as a representation of an authentic life experience, for example, in a classroom, an open-plan office, or else as complex outdoor communication situations – depending on acoustic, visual, and other contextual factors. The applicability of the resulting scientific results in the immediate living environment, as well as their feedback for quality enhancement in interactive audiovisual virtual environments and quality assessment methods of the interface of the two disciplines are topics of the conference and the subject of research.
In response to these multidisciplinary challenges, university professor Janina Fels from the Chair of Hearing Technology and Acoustics at RWTH Aachen University invited researchers from the fields of acoustics, cognitive psychology and computer science to the first AUDICTIVE Conference from June 19 to 22, 2023. The goal here was to ensure interdisciplinary collaboration in basic research and to make possible synergy effects that cannot be achieved by a single discipline.

Currently, research efforts are mostly conducted separately within individual scientific research communities. This prevents cognitive psychology and acoustics from fully exploiting the enormous potential of VR to test and extend their existing theories in the more realistic, rich, and interactive virtual environments that can be created with the current state of the art in VR technology. At the same time, VR research can benefit from the knowledge of auditory perception and cognition to understand the important quality criteria that must be met to optimize user perception and cognitive performance, as well as subjective experience and (social) presence in a virtual environment. Due to the added value of the collaboration and research methods of the three disciplines, it is expected that research in the areas of hearing, auditory cognition, and VR can be elevated to a much higher level.

© Gottfried Behler, Janina Fels und Alexander Raake

The conference presentations offered fascinating insights into the future of human-computer interaction, auditory perception and virtual reality:

Professor Barbara Shinn-Cunningham of the Carnegie Mellon Institute elaborated in her presentation on how our brains perceive and evaluate the auditory world around us. It does this by using the interaction between voluntary top-down attention and involuntary bottom-up attention to focus on a speaker while processing new sound sources in our environment. In this talk, Professor Shinn-Cunningham explored how peripheral and central factors combine to determine communicative success, which is influenced by expected and unexpected sounds in everyday environments. She focused on the cortical networks that mediate competition for attention.

In his talk, Professor Frank Steinicke from the University of Hamburg presented the exciting development of the fusion of augmented reality (XR) and artificial intelligence (AI). He emphasized how these technologies enable seamless transitions between real and virtual worlds and have the potential to create immersive experiences.
Still, today’s immersive technology is decades away from the ultimate representation. However, the shortcomings of the human perceptual system, cognition, and motor skills can be exploited to bend reality to enable compelling immersive experiences. His talk presented several XR illusions that bring us closer to the ultimate fusion of intelligence and reality.

Professor Alexandra Bendixen from TU Chemnitz spoke about her research in auditory perception and sensing. She explained how she creates scenes with multiple interpretations and monitors listeners’ perception to investigate factors that stabilize auditory perception in ambiguous scenes. Recent combinations of auditory multistability with eye tracking have provided new insights into the interplay between auditory and visual multistability, with implications for our general understanding of scene analysis across all senses. When psychophysiological measurement logic is flipped, brain responses associated with sensory predictions can be used to evaluate certain aspects of virtual reality (VR), such as the appropriateness of VR latencies.

More information about the AUDICTIVE Conference is available on the official website.

Ray tracing simulation in the acoustic 3D model of Cluny III (Image: Lukas Aspöck, CC-BY 4.0).

What was it like back in the Middle Ages? Experiencing history and feeling the spirit of the times – musicologist Professor Stefan Morent from the University of Tübingen, together with his project team and in cooperation with the Institute for Hearing Technology and Acoustics at RWTH Aachen University, is reconstructing the soundscape of this era. At the center of the music-historical experiment is the monastic church of Cluny III between 1130 and 1790.

3D model of Cluny III. Black and dark gray parts show the still existing remains of the church (Image: Lukas Aspöck, CC-BY 4.0)

The Benedictine Abbey of Cluny was one of the most influential religious centers in Europe until the destruction of significant parts of the imposing building. Clergymen practiced their faith in its rooms: “Only through music and if the liturgy was performed flawlessly could a connection to God be established,” Professor Morent explains the monks’ conviction. But how did their singing sound in the spacious and magnificent halls?

Ensemble Ordo Virtutum during the recording session in the anechoic half-room of the institute (Photo: Lukas Aspöck, CC-BY 4.0)

Cluny III is a virtual version of the historical original, which enables a room-acoustic computer simulation. For this purpose, medieval choral songs of the ensemble Ordo Virtutum were recorded in IHTA’s laboratory – an anechoic room without reverberation. In real time, the singers experienced the reflections of the virtually constructed church space via headphones. This auralization makes it possible to embed the musical compositions in the architectural-historical context of their creation. But what role does the interaction of architecture and sound play for future spatial concepts? To answer this question, the recordings will be analyzed from a musicological point of view in further project steps in order to investigate the influence of architecture on the musical performance.