Maham Riaz

• Maham Riaz, Cagri Erdem & Alexander Refsum Jensenius (2026). Inverse and indirect mappings in embodied AI systems in everyday environments. Frontiers in Computer Science. 7. doi: 10.3389/fcomp.2025.1603769. Fulltekst i vitenarkiv Vis sammendrag

  This paper explores how musicking technologies—interactive systems with musical properties—can enhance everyday public environments. We are particularly interested in investigating the effects of musical interactions in non-musical settings, such as offices, meeting rooms, and social work areas. Traditional music technologies (such as instruments) are built for goal-directed, conscious, and voluntary interactions. We propose a new perspective on embodied AI through systems that utilize indirect, inverse, unconscious, and, at times, involuntary interactions. Four different sound/music systems are examined and discussed with regard to their activity level: a reactive “birdbox,” a reactive painting, active self-playing guitars, and interactive music balls. All these systems are multimodal, containing sensors that detect various physical inputs to produce sound and light, and having varying levels of perceived agency. The paper explores differences between direct/indirect and regular/inverse embodied AI paradigms. This study demonstrates how minimalistic interactions have the potential to yield complex and engaging musicking experiences, challenging the norms of overly intricate AI implementations.

• Maham Riaz, Jinyue Guo, Cagri Erdem & Alexander Refsum Jensenius (2025). Where to Put That Microphone? A Study of Sound Localization in Ambisonics Recordings. I Angela McArthur, Emma-Kate Matthews & Tom Holberton (Red.), Proceedings of the 17th International Symposium on Computer Music Multidisciplinary Research. The Laboratory PRISM “Perception, Representations, Image, Sound, Music”. ISSN 9791097498061. s. 455–466. doi: 10.5281/ZENODO.17497086. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines the effects of microphone placement on sound localization in first-order Ambisonics recordings. Two microphone setups were used to capture a moving audio source in a lab environment. Array A, a tetrahedral microphone, was placed in the centre of the recording space. Array B consisted of four similar tetrahedral microphones charting a rectangular perimeter surrounding the space. Motion capture data of the moving sound source shows that anglegrams calculated from the Ambisonics recordings can be effectively used for sound localization. An additional perceptual listening study with binaural renders of the audio signals showed that the centrally-placed Array A provided superior localization. However, the corner-placed Array B performed better than expected.

• Maham Riaz, Jinyue Guo, Bilge Serdar Göksülük & Alexander Refsum Jensenius (2025). Where is That Bird? The Impact of Artificial Birdsong in Public Indoor Environments. I Mariana Seiça & Jordan Wirfs-Brock (Red.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. s. 344–351. doi: 10.1145/3771594.3771629. Fulltekst i vitenarkiv Vis sammendrag

  This paper explores the effects of nature sounds, specifically bird sounds, on human experience and behavior in indoor public environments. We report on an intervention study where we introduced an interactive sound device to alter the soundscape. Phenomenological observations and a survey showed that participants noticed and engaged with the bird sounds primarily through causal listening; that is, they attempted to identify the sound source. Participants generally responded positively to the bird sounds, appreciating the calmness and surprise it brought to the environment. The analyses revealed that relative loudness was a key factor influencing the experience. A too-high sound level may feel unpleasant, while a too-low sound level makes it unnoticeable due to background noise. These findings highlight the importance of automatic level adjustments and considering acoustic conditions in soundscape interventions. Our study contributes to a broader discourse on sound perception, human interaction with sonic spaces, and the potential of auditory design in public indoor environments.

• Maham Riaz, Ioannis Theodoridis, Cagri Erdem & Alexander Refsum Jensenius (2025). VentHackz: Exploring the Musicality of Ventilation Systems. I Doga Cavdir & Florent Berthaut (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.5281/zenodo.15698831. Fulltekst i vitenarkiv Vis sammendrag

  Ventilation systems can be seen as huge examples of interfaces for musical expression, with the potential of merging sound, space, and human interaction. This paper explores conceptual similarities between ventilation systems and wind instruments and explores approaches to “hacking” ventilation systems with components that produce and modify sound. These systems enable the creation of unique sonic and visual experiences by manipulating airflow and making mechanical adjustments. Users can treat ventilation systems as musical interfaces by altering shape, material, and texture or augmenting vents. We call for heightened attention to the sound-making properties of ventilation systems and call for action (#VentHackz) to playfully improve the soundscapes of our indoor environments.

• Maham Riaz, Jinyue Guo & Alexander Refsum Jensenius (2025). Comparing Spatial Audio Recordings from Commercially Available 360-degree Video Cameras. I Anthony L. Brooks, Domna Banakou & Slavica Ceperkovic (Red.), Proceedings of the 13th EAI International Conference on ArtsIT, Interactivity and Game Creation, ArtsIT 2024. Springer. ISSN 9783031972546. s. 160–172. doi: 10.1007/978-3-031-97254-6_12. Fulltekst i vitenarkiv Vis sammendrag

  This paper investigates the spatial audio recording capabilities of various commercially available 360-degree cameras (GoPro MAX, Insta360 X3, Garmin VIRB 360, and Ricoh Theta S). A dedicated ambisonics audio recorder (Zoom H3VR) was used for comparison. Six action sequences were performed around the recording setup, including impulsive and continuous vocal and non-vocal stimuli. The audio streams were extracted from the videos and compared using spectrograms and anglegrams. The anglegrams show adequate localization in ambisonic recordings from the GoPro MAX and Zoom H3VR. All cameras feature undocumented noise reduction and audio enhancement algorithms, use different types of audio compression, and have limited audio export options. This makes it challenging to use the spatial audio data reliably for research purposes.

• Jinyue Guo, Maham Riaz & Alexander Refsum Jensenius (2024). Comparing Four 360-Degree Cameras for Spatial Video Recording and Analysis, Proceedings of the Sound and Music Computing Conference 2024. SMC Network. ISSN 9789893520758. Fulltekst i vitenarkiv Vis sammendrag

  This paper reports on a desktop investigation and a lab experiment comparing the video recording capabilities of four commercially available 360-degree cameras: GoPro MAX, Insta360 X3, Garmin VIRB 360, and Ricoh Theta S. The four cameras all use different recording formats and settings and have varying video quality and software support. This makes it difficult to conduct analyses and compare between devices. We have implemented new functions in the Musical Gestures Toolbox (MGT) for reading and merging files from the different platforms. Using the capabilities of FFmpeg, we have also made a new function for converting between different 360-degree video projections and formats. This allows (music) researchers to exploit 360-degree video recordings using regular video-based analysis pipelines.

• Maham Riaz (2023). An Investigation of Supervised Learning in Music Mood Classification for Audio and MIDI. I Areti Andreopoulou & Braxton Boren (Red.), Proceedings of the Audio Engineering Society 155th Convention. Audio Engineering Society, Inc.. ISSN 9781713894667. Fulltekst i vitenarkiv Vis sammendrag

  This study aims to use supervised learning – specifically, support vector machines – as a tool for a music mood classification task. Four audio and MIDI datasets, each containing over four hundred files, were composed for use in the training and testing processes. Mood classes were formed according to the valence-arousal plane, resulting in the following: happy, sad, relaxed, and tense. Additional runs were also conducted with the linear discriminant analysis, a dimensionality reduction technique commonly used to better the performance of the classifier. The relevant audio and MIDI features were carefully selected for extraction. MIDI datasets for the same music generated better classification results than corresponding audio datasets. Furthermore, when music is composed with each mood associated with a particular key instead of mixed keys, the classification accuracy is higher.

• Maham Riaz & Anna-Maria Christodoulou (2023). Using SuperCollider with OSC Commands for Spatial Audio Control in a Multi-Speaker Setup. I Areti Andreopoulou & Braxton Boren (Red.), Proceedings of the Audio Engineering Society 155th Convention. Audio Engineering Society, Inc.. ISSN 9781713894667. Fulltekst i vitenarkiv Vis sammendrag

  With the ever-increasing prevalence of technology, its application in various music-related processes, such as music composition and performance, has become increasingly prominent. One fascinating area where technology finds utility is in music performance, offering opportunities for extensive sound exploration and manipulation. In this paper, we introduce an approach utilizing SuperCollider and Open Sound Control (OSC) commands in a multi-speaker setup, enabling spatial audio control for a truly interactive audio spatialization experience. We delve into the musicological dimensions of these distinct methods, examining their integration within a live performance setting to uncover their artistic and expressive potential. By merging technology and musicology, our research aims to unlock new avenues for immersive and captivating musical experiences.

• Maham Riaz, Finn Upham, Kayla Burnim, Laura Bishop & Alexander Refsum Jensenius (2023). Comparing inertial motion sensors for capturing human micromotion, Proceedings of the Sound and Music Computing Conference 2023. SMC Network . ISSN 9789152773727. doi: 10.5281/zenodo.8316051. Fulltekst i vitenarkiv Vis sammendrag

  The paper presents a study of the noise level of accelerometer data from a mobile phone compared to three commercially available IMU-based devices (AX3, Equivital, and Movesense) and a marker-based infrared motion capture system (Qualisys). The sensors are compared in static positions and for measuring human micromotion, with larger motion sequences as reference. The measurements show that all but one of the IMU-based devices capture motion with an accuracy and precision that is far below human micromotion. However, their data and representations differ, so care should be taken when comparing data between devices.

• Maham Riaz, Diana Hernandez Martinez & Agnieszka Roginska (2022). Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music, Proceedings of the Audio Engineering Society 153rd Convention. Audio Engineering Society, Inc.. ISSN 9781942220404. Fulltekst i vitenarkiv Vis sammendrag

  Multi-capsule microphone techniques are used in recording the multi-dimensionality of musical performances. This paper evaluates two such techniques: one developed with the 6-capsule Double Mid-Side-Z (DMS-Z) array, and the other with the 32-capsule spherical array. The recordings underwent a similar process of decoding using the 3DCC method, in which each set of arrays was mapped onto 8 directional signals on the horizontal plane. From the performance aspect, the music ensemble consisted of four speakers, a subwoofer and two singers moving within the recording space. Two mixes were produced: Mix A with a combination of the 3DCC-decoded DMS-Z array, spot microphones and Hamasaki Square microphones; and Mix B with the 3DCC-decoded spherical array, spot microphones and Hamasaki Square microphones. These immersive mixes were then evaluated for various perceptual characteristics. Detailed subjective testing is yet to be conducted, but the results so far suggest some perceptual differences in the acoustics and perceived movement of the singers. This is ongoing research that aims to understand whether using a similar audio decoding process on two different multi-array microphone configurations can sufficiently eliminate the perceptual differences between them.

• Maham Riaz & Agnieszka Roginska (2022). The Psychoacoustic Perception of Distance in Monophonic and Binaural Music, Proceedings of the Audio Engineering Society 153rd Convention. Audio Engineering Society, Inc.. ISSN 9781942220404. Fulltekst i vitenarkiv Vis sammendrag

  Music plays an important role in immersive environments. With the rise in immersive technology, scientists in the field have been researching how music is perceived in extended reality (XR), in an attempt to improve the authenticity of audiovisual experiences. The auditory perception of distance is an important issue in 3D virtual environments but has been considered an obscure area. The study aims to compare monophonic and binaural signals for more accurate localization, over different types of music audio sources.

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• Alexander Refsum Jensenius, Finn Upham, Agata Zelechowska, Victor Evaristo Gonzalez Sanchez, Dana Swarbrick & Maham Riaz (2026). micromotion: A Python toolbox for analysing human micromotion in motion time series. doi: 10.5281/zenodo.22080495. Fulltekst i vitenarkiv Vis sammendrag

  Software. One implementation of quantity of motion — the average speed of a body part, band-limited to 0.2-5 Hz, in millimetres per second — for optical marker data, body-worn accelerometers and force-plate centre of pressure, together with the readers, resampling rules, scaling measures and alignment methods that surround it.

• Bilge Serdar Göksülük, Alexander Refsum Jensenius, Maham Riaz, Jinyue Guo, Aikaterini Teleli & Margarida Leal (2026). Improvisation with the Muzziballs. Fulltekst i vitenarkiv Vis sammendrag

  An improvisation with Muzziballs, ball-shaped musical instruments developed in collaboration between Muzziball AS and RITMO, in which sound is shaped by how each ball is moved and handled. Performed at the Department of Musicology's department concert in the ZEB building on 13 April 2026 by Bilge Serdar, Maham Riaz, Arthur Guo, Alexander Refsum Jensenius, Katerina Teleli and Margarida Leal.

• Maham Riaz (2025). Where is That Bird? The Impact of Artificial Birdsong in Public Indoor Environments. Fulltekst i vitenarkiv Vis sammendrag

  This paper explores the effects of nature sounds, specifically bird sounds, on human experience and behavior in indoor public environments. We report on an intervention study where we introduced an interactive sound device to alter the soundscape. Phenomenological observations and a survey showed that participants noticed and engaged with the bird sounds primarily through causal listening; that is, they attempted to identify the sound source. Participants generally responded positively to the bird sounds, appreciating the calmness and surprise it brought to the environment. The analyses revealed that relative loudness was a key factor influencing the experience. A too-high sound level may feel unpleasant, while a too-low sound level makes it unnoticeable due to background noise. These findings highlight the importance of automatic level adjustments and considering acoustic conditions in soundscape interventions. Our study contributes to a broader discourse on sound perception, human interaction with sonic spaces, and the potential of auditory design in public indoor environments.

• Maham Riaz (2025). VentHackz: Exploring the Musicality of Ventilation Systems. Fulltekst i vitenarkiv Vis sammendrag

  Ventilation systems can be seen as huge examples of interfaces for musical expression, with the potential of merging sound, space, and human interaction. This paper explores conceptual similarities between ventilation systems and wind instruments and explores approaches to "hacking" ventilation systems with components that produce and modify sound. These systems enable the creation of unique sonic and visual experiences by manipulating airflow and making mechanical adjustments. Users can treat ventilation systems as musical interfaces by altering shape, material, and texture or augmenting vents. We call for heightened attention to the sound-making properties of ventilation systems and call for action (#VentHackz) to playfully improve the soundscapes of our indoor environments.

• Maham Riaz (2025). The Art and Science of Immersive Sound Design in Games - What's the Secret? Fulltekst i vitenarkiv Vis sammendrag

  In modern games, sound design is far more than mere background noise—it conveys a story and shapes entire worlds. We will explore how gamification principles—interaction, feedback, progression, challenge, exploration, and motivation—integrate with sound design techniques such as spatial audio, adaptive mixing, and procedural audio to create responsive audio environments. Practical aspects of implementing game audio will be discussed within Unity (and Wwise).

• Maham Riaz (2024). Comparing Spatial Audio Recordings from Commercially Available 360-degree Video Cameras. Fulltekst i vitenarkiv Vis sammendrag

  This paper investigates the spatial audio recording capabilities of various commercially available 360-degree cameras (GoPro MAX, Insta360 X3, Garmin VIRB 360, and Ricoh Theta S). A dedicated ambisonics audio recorder (Zoom H3VR) was used for comparison. Six action sequences were performed around the recording setup, including impulsive and continuous vocal and non-vocal stimuli. The audio streams were extracted from the videos and compared using spectrograms and anglegrams. The anglegrams show adequate localization in ambisonic recordings from the GoPro MAX and Zoom H3VR. All cameras feature undocumented noise reduction and audio enhancement algorithms, use different types of audio compression, and have limited audio export options. This makes it challenging to use the spatial audio data reliably for research purposes.

• Maham Riaz & Ioannis Theodoridis (2024). Ventilation hacking. Fulltekst i vitenarkiv Vis sammendrag

  We examine innovative approaches to mitigate the issue of unwanted ventilation noise, transforming it from a disruptive element into a source of ambient or musical sound. We propose a range of solutions, from mechanical adjustments to acoustic treatments and digital interventions.

• Alexander Refsum Jensenius, Maham Riaz, Thomas L Oldfield & Karenina Juarez (2024). RITMO-studenter presenterer nye installasjoner. Fulltekst i vitenarkiv Vis sammendrag

  Studenter tilknyttet RITMO stiller ut prosjektene sine på Popsenteret: en interaktiv symaskin fra 1911, et lyttende og snakkende speil, og et interaktivt maleri. Hvordan kan slike objekter gi musikalske opplevelser?

• Maham Riaz (2023). Sound Design in Unity: Immersive Audio for Virtual Reality Storytelling. Fulltekst i vitenarkiv Vis sammendrag

  Research talk on sound design for games and immersive environments. The Unity game engine is used for environmental modeling. The Oculus Spatializer plugin provides control over binaural spatialization with native head related transfer functions (HRTF). Game scenes included C# scripts, which accounted for intermittent emitters (randomly triggered sounds of nature, critters and birds), crossfades, occlusion and raycasting. In the mixing stage, mixer groups, mixer snapshsots, snapshot triggers, SFX reverb sends, and low/high-pass filters were some of the tools demonstrated.

• Maham Riaz (2023). An Investigation of Supervised Learning in Music Mood Classification for Audio and MIDI. Fulltekst i vitenarkiv Vis sammendrag

  This study aims to use supervised learning – specifically, support vector machines – as a tool for a music mood classification task. Four audio and MIDI datasets, each containing over four hundred files, were composed for use in the training and testing processes. Mood classes were formed according to the valence-arousal plane, resulting in the following: happy, sad, relaxed, and tense. Additional runs were also conducted with the linear discriminant analysis, a dimensionality reduction technique commonly used to better the performance of the classifier. The relevant audio and MIDI features were carefully selected for extraction. MIDI datasets for the same music generated better classification results than corresponding audio datasets. Furthermore, when music is composed with each mood associated with a particular key instead of mixed keys, the classification accuracy is higher.

• Maham Riaz, Finn Upham, Kayla Burnim, Laura Bishop & Alexander Refsum Jensenius (2023). Comparing inertial motion sensors for capturing human micromotion. Fulltekst i vitenarkiv Vis sammendrag

  The paper presents a study of the noise level of accelerometer data from a mobile phone compared to three commercially available IMU-based devices (AX3, Equivital, and Movesense) and a marker-based infrared motion capture system (Qualisys). The sensors are compared in static positions and for measuring human micromotion, with larger motion sequences as reference. The measurements show that all but one of the IMU-based devices capture motion with an accuracy and precision that is far below human micromotion. However, their data and representations differ, so care should be taken when comparing data between devices.

• Maham Riaz (2023). Using SuperCollider with OSC Commands for Spatial Audio Control in a Multi-Speaker Setup. Fulltekst i vitenarkiv Vis sammendrag

  With the ever-increasing prevalence of technology, its application in various music-related processes, such as music composition and performance, has become increasingly prominent. One fascinating area where technology finds utility is in music performance, offering opportunities for extensive sound exploration and manipulation. In this paper, we introduce an approach utilizing SuperCollider and Open Sound Control (OSC) commands in a multi-speaker setup, enabling spatial audio control for a truly interactive audio spatialization experience. We delve into the musicological dimensions of these distinct methods, examining their integration within a live performance setting to uncover their artistic and expressive potential. By merging technology and musicology, our research aims to unlock new avenues for immersive and captivating musical experiences.

• Maham Riaz (2022). The Psychoacoustic Perception of Distance in Monophonic and Binaural Music. Fulltekst i vitenarkiv Vis sammendrag

  Music plays an important role in immersive environments. With the rise in immersive technology, scientists in the field have been researching how music is perceived in extended reality (XR), in an attempt to improve the authenticity of audiovisual experiences. The auditory perception of distance is an important issue in 3D virtual environments but has been considered an obscure area. The study aims to compare monophonic and binaural signals for more accurate localization, over different types of music audio sources.

• Maham Riaz, Diana Hernandez Martinez & Agnieszka Roginska (2022). Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music. Fulltekst i vitenarkiv Vis sammendrag

  Multi-capsule microphone techniques are used in recording the multi-dimensionality of musical performances. This paper evaluates two such techniques: one developed with the 6-capsule Double Mid-Side-Z (DMS-Z) array, and the other with the 32-capsule spherical array. The recordings underwent a similar process of decoding using the 3DCC method, in which each set of arrays was mapped onto 8 directional signals on the horizontal plane. From the performance aspect, the music ensemble consisted of four speakers, a subwoofer and two singers moving within the recording space. Two mixes were produced: Mix A with a combination of the 3DCC-decoded DMS-Z array, spot microphones and Hamasaki Square microphones; and Mix B with the 3DCC-decoded spherical array, spot microphones and Hamasaki Square microphones. These immersive mixes were then evaluated for various perceptual characteristics. Detailed subjective testing is yet to be conducted, but the results so far suggest some perceptual differences in the acoustics and perceived movement of the singers. This is ongoing research that aims to understand whether using a similar audio decoding process on two different multi-array microphone configurations can sufficiently eliminate the perceptual differences between them.

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