Proceedings of ISon 2016, 5th Interactive Sonification Workshop, CITEC, Bielefeld University, Germany, December 16, 2016

SONIFYING THE PERIPHERY: SUPPORTING THE FORMATION OFGESTALT IN AIR TRAFFIC CONTROL
Niklas Rönnberg

Jonas Lundberg

Jonas Löwgren

Division for Media and Information
Technology
Linköping University
Norrköping, Sweden
niklas.ronnberg@liu.se

Division for Media and Information
Technology
Linköping University
Norrköping, Sweden
jonas.lundberg@liu.se

Division for Media and Information
Technology
Linköping University
Norrköping, Sweden
jonas.lowgren@liu.se

ABSTRACTWe report a design-led exploration of sonification to provide
peripheral awareness in air traffic control centers. Our
assumption is that by using musical sounds for sonification of
peripheral events, it is possible to create a dynamic soundscapethat complements the visual information to support the formationand maintenance of an airspace Gestalt throughout the air traffic
controller’s interaction. An interactive sonification concept was
designed, focusing on one controlled sector of airspace with
inbound and outbound aircraft. A formative assessment of thesonification concept suggests that our approach might facilitate
the air traffic controller’s work by providing complementary
auditory information about inbound and outbound aircraft,particularly in situations where the traffic volume is moderate tolow.
1.

INTRODUCTION

Each air traffic controller manages the flow of aircraft of adesignated airspace, a sector (see Figure 1), focusing on aircraft

moving within the sector as well as inbound and outbound traffic.
Other sectors can be on all sides, including above and below. The
primary information channel is the visual modality, and the air
traffic controller’s work is focused on the primary flight display(the “radar screen”), with additional information given on
adjacent displays [14]. Their most safety-critical task is to detect
potential situations where aircraft may get too close to each other.
Two main strategies are available, the first being to scan the
sector visually, inspect the status of each aircraft and optionallydisplay its flight path. The second strategy involves using a “timeto conflict/distance between aircraft” scatter plot to predict
conflicts and then inspect concerned aircraft and flight paths in amore focused manner [12, 13, 14]. In both cases, focal attention
on visual objects interplay with looking for specific situations
and with building and maintaining general awareness. This
notion of general situational awareness is a key element in air
traffic control, manifested for instance in handoff sequenceswhere an air traffic controller about to leave a shift waits for therelieving controller to declare that he/she has grasped “the big
picture” of the current airspace situation before actually passing
on formal control. The concept of Gestalt is quite common in

Figure 1. Anonymized rendering of a radar screen showing an airspace sector, modified by the authors forconfidentiality reasons. In this illustration, white aircraft are under the control of the air traffic controller for thesector. White aircraft with green text are outbound aircraft that have not yet been taken over by the next air traffic
control sector. Green air crafts are outbound aircraft under control of another sector. Light grey aircraft are notinbound to the sector, and light blue aircraft are inbound to the sector.

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Proceedings of ISon 2016, 5th Interactive Sonification Workshop, CITEC, Bielefeld University, Germany, December 16, 2016

design as well as psychology, referring to a holistic sense of an
overall composition that goes beyond a simple sum of theconstituent parts, and we find it to be an apt metaphor for the air
traffic controllers’ “big picture”. It is built from focal information(aircraft currently in the controlled sector) as well as peripheral(aircraft about to enter and leave the sector) and as we shall see
below, the current tools for visual presentation and navigation ofthis information are not ideal for forming and maintaining theGestalt of the airspace situation in its entirety.
Aircraft are represented on the radar screen as symbols,
usually squares with trailing dots indicating e.g. air speed, of
airplanes, colour coded to indicate priority and with associatedtext information (see Figure 1). In the system used for this study,
airplanes inbound to the airspace sector have one colour, while
outbound airplanes have another colour. Adjacent displays
provide similar information in the form of text lists. The primarymodality for the air traffic controller is consequently the visual,and the demands are high on the ability to quickly andsystematically shift the focus of visual attention between aircraftin and near the sector, to continually rebuild awareness and theGestalt of the current situation.
Bromma airport is located south of Stockholm, Sweden. The
airspace sector around Bromma is controlled by the air traffic
control center located near Arlanda airport north of Stockholm.
This airspace sector has aircraft inbound to and outbound from
Bromma airport, passing aircraft inbound to and outbound from
Arlanda airport, as well as passing aircraft in all directions. At
certain times during a day there are several aircraft inbound forBromma within a short period of time. Some of these aircraft
come from the south of Sweden, some from the north, some areinbound from Finland in the east, some are inbound from Norway
in the west, and finally some are inbound from Denmark in thesouth west. In addition to this there is air traffic passing throughthe sector. In order to plan flight routes, the air traffic controller
constantly has to move the center-point of the radar screen andzoom in or out while trying to grasp and keep in mind the speed,
distance, and route of all inbound, outbound, and passing aircraft.
In order to maintain good control of the airspace sector, when theload on the controller gets too high, the sector is usually divided
into one outer sector and one inner sector that is closer toBromma airport, and thus the airspace sector is controlled by two
air traffic controllers.
Air traffic controllers need a grasp of the Gestalt of theairspace – the big picture, a sense of an organic and dynamicallyshifting whole – in order to do their work properly. The tools
currently at their disposal, with much required overhead in termsof zooming and center-point-shifting and with an exclusive
orientation to the visual modality, do not entirely support theformation and maintenance of a workable airspace Gestalt. Thisis the starting point for the work reported here.
The visual information could be supplemented with auditory
information to better support the airspace Gestalt formation andmaintenance. The aural modality might be described as anotherset of eyes and ears [16], and would consequently provide abenefit for the air traffic controller. In spite of this, auditory
presentation is rather underexploited in today’s air traffic control
environment. Continued digitalization of the whole system is
expected to reduce the use of voice to communicate andcoordinate even more. Sounds in the current interface are used as
warnings or alerts, but they do not contribute holistically to thebig picture of the airspace. The existing interface sounds are more
often perceived as distracting and annoying than as meaningful
and connotative, and sometimes the air traffic controller evenmutes them.
We postulate that it is possible to use musical sounds to createa soundscape that sonifies peripheral events and thereby

complements the visual information to support the formation andmaintenance of an airspace Gestalt. As stated previously in thispaper, the main drawback of current tools is that they require
extensive manipulation, for the air traffic controller to collect all
the information needed to build and maintain a Gestalt sense of
the airspace. This disrupts the flow of the work. The notion of“all the information” entails focal information (aircraft currently
in the sector for which the air traffic controller is responsible) as
well as peripheral (aircraft inbound the sector and aircraft about
to leave the sector). Our approach is to complement existingvisual presentations and tools with aural information, i.e. thesonification, thus forming a multimodal information presentation
hopefully better suited for building and maintaining the Gestalt.
The overall concept is to keep the focal information visual and tosonify the peripheral information. We expect this approach toenable maintained concentration on focal tasks but withincreased peripheral awareness. Ideally, this would also lead toless cognitive load in the visual modality.
2.

SKETCHING SONIFICATION FOR AIR TRAFFICCONTROLAny sonification must coexist with radio calls to and fromaircraft, as well as internal communication within the air traffic
control center. Therefore, the sonification must be designed to betransparent and ambient, informing about peripheral events
without being disruptive [8], in order to avoid competition withexisting sounds. Our interest lies therefore within sonification as
a complementary modality [15]. Furthermore, the sonificationmust be designed to provide auditory information without taxing
the cognitive system of attention, but allowing the air traffic
controller to maintain concentration on the visual tasks.
In order for a sonification to be perceived and experienced,
creating a meaningful soundscape of peripheral events, without
requiring additional cognitive resources to be allocated, thesonification should be heard but not listened to. Hearing can be
regarded as a mainly passive function that provides access to theauditory world via perception of sounds. Listening can then be
viewed as a higher order function that requires intention andattention [11] which in turn draws on cognitive resources. A
successful sonification for an air traffic control center should be
experienced holistically and peripherally, and consequently themeaning in the sonification should come out of hearing it rather
than attentively listening to it.
The design process was initiated with an informal
observational study of an air traffic control center. This gave
valuable insights into the air traffic controller’s work, the air
traffic control tools, and the air traffic control center
environment. The primary outcome of this observational study
was in identifying situations where the air traffic controller had
to change focus, zoom in or out, or move the center-point of theradar screen in an attempt to get a sufficient overview of theairspace (see Figure 1). These situations were specifically foundwhile identifying inbound aircraft that had not yet appeared on
the default presentation setting on the radar screen. Anothersituation that seemed to pose a heavy load on the visual modality
was in keeping track of outbound aircraft that had been handed
over by the air traffic controller but not yet accepted by thecontroller of the next sector.
Next, an interactive sonification concept was sketched bysonifying a 30-minute video recording of a radar screen, focusing
on 1) aircraft inbound to the controlled sector and 2) aircraft
outbound of the controlled sector (see blue inbound aircraft andwhite outbound aircraft with green text in Figure 1). The concept
entailed the following three principles for the air traffic
controller’s interaction with the envisioned system. First, as soon

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Proceedings of ISon 2016, 5th Interactive Sonification Workshop, CITEC, Bielefeld University, Germany, December 16, 2016as the control of an inbound aircraft was transferred to the air
traffic controller of the controlled sector, the sonification of theaircraft stopped. Second, the sonification of the aircraft outboundof the sector was stopped as soon as the control of the aircraft
was accepted by the air traffic controller of the next sector. This
created something of an aural periphery, sonifying aircraft thatwere of interest for the air traffic controller but not in the current
focus of attention. Finally, aircraft that were at the center of the
air traffic controller’s attention were not sonified. Consequently,
the air traffic controller does not interact with the sonification perse, but rather uses the sonification as a part of the air traffic
control system. The airspace is sonified through actions andinteractions of the air traffic controller and air traffic controllers
in adjacent sectors, and reflects processes within the airspace. As
air traffic controllers (e.g. including actions of air traffic
controllers in adjacent sectors) interact with the traffic, they alsointeract with the sonification.
The sounds used in the sonification sketch were massed synth
strings, played softly with the high-frequency content somewhat
attenuated. The attack of the sound was accented with a soft
electronic piano sound. Even though some research suggests thatnatural real-world sounds might be better in a soundscape formonitoring and control [3, 9, 10], we chose to use musicalsounds. There are several reasons for this. Most significantly,
musical sounds when combined together create an emergent
musical timbre that make small and large volumes of aircraft
distinguishable. Furthermore, musical sounds create a changing
soundscape, which in turn brings meaning and significancewithout becoming constant and repetitive. Therefore, a musicalapproach has potential to work as an emergent whole, supporting
the formation of a Gestalt and hence appropriate awareness of theentire airspace. The first among the possible alternatives tomusical sonification would be to use the existing interface
sounds. However, it is easy to conclude that they would not workin concert to support the formation of meaningful wholes, since
they were designed as artificial alert signals corresponding to
specific events. They are therefore not viable elements of a newsoundscape intended to support an understanding of the airspace
Gestalt. They do still serve a purpose of sorts and a newsoundscape based on musical sounds would complement theexisting sounds without conflicting with them. A final alternativeis the use of ”natural” aircraft engine sounds, forming auditory
icons [5] of aircraft. We find that this alternative suffers fromsimilar shortcomings – it is dubious whether auditory icons inconcert would form a soundscape with meaningful holistic
characteristics, and the icons themselves could tend to suggest
inappropriate connotations of individual aircraft engine operation
status rather than mere peripheral presence.
The two musical sounds used in the sketch differed in pitch,
but were tuned and in the same tempo. For incoming aircraft, thepitches used were C4, G4, A3, F3, E4, C5, D3, A4 creating rather
pleasant harmonies with separable tones [4]. These tones weresteady with a slow variation of the overtone frequencies to createa slowly changing soundscape. As new aircraft of interest werediscovered by the radar, the tones alternated serially generatingchanging harmonies and chord patterns. For aircraft leaving thecontrolled sector, the pitch was one octave higher and in a slow
syncopated rhythm. In this design sketch, only eight inbound andoutbound aircraft could be sonified at the same time.
The sketch illustrates an attempt to design an interactive
sonification that would be conducive to the maintenance ofsituation awareness, since the emerging composition created by
inbound and outbound aircraft exhibit discernible variations inqualities such as harmony and complexity, while at the same time
forming a meaningful whole.

The reader is encouraged to listen to a short excerpt of thesonification sketch, to achieve a better understanding of thesonification. Unfortunately, for confidentiality reasons theoriginal video showing air traffic on the radar screen cannot bemade available online. The excerpt covers a time period in which
a total of nine aircraft are inbound to the controlled sector, andfour aircraft are outbound.
http://www.itn.liu.se/~nikro27/ison2016/ison2016_sample.mp3

3. FORMATIVE ASSESSMENT OF THE
INTERACTIVE SONIFICATION CONCEPTThe interactive sonification concept described above wasassessed in a focus group with three experienced licensed air
traffic controllers in collaboration with the Air Navigation
Services of Sweden (LFV). A focus group is well suited for a
formative evaluation in an early conceptual design phase such as
this. The focus group consisted of one woman and two men witha median age of 59 years (range 55 to 61) with a mean operational
air traffic controller service of 21.3 years (range 18 to 26), and amean additional years of work in LFV of 14.6 (range 6 to 20).
The participants of the focus group were selected due to theirlong experience of operational air traffic control service, as thiswas considered to give better insights into the qualities ofsonification in this specific setting. The focus group session was
initiated with a thorough description of the interactive
sonification concept, followed by a 15-minute demonstration of
the sketch.
The participants of the focus group were informed that the
primary purpose was to assess the idea of interactive sonification
as a concept, and to evaluate if sonification could lead to a betterawareness of the airspace as a whole, rather than evaluating thedetailed design choices of sounds, tones and intervals used in thesketch. The secondary aim was then to discuss possible
proposals, improvements and new complementary ideas to theconcept, such as targets for sonification, the patterns ofinteraction between the sonification and the air traffic controller
as well as between the sonification and the existing air-traffic
control interface. The participants were free to describe anddiscuss their impressions of the sonification sketch without any
intervention of the moderator. The focus group discussion tookapproximately 60 minutes. The discussion was recorded andtranscribed for subsequent analysis using qualitative induction.
The overall finding from the assessment suggests thatsonification may be a valid way to provide information about
peripheral inbound aircraft to the air traffic controller, and that
this extra information would facilitate the air traffic controller’swork. It was also found that using sonification to remind the air
traffic controller about outbound aircraft may provide useful
information about aircraft that easily could be overlooked orforgotten. On a broad scale, then, the interactive sonification
concept introduced here seems to have some potential for
supporting air traffic controllers in forming and maintaining theairspace Gestalt. Moreover, it was pointed out that the lack ofsonification in completely controlled situations is a benefit, by
virtue of creating a dynamic variation between sound and silence,and thus counteracting the risk of perceiving a constantsoundscape as stressful or starting to ignore it due to habituation.
However, an equally important finding concerned situations
with high amounts of air traffic. In such situations, the need forsonification was considered as less, compared to situations when
the air traffic is at medium or low levels. The reason is that during
periods of high-volume air traffic, the air traffic controller isprepared and aware of the traffic. Under such conditions, theairspace kept under immediate surveillance is probably
diminished, and the time period for planning ahead is most likely

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Proceedings of ISon 2016, 5th Interactive Sonification Workshop, CITEC, Bielefeld University, Germany, December 16, 2016shortened as well. The Gestalt of the airspace, even if the airspaceis reduced in size, is then created and maintained via extensive
work with visual information, requiring high cognitive demands.
Under such conditions, it was suggested that a sonification
constantly indicating inbound aircraft would not assist the air
traffic controller but rather add negatively to the overall input
load. It was proposed that the sonification should be muted
during high-volume traffic, as the amount of radio calls as wellas possible alerts and warnings would be increased. On the other
hand, during periods of medium to low air traffic, when the air
traffic controller’s attention and concentration decreases,
sonification could beneficially be used to provide peripheral
information as well as reminders about upcoming tasks andevents. The interactive sonification concept was therefore
considered to provide an interesting extra dimension.
Moreover, it was made clear in the focus group that the air
traffic control environment is different in different places.
Therefore, the uses and benefits of sonification might differ. The
air traffic control environments in Sweden are rather quiet andcalm, and sonification was therefore regarded as potentiallyrelevant for most environments in Sweden, such as air traffic
control centers, but particularly for tower and multiple remote
towers.
Interestingly, the interactive sonification concept aspresented in the sketch was not considered to provide a complete
Gestalt of the airspace together with the visual information, due
to the lack of spatial information provided by the sonification. It
was suggested that spatial audio information could be beneficial
to the air traffic controller. However, the use of headphones or
speakers might be restricted in different air traffic control
environments, but it was suggested that such a technique could
be useful in multiple remote towers. Spatial audio information
provided via headphones, for example, could give implicit
support to orient the air traffic controller’s attention in the right
direction.
Moving on to the details of the proposed sonification andsuggested improvements, it was noted that there might be a needto make changes more clearly discernible in the overallsoundscape. Changes in dynamics, i.e. changes in amplitude,
were discussed as well as differences between the extremes quiet
and sound. To illustrate this, an example was suggested of an
inbound aircraft that is sonified at a low amplitude when it is far
from the control sector, but with increased amplitude as distancedecreases. The harmonic content was also mentioned andsuggested to be part of the information carrier in the sonification.
The harmony could, for example, become more dissonant when
events need attention and action from the air traffic controller.
However, it was clearly recognized that a more complex
interactive sonification, with information in several auditory
dimensions including amplitude, timbre and harmony, would
pose considerable demands on the air traffic controller’s ability
to interpret and act upon the resulting soundscape. Any extensionof the proposed system in this direction would therefore requireappropriate education and training for air traffic controllers (as is
the case with any development of air traffic control systems, tobe sure).
4.

DISCUSSION

The formative assessment described above indicates that the
proposed concept may represent a fruitful step towards theintended goal of supporting air traffic controllers in forming andmaintaining a workable airspace Gestalt. As is normally the casewith these kinds of assessment methods, we also gain insightfrom domain experts on potentially useful directions in which toorient further developments and refinements. However, theresults of a focus group obviously do not represent empiricalground truth. In this concluding section, we aim to provide amore critical and balanced discussion of our concept, including
aspects that were not addressed in the formative assessment.
In the interest of reproducibility, the full 30-minutesonification sketch is available to download for researchers whowish to experiment with the design concept reported here.
http://www.itn.liu.se/~nikro27/ison2016/peripheralATC.mp3

4.1. Introducing audio to ATC
Contemporary air traffic control is completely dominated byvisual information, and probably for good reason. As aconsequence, it can be assumed that air traffic controllers today
are selected for their visual abilities, among other things, but
certainly not for their aural abilities or their musical aptitude. It
might be the case that our proposed concept has considerable
ramifications in terms of recruitment policy, admission testing,and training regimes – which in that case would probably
represent an unrealistic cost/benefit trade-off. More development
and broader testing will be needed to ascertain the general fit ofairspace sonification with the existing organization, practices andstaff of contemporary air traffic control.
4.2. Interactive sonification and workload
The focus group findings seemed to indicate that interactive
sonification of peripheral information would be less appropriate
in high workload situations, and this may indeed be the case.
However, it is important to consider that the focus groupreactions were formulated in relation to a specific sonification
design as illustrated in the sketch. There is a multitude ofsonification design options waiting to be explored for highworkload situations, including ones aiming at reducing workloador providing ambient attention guidance to cope with unexpecteddevelopments. As mentioned above, amenable design
dimensions for such sonifications include amplitude as well as
timbre and harmony. Detailing those options would further open
possibilities for the air traffic controllers to interactively change
and adapt the sonification based on perceived workload. We arelooking forward to exploring this direction further in our ongoingwork.
4.3. Sonification research contributions
To the best of our knowledge, there are no published studies
focusing specifically on complementary sonification in air traffic
control. In relation to the existing literature on sonification, we
find that our present work may have some relevance in two
directions. First, we find the use of musical sounds to provide
opportunities somewhat lacking in approaches based on arbitraryor “natural” sounds, including the musical qualities of timbre,
harmony and rhythm. This reasoning is to some degree similar to
Barra et al. [2, 1] who used musical sounds, or an aesthetic
connotation to sounds on the border between music andbackground noise, rather than simple audio alarms to minimize
fatigue and annoyance to sonify web server performance forlong-term monitoring. Furthermore, musical structures have an
ability to convey a multitude of information to listeners quickly
and intuitively [17], suggesting that musical sounds are well
suitable for monitoring control systems such as air traffic control.
Second, even though the notion of peripheral sonification in itself
is far from new, we find that our choice of musical sonificationof an overwhelmingly visual task introduces some opportunities
to broaden our understanding of the concept. For instance, our26
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Proceedings of ISon 2016, 5th Interactive Sonification Workshop, CITEC, Bielefeld University, Germany, December 16, 2016

work points to new and exciting research questions concerning
the relative merits of continuous soundscapes compared withshort repetitive approaches [7] or strictly musical treatments [6].
4.4. Further applications
Within the domain of air traffic control, it is straightforward to
identify other potential uses of a complementary airspacesonification such as the one we propose here. Some examples
include supporting the formation of the “meta-Gestalt” required
for management of air traffic control and workload planning, andnonintrusive monitoring of the training of air traffic controllers
in simulator-based training centers as well as on-the-job training.
From a slightly broader point of view, it is reasonable toconsider the potential value of interactive peripheral sonificationin other domains that are structurally analogous to air traffic
control. Examples of such domains are readily found in, e.g.,other areas of transportation (road, maritime, rail), processcontrol and monitoring in industrial production.
5.

ACKNOWLEDGEMENTS

This work is supported by the Swedish Transport Administration,and the Air Navigation Services of Sweden (LFV).
6.

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