Michele Geronazzo

This article introduces the concept of Entangled Twins (ETs) as an interdisciplinary framework emerging from a sustained dialogue between Human–Computer Interaction (HCI) research and phenomenological philosophy. Building on the Digital Twin (DT) paradigm while critically reworking its representational logic, ETs are conceived as relational configurations in which human users and AI-driven systems become dynamically entangled, with significant implications for agency, responsibility, and human-centered design. The theoretical framework draws on phenomenological analyses of intersubjectivity and embodiment (Husserl, Merleau-Ponty, and Sartre) together with design-oriented concerns in HCI. Within this perspective, human–machine interaction is conceptualized in terms of a We-subject: a plural and co-constituted configuration of agency. Through this interdisciplinary approach, a prototypical audio-augmented experience is examined as a phenomenologically informed case, elucidating the conditions under which human–machine entanglement can emerge. On this basis, the paper argues that ETs raise distinctive questions concerning responsibility and agency, articulating an ethics of entanglement capable of informing the human-centered aspirations of Industry 5.0.

This article introduces an analytical framework for modeling head-related transfer functions (HRTFs) from a listener-centered perspective. The distinction between strong (or general) HRTFs, aiming for idealized physical acoustic fidelity, and weak (or narrow) HRTFs, prioritizing perceptual adequacy in task-specific contexts, frames the contrast in multiple distinctive definitions and scientific methodologies by drawing inspiration from the debate in artificial intelligence. The proposed formalism adopts a Bayesian structure that models HRTFs through a state-space formulation capturing anatomical, contextual, experiential, and task-related factors: the eHRTF. The “e” emphasizes the egocentric perspective, transforming HRTFs from static measurements into mutable auditory representations continuously updated through the listener’s feedback. Satisfaction regions are defined in probabilistic terms and characterize how different classes of HRTFs, i.e., individual, generic, super, and personalized, meet perceptual requirements under varying tasks and their complexity.

Machine learning (ML) has become pervasive in various research fields, including binaural synthesis personalization, which is crucial for sound in immersive virtual environments. Researchers have mainly addressed this topic by estimating the individual head-related transfer function (HRTF). HRTFs are utilized to render audio signals at specific spatial positions, thereby simulating real-world sound wave interactions with the human body. As such, an HRTF that is compliant with individual characteristics enhances the realism of the binaural simulation. This survey systematically examines the HRTF individualization works based on ML proposed in the literature. The analyzed works are organized according to the processing steps involved in the ML workflow, including the employed dataset, input and output types, data preprocessing operations, ML models, and model evaluation. In addition to categorizing the works of the existing literature, this survey discusses their achievements, identifies their limitations, and outlines aspects that require further investigation at the crossroads of research communities in acoustics, audio signal processing, and machine learning.

Nowadays, Virtual and Augmented Reality technologies play a supportive role in many research fields. In cultural heritage, various examples are available, including storytelling and narratives, where they can provide immersive and enhanced experiences to visitors and tourists, especially for entertainment and educational purposes. This review aims to investigate the opportunities that soundscape design and advanced sonic interactions in virtual and augmented environments can bring to cultural heritage sites and museums in terms of presence, emotional content, and cultural dissemination. Nineteen-two papers have been identified through the PRISMA methodology, and a promising positive effect of sonic interaction on user experience in a virtual environment can be observed in various studies, notwithstanding a general lack of specific contributions on the use of sound rendering and audio spatialisation for improving such experiences. Moreover, this work identifies the main involved research areas and discusses the state-of-the-art best practices and case studies where sonic interactions may assume a central role. The final part suggests possible future directions and applications for more engaging and immersive storytelling in the cultural heritage domain.

Immersive audio technologies require personalized binaural synthesis through headphones to provide perceptually plausible virtual and augmented reality (VR/AR) simulations. We introduce and apply for the first time in VR contexts the quantitative measure called premotor reaction time (pmRT) for characterizing sonic interactions between humans and the technology through motor planning. In the proposed basic virtual acoustic scenario, listeners are asked to react to a virtual sound approaching from different directions and stopping at different distances within their peripersonal space (PPS). PPS is highly sensitive to embodied and environmentally situated interactions, anticipating the motor system activation for a prompt preparation for action. Since immersive VR applications benefit from spatial interactions, modeling the PPS around the listeners is crucial to reveal individual behaviors and performances. Our methodology centered around the pmRT is able to provide a compact description and approximation of the spatiotemporal PPS processing and boundaries around the head by replicating several well-known neurophysiological phenomena related to PPS, such as auditory asymmetry, front/back calibration and confusion, and ellipsoidal action fields.

Every individual perceives spatial audio differently, due in large part to the unique and complex shape of ears and head. Therefore, high-quality, headphone-based spatial audio should be uniquely tailored to each listener in an effective and efficient manner. Artificial intelligence (AI) is a powerful tool that can be used to drive forward research in spatial audio personalization. The SONICOM project aims to employ a data-driven approach that links physiological characteristics of the ear to the individual acoustic filters, which allows us to localize sound sources and perceive them as being located around us. A small amount of data acquired from users could allow personalized audio experiences, and AI could facilitate this by offering a new perspective on the matter. A Bayesian approach to computational neuroscience and binaural sound reproduction will be linked to create a metric for AI-based algorithms that will predict realistic spatial audio quality. Being able to consistently and repeatedly evaluate and quantify the improvements brought by technological advancements, as well as the impact these have on complex interactions in virtual environments, will be key for the development of new techniques and for unlocking new approaches to understanding the mechanisms of human spatial hearing and communication.

Directivity and gain in microphone array systems for hearing aids or hearable devices allow users to acoustically enhance the information of a source of interest. This source is usually positioned directly in front. This feature is called acoustic beamforming. The current study aimed to improve users’ interactions with beamforming via a virtual prototyping approach in immersive virtual environments (VEs). Eighteen participants took part in experimental sessions composed of a calibration procedure and a selective auditory attention voice-pairing task. Eight concurrent speakers were placed in an anechoic environment in two virtual reality (VR) scenarios. The scenarios were a purely virtual scenario and a realistic 360° audio-visual recording. Participants were asked to find an individual optimal parameterization for three different virtual beamformers: (i) head-guided, (ii) eye gaze-guided, and (iii) a novel interaction technique called dual beamformer, where head-guided is combined with an additional hand-guided beamformer. None of the participants were able to complete the task without a virtual beamformer (i.e., in normal hearing condition) due to the high complexity introduced by the experimental design. However, participants were able to correctly pair all speakers using all three proposed interaction metaphors. Providing superhuman hearing abilities in the form of a dual acoustic beamformer guided by head and hand movements resulted in statistically significant improvements in terms of pairing time, suggesting the task-relevance of interacting with multiple points of interests.

Mobile virtual reality (VR) is increasingly becoming popular and accessible to everyone that holds a smartphone. In particular, digital didactics can take advantage of natural interaction and immersion in virtual environments, starting from primary education. This paper investigates the problem of enhancing music learning in primary education through the use of mobile VR. To this end, technical and methodological frameworks were developed, and were tested with two classes in the last year of a primary school (10 years old children). The classes were involved in an evaluation study on music genre identification and learning with a multi-platform mobile application called VR4EDU. Students were immersed in music performances of different genres (e.g., classical, country, jazz, and swing), navigating inside several musical rooms. The evaluation of the didactic protocol shows a statistically significant improvement in learning genre characterization (i.e., typical instruments and their spatial arrangements on stage) compared to traditional lessons with printed materials and passive listening. These results show that the use of mobile VR technologies in synergy with traditional teaching methodologies can improve the music learning experience in primary education, in terms of active listening, attention, and time. The inclusion of pupils with certified special needs strengthened our results.

This paper deals with the issue of individualizing the head-related transfer function (HRTF) rendering process for auditory elevation perception. Is it possible to find a nonindividual, personalized HRTF set that allows a listener to have an equally accurate localization performance than with his/her individual HRTFs? We propose a psychoacoustically motivated, anthropometry based mismatch function between HRTF pairs that exploits the close relation between the listener’s pinna geometry and localization cues. This is evaluated using an auditory model that computes a mapping between HRTF spectra and perceived spatial locations. Results on a large number of subjects in the center for image processing and integrated computing (CIPIC) and acoustics research institute (ARI) HRTF databases suggest that there exists a nonindividual HRTF set, which allows a listener to have an equally accurate vertical localization than with individual HRTFs. Furthermore, we find the optimal parameterization of the proposed mismatch function, i.e., the one that best reflects the information given by the auditory model. Our findings show that the selection procedure yields statistically significant improvements with respect to dummy-head HRTFs or random HRTF selection, with potentially high impact from an applicative point of view.

This paper presents a multimodal interactive system for non-visual (auditory-haptic) exploration of virtual maps. The system is able to display haptically the height profile of a map, through a tactile mouse. Moreover, spatial auditory information is provided in the form of virtual anchor sounds located in specific points of the map, and delivered through headphones using customized Head-Related Transfer Functions (HRTFs). The validity of the proposed approach is investigated through two experiments on non-visual exploration of virtual maps. The first experiment has a preliminary nature and is aimed at assessing the effectiveness and the complementarity of auditory and haptic information in a goal reaching task. The second experiment investigates the potential of the system in providing subjects with spatial knowledge: specifically in helping with the construction of a cognitive map depicting simple geometrical objects. Results from both experiments show that the proposed concept, design, and implementation allow to effectively exploit the complementary natures of the “proximal” haptic modality and the “distal” auditory modality. Implications for orientation & mobility (O&M) protocols for visually impaired subjects are discussed.