Conference Agenda

This paper investigates how speculative sound design can employ metaphors as boundary objects to mediate shared understanding across users and designers. Because sound is ephemeral and difficult to describe, participants often rely on metaphor, drawing on nature, human behaviour, or emotion. We surveyed 72 people online to respond to textual prompts with descriptions of futuristic sound objects, and analysed their responses using several methods. We present results and outline suggestions for re-deploying sonic metaphors as design prompts, and discuss their potential to support sound design.

In a ReSilence (S+T+Arts) residency dedicated to the consequences of urban soundscapes on human movement, 36 sound-files and their spectral analyses were considered as examples of auditory intrusiveness (intended as a pre-conscious effect, anticipating conscious behaviors). These 36 sounds were used in three modules: a pilot experiment to study the influence of auditory intrusiveness on human movement; an installation, where the sound-files were triggered by the participants' movement qualities – moreover, their spectral analyses served as prompts to an image-generating GAN network; in the design of a smartphone app, where the 36 analyses allowed to study the spectral features to counteract, in order to lower the soundscape's intrusiveness (generating a background to change surrounding sounds' salience). Unified by the use of the 36 sounds, the three modules recreate the complexity of interactions between the first unconscious bodily reactions to intrusive sounds, and the subsequent unpredictability of behaviors arising from them.

Through Tower of Babel, a spatialized sound installation based on field recordings at the U.S.–Mexico border, we examine how sonic boundary objects translate bureaucratic infrastructures into embodied, perceptual encounters. The installation treats borders as culturally constructed virtual spaces rather than geometric lines, enabling movement across sonic channels and challenging fixed notions of data and identity. We argue that sound-driven artifacts can function as boundary objects in design contexts by mediating knowledge, exposing hierarchies, and fostering collective sense-making. These artifacts support cooperation across diverse stakeholders through sonic habitability: auditory conditions that reframe relations among human, technological, and environmental actors. While auditory perception enables shared recognition of structured and atmospheric information, the experiential knowledge of our sonic memory enables the same acoustic events to acquire different meanings depending on context and setting of the listener.

Sound-driven design requires shared objects to bridge disciplinary divides and support collaboration between diverse expertise. Boundary Objects and Intermediary Objects typically fulfil this need, yet the ephemerality of sound is in apparent conflict with the stability needed for this boundary work. However, we argue for extending the object beyond the ephemeral sound wave to encompass tools, user interfaces, methods, and lexicons that provide material persistence. To support this we develop an analytical framework combining BO and IO properties and apply it to a selection of sound design tools in the literature. We argue that the required interpretive flexibility and perceived stability arises through the inherent plasticity of listening: different stakeholders actively construct stable, relevant meaning through situated interpretation. We propose the term "Soundary Objects" for artefacts and processes where listening's plasticity is the key mechanism enabling boundary work in sound-driven design, suggesting directions for designing effective socio-technical mediation tools.

Soul Song Sensorium examines the negotiation between performer, technologist, and technology in the co-creation of a sound-driven wearable instrument. Initially imagined as a system translating gesture and voice into live sonic layers, the project evolved through iterative exchanges between what the performer envisioned, what was technically achievable, and what emerged unpredictably in practice. The technology frequently acted as a third actor whose behaviours, limitations, and resistances shaped both creative intention and aesthetic outcome. Rather than progressing through linear feature accumulation, the work advanced through attunement—paring back complexity, refining mappings, and learning to work with the system’s tendencies. Through this process, the Sensorium became a sonic boundary object mediating between embodied practice, technical design, and artistic interpretation. Our analysis identifies six interrelated themes characterising this negotiation: intention to attunement, listening as translation, technology as co-performer, evolving design threads, costume and space as ecology, and embodied co-authorship.

Prevailing accounts of co-design remain anchored in Western formal practice. This study repositions Indian folk music as a culturally embedded site of collaborative design. Drawing on Murphy’s anthropology of design and a grounded theory approach, we analysed 1,621 coded segments from interviews with 23 first-generation folk artists across 14 Indian states. We show that musicians function as cultural designers who translate lived experience and shared moral economies into adaptive musical forms through participatory routines: community observation, collective ideation, performance-based prototyping, and iterative calibration through audience feedback. We formalise these dynamics in the Cultural Co-Design Flow model, illuminating how layered semantics, vernacular resources, and formal architectures mediate continuity and situated change. Participants prioritised social transformation over commercial success, foregrounding alternative value systems and collective authorship. We argue for folk music as “co-designed cultural artifact,” with implications for decolonial design theory, plural intellectual-property regimes, and policy frameworks that sustain creative ecosystems.