Audiovisual Display Research Articles

Open Your Ears and Take a Look: A State‐of‐the‐Art Report on the Integration of Sonification and Visualization

AbstractThe research communities studying visualization and sonification for data display and analysis share exceptionally similar goals, essentially making data of any kind interpretable to humans. One community does so by using visual representations of data, and the other community employs auditory (non‐speech) representations of data. While the two communities have a lot in common, they developed mostly in parallel over the course of the last few decades. With this STAR, we discuss a collection of work that bridges the borders of the two communities, hence a collection of work that aims to integrate the two techniques into one form of audiovisual display, which we argue to be “more than the sum of the two.” We introduce and motivate a classification system applicable to such audiovisual displays and categorize a corpus of 57 academic publications that appeared between 2011 and 2023 in categories such as reading level, dataset type, or evaluation system, to mention a few. The corpus also enables a meta‐analysis of the field, including regularly occurring design patterns such as type of visualization and sonification techniques, or the use of visual and auditory channels, showing an overall diverse field with different designs. An analysis of a co‐author network of the field shows individual teams without many interconnections. The body of work covered in this STAR also relates to three adjacent topics: audiovisual monitoring, accessibility, and audiovisual data art. These three topics are discussed individually in addition to the systematically conducted part of this research. The findings of this report may be used by researchers from both fields to understand the potentials and challenges of such integrated designs while hopefully inspiring them to collaborate with experts from the respective other field.

Impact on awareness and knowledge of resuscitation by structured training of compression-only life support (COLS) among non-medical staff.

This study intended to analyse the effectiveness of compression-only life support cardiopulmonary resuscitation (COLS CPR) training based on training knowledge acquired among non-medical staffs. The study was conducted among 300 non-medical staffs. Study design: It is an observational study where the effect of COLS CPR training was evaluated based on the pre-training and post-training assessment score. Google Forms questionnaire was used as an interventional tool. Participants in our study included security guards, ambulance drivers, housekeeping and facility staff of our hospital. Training was conducted for seven days through lecture, audio-visual display, demonstration and then hands-on session conducted at the end of each training. The Google Form questionnaires consisted of COLS meaning, rate, depth of compression, usefulness, etc. Corrective action preventive action (CAPA) analysis report was prepared along with corrective and preventive action, and onsite debriefing was also done. Paired t-test was applied. For pre-test questions, 1,2,3,4,5 and 6 correct answers were 82.8%, 20.2%, 15%, 5%, >80% and <10%, respectively. In post-test, correct answers were 98.8%, 95%, 92.8%, 67%, 99.6% and 99.3%, respectively. P value 0.0022 suggested that training is highly effective and made statistically significant difference in knowledge of the participants. Among non-medical staff, this study emphasises the cognitive approach to the general perception and skill of COLS. Hence, formal refresher training and experience enhance the knowledge of CPR.

Flexible Thin-Film Speaker Integrated with an Array of Quantum-Dot Light-Emitting Diodes for the Interactive Audiovisual Display of Multi-functional Sensor Signals.

One of the core technologies for wearable electronics is the use of an interactive display device that is attached to the body or clothes to transmit various bio-signals and environmental stimuli to the user. In this study, we report a flexible audiovisual display device consisting of a polyvinylidene difluoride (PVDF) thin-film speaker stacked on an 8 × 8 array of quantum-dot light-emitting diodes (QD-LEDs) and a multi-functional sensor consisting of temperature and ultraviolet (UV) sensors connected to a pressure sensor, allowing the body temperature and UV exposure to be displayed both visually and acoustically. Polydimethylsiloxane is employed as an insulator between the carbon nanotube (CNT)/polyaniline temperature sensor and the ZnO/CNT UV sensor to form a capacitor-type pressure sensor. With the use of a stretchable polymer substrate, liquid metal Galinstan interconnections, and the flexible Au-grid electrodes, both the PVDF speaker and the QD-LED array are stable under repeated cycles of bending deformation with a bending radius of 7.5 mm. By connecting the audiovisual display device to the skin-attached multi-functional sensor, changes in the body temperature and UV exposure are displayed as LED patterns with accompanying acoustic alarms. This study demonstrates the significant potential of our proposed audiovisual monitoring device and multi-functional sensor for use in health-monitoring applications, especially for the elderly and infants requiring prompt care.

Introduction to the Dialogues on Afterlives and Different Futures for Latin American Art

What theoretical and political exigencies framed the discussions of Latin American art in the 1970s, and what are the afterlives of those formations today? This Dialogues traces a constellation of curators and scholars that participated in the articulation of the field of modern and contemporary Latin American art, paying attention to experimentation and the ways coloniality haunt its development. Authors analyze episodes in the formation of the field, including a prominent international symposium, an audiovisual display as curatorial intervention, and the redefinition of popular art, as well as troubling the subordination of Black art. George Flaherty and Adele Nelson discuss the intensive questioning that constituted the Austin Symposium in 1975, drawing on the previously understudied audio recordings of the conference. Camila Maroja reconsiders the controversial audiovisual presentation by Ángel Kalenberg at the Tenth Paris Biennial (1977) with a view to the transnational cultural politics of the period. Karen Benezra offers that Ticio Escobar’s multidecade reconception of popular art grants space for art by communities historically excluded from both art and the mestizo nation, notably the Ishir Indigenous people of Paraguay. Eddie Chambers issues a challenge and reflects on the limited degree to which the contributions of African-descended artists have been recognized by historians of Latin American art, focusing on Brazil and Cuba. Together these texts propose that questioning and unresolvability can serve as both tools and reminders of the size and significance of the continued work required of the field of modern and contemporary Latin American art.

Projecting Latin America

What theoretical and political exigencies framed the discussions of Latin American art in the 1970s, and what are the afterlives of those formations today? This Dialogues traces a constellation of curators and scholars that participated in the articulation of the field of modern and contemporary Latin American art, paying attention to experimentation and the ways coloniality haunt its development. Authors analyze episodes in the formation of the field, including a prominent international symposium, an audiovisual display as curatorial intervention, and the redefinition of popular art, as well as troubling the subordination of Black art. George Flaherty and Adele Nelson discuss the intensive questioning that constituted the Austin Symposium in 1975, drawing on the previously understudied audio recordings of the conference. Camila Maroja reconsiders the controversial audiovisual presentation by Ángel Kalenberg at the Tenth Paris Biennial (1977) with a view to the transnational cultural politics of the period. Karen Benezra offers that Ticio Escobar’s multidecade reconception of popular art grants space for art by communities historically excluded from both art and the mestizo nation, notably the Ishir Indigenous people of Paraguay. Eddie Chambers issues a challenge and reflects on the limited degree to which the contributions of African-descended artists have been recognized by historians of Latin American art, focusing on Brazil and Cuba. Together these texts propose that questioning and unresolvability can serve as both tools and reminders of the size and significance of the continued work required of the field of modern and contemporary Latin American art.

Ticio Escobar

What theoretical and political exigencies framed the discussions of Latin American art in the 1970s, and what are the afterlives of those formations today? This Dialogues traces a constellation of curators and scholars that participated in the articulation of the field of modern and contemporary Latin American art, paying attention to experimentation and the ways coloniality haunt its development. Authors analyze episodes in the formation of the field, including a prominent international symposium, an audiovisual display as curatorial intervention, and the redefinition of popular art, as well as troubling the subordination of Black art. George Flaherty and Adele Nelson discuss the intensive questioning that constituted the Austin Symposium in 1975, drawing on the previously understudied audio recordings of the conference. Camila Maroja reconsiders the controversial audiovisual presentation by Ángel Kalenberg at the Tenth Paris Biennial (1977) with a view to the transnational cultural politics of the period. Karen Benezra offers that Ticio Escobar’s multidecade reconception of popular art grants space for art by communities historically excluded from both art and the mestizo nation, notably the Ishir Indigenous people of Paraguay. Eddie Chambers issues a challenge and reflects on the limited degree to which the contributions of African-descended artists have been recognized by historians of Latin American art, focusing on Brazil and Cuba. Together these texts propose that questioning and unresolvability can serve as both tools and reminders of the size and significance of the continued work required of the field of modern and contemporary Latin American art.

Accentuating Latin American Art’s African Dimensions

What theoretical and political exigencies framed the discussions of Latin American art in the 1970s, and what are the afterlives of those formations today? This Dialogues traces a constellation of curators and scholars that participated in the articulation of the field of modern and contemporary Latin American art, paying attention to experimentation and the ways coloniality haunt its development. Authors analyze episodes in the formation of the field, including a prominent international symposium, an audiovisual display as curatorial intervention, and the redefinition of popular art, as well as troubling the subordination of Black art. George Flaherty and Adele Nelson discuss the intensive questioning that constituted the Austin Symposium in 1975, drawing on the previously understudied audio recordings of the conference. Camila Maroja reconsiders the controversial audiovisual presentation by Ángel Kalenberg at the Tenth Paris Biennial (1977) with a view to the transnational cultural politics of the period. Karen Benezra offers that Ticio Escobar’s multidecade reconception of popular art grants space for art by communities historically excluded from both art and the mestizo nation, notably the Ishir Indigenous people of Paraguay. Eddie Chambers issues a challenge and reflects on the limited degree to which the contributions of African-descended artists have been recognized by historians of Latin American art, focusing on Brazil and Cuba. Together these texts propose that questioning and unresolvability can serve as both tools and reminders of the size and significance of the continued work required of the field of modern and contemporary Latin American art.

Latin American Art by and for Whom?

What theoretical and political exigencies framed the discussions of Latin American art in the 1970s, and what are the afterlives of those formations today? This Dialogues traces a constellation of curators and scholars that participated in the articulation of the field of modern and contemporary Latin American art, paying attention to experimentation and the ways coloniality haunt its development. Authors analyze episodes in the formation of the field, including a prominent international symposium, an audiovisual display as curatorial intervention, and the redefinition of popular art, as well as troubling the subordination of Black art. George Flaherty and Adele Nelson discuss the intensive questioning that constituted the Austin Symposium in 1975, drawing on the previously understudied audio recordings of the conference. Camila Maroja reconsiders the controversial audiovisual presentation by Ángel Kalenberg at the Tenth Paris Biennial (1977) with a view to the transnational cultural politics of the period. Karen Benezra offers that Ticio Escobar’s multidecade reconception of popular art grants space for art by communities historically excluded from both art and the mestizo nation, notably the Ishir Indigenous people of Paraguay. Eddie Chambers issues a challenge and reflects on the limited degree to which the contributions of African-descended artists have been recognized by historians of Latin American art, focusing on Brazil and Cuba. Together these texts propose that questioning and unresolvability can serve as both tools and reminders of the size and significance of the continued work required of the field of modern and contemporary Latin American art.

Penyalahgunaan Aplikasi Media Sosial sebagai Eksploitasi dalam Tindak Pidana Pornografi

With an audiovisual display, it is easy for the audience to know the message conveyed. supervising the administration of local governments in accordance with Article 1 of the Government Regulation of the Republic of Indonesia No. 79 of 2005 concerning Guidelines for the Guidance and Supervision of Regional Government Administration. The Indonesian Broadcasting Commission is an institution that oversees every broadcast that is broadcast with the aim that all broadcasts that are broadcast do not violate the norms that apply in Indonesia. The purpose of this research is to analyze the legal regulation of public broadcasting in electronic media, and to understand the responsibilities of KPI in broadcasting the glorification of sexual harassment perpetrators. This research uses a normative research method using a statutory approach and a conceptual approach in analyzing the problem. The legal regulation on public broadcasting is regulated in Law Number 32 of 2002 concerning Broadcasting which is the main legal material in this research, which supported by legal journals and books. Data collection techniques used are recording and sorting information. In the results of this research, it was found that the Broadcasting Law regulates the issue of legal provisions and regulations regarding broadcasting service providers regarding KPI in charge of regulating matters regarding broadcasting. The Indonesian Supervision Commission has responsibility for glorification cases committed by sexual harassment perpetrators, in accordance with Law No. 32 of 2002 article 8 paragraph (3) concerning broadcasting.

Tanggung Jawab Komisi Penyiaran Indonesia terhadap Glorifikasi Pelaku Pelecehan Seksual pada Media Elektronik

With an audiovisual display, it is easy for the audience to know the message conveyed. supervising the administration of local governments in accordance with Article 1 of the Government Regulation of the Republic of Indonesia No. 79 of 2005 concerning Guidelines for the Guidance and Supervision of Regional Government Administration. The Indonesian Broadcasting Commission is an institution that oversees every broadcast that is broadcast with the aim that all broadcasts that are broadcast do not violate the norms that apply in Indonesia. The purpose of this research is to analyze the legal regulation of public broadcasting in electronic media, and to understand the responsibilities of KPI in broadcasting the glorification of sexual harassment perpetrators. This research uses a normative research method using a statutory approach and a conceptual approach in analyzing the problem. The legal regulation on public broadcasting is regulated in Law Number 32 of 2002 concerning Broadcasting which is the main legal material in this research, which supported by legal journals and books. Data collection techniques used are recording and sorting information. In the results of this research, it was found that the Broadcasting Law regulates the issue of legal provisions and regulations regarding broadcasting service providers regarding KPI in charge of regulating matters regarding broadcasting. The Indonesian Supervision Commission has responsibility for glorification cases committed by sexual harassment perpetrators, in accordance with Law No. 32 of 2002 article 8 paragraph (3) concerning broadcasting.

Abstract No.: ABS3313: Current scenario: Knowledge of compression only life support among non-medical staff

Background and Aims:This study intended to analyse the effectiveness of compression only life support–cardiopulmonary resuscitation (COLS–CPR) training based on knowledge acquired among non-medical staff. A Google questionnaire form was used as an interventional tool.Methods:The study was conducted among 300 non-medical staff. Study design: It was an interventional study where the effect of COLS–CPR training was evaluated based on the pre-training and post-training assessment score. Study participants: Security guards, ambulance drivers, and the house-keeping facility of our hospital were included in the study. Intervention: Training was conducted for 7 days through lecture, audio-visual display, and demonstration, and then, hands on session was conducted at the end of each training. The Google form questionnaire consisted of COLS meaning, rate, depth of compression, usefulness, etc.Results:The analysis of the questionnaire among 300 non-medical staffs was performed by IBPM software version 20 with the paired t-test. For the pre-test, questions 1, 2, 3, 4, 5, and 6, the correct answers were 82%, 20%, 15%, 5%, >80%, and <10%, respectively. In the post-test, the correct answers for post-test questions 1, 2, 3, 4, 5, and 6 were 100%, 100%, 100%, 67%, 100%, and 99.3%, respectively. A p value of <0.01 suggested that training was highly effective and made a statistically significant difference in knowledge of the participants.Conclusion:Among non-medical staff, this study emphasises the cognitive approach to the general perception and skill of COLS. Hence, formal refresher training and experience enhance the knowledge of CPR, which can save many lives!COLS Google form questionnaire.QuestionsPre-training correct answer (%) (n=300)Post-training correct answer (%) (n=300)In COLS, compression means what?82100%First step when the patient collapses?20100%What next if a response is present?15100%What if a response is not present?567%During CPR, where should compression be given?>80100%How many compressions should be given and until when?<1099.3%

The Phenomenal Side of the Operatic Performance: Implications of Promotion Strategies on Cinematic Representations of the 21st Century

During recent decades, scholars have paid attention to the ways in which marketing strategies surrounded the participation of professional opera singers in 1930s/1940s Hollywood films. Opera singers used cinema to promote themselves as film stars, while Hollywood, in turn, made use of real-life celebrities in order to market films containing opera to a wider audience. Recent cinema, just like films from this earlier period, reflects cross-promotion strategies between cinema and the classical music industry through the participation of professional opera singers. When considering these singers; audio-visual appearances and the roles their performances play within the film plots, some films reveal interesting connections with the historical predecessors. This article investigates the use of cross-marketing strategies in three recent films and queries the broader tropes they adhere to through the configurations of the singers; performances and their roles in the fictional situations. Through exploring these films, I argue that they promote a representation of opera that combines two specific tropes in the process of marketing. An audio-visual display of the singers as real-life celebrities points to an elaboration of the aspect of singer promotion seen in films from the 1930s and early 1940s. Beyond this, the more recent trope of associating opera with an audience listening with rapt attention is included, which casts the opera singer in a new light and enhances this bodily promotion of the singer.

Context matters: Cortical rhythms in infants across baseline and play

This study uses electroencephalography (EEG) to examine infants’ cortical activity during baseline while they watched a dynamic audiovisual display and while engaged in play with an object and parent. Fifty-five 6- to 12-month-old infants participated in both baseline and play with their mother. We hypothesized that the baseline task recruits relatively more exogenous attention due to the dynamic audiovisual task, while the play task recruits relatively more endogenous attention when exploring the toy. We expected higher frontal theta and alpha power during play, reflecting higher endogenous control of attention compared to the baseline task. We expected the faster rhythms, beta and gamma, to have higher power during baseline at frontal locations, reflecting the salient attention-grabbing (exogenous) attributes of the baseline task in comparison to play. We also examined changes in parietal power between contexts. Our results were consistent with the expectations. Theta (3–6 Hz) and alpha (6–9 Hz) power were higher at frontal sites (Fp1/Fp2) during play relative to baseline. Beta (9–30 Hz) and gamma (30–50 Hz) power were higher at frontal (Fp1/Fp2) and frontal medial sites (F3/F4) during baseline relative to play. Alpha power was higher during baseline at frontal medial sites (F3/F4) relative to play. Beta and gamma power was higher during play at parietal sites (P3/P4). The results are discussed in terms of the potential role of different cortical rhythms over the scalp as they respond to relative endogenous and exogenous attentional demands.

Toward adaptive auralization of dynamic immersive virtual environments in room-centered virtual reality systems

Existing auralization frameworks for interactive virtual environments have found applications in simulating acoustic conditions for binaural listening and real-time audiovisual navigation. This work, situated at the Collaborative-Research Augmented Immersive Virtual Environment Laboratory (CRAIVE-Lab), extends elements of these frameworks for human-scale interactive audiovisual display with movement of virtual sound sources and non-static virtual representation of the facility’s footprint. The work involves the development of an adaptive acoustic ray-tracing prototype that is capable of generating impulse responses for individual virtual loudspeaker representation based upon changes of room orientation in virtual space at runtime. Through the integrated use of game engines (i.e., Unity and Unreal Engine), the prototype is presented in the context of dynamic audiovisual display, and actively analyzes the virtual scene geometries using a multi-detailed rendering approach. With both reconstructed high-resolution 3D models of existing spaces, and automatically generated virtual landscapes from geo-spatial data, the developed system is evaluated both in terms of computational efficiency, and in terms of conventional room acoustics parameters using model-based acoustic energy decay analysis across listening region. [Work supported by the Cognitive Immersive Systems Laboratory (CISL) and NSF IIS-1909229.]

Novel Auditory Displays in Highly Automated Vehicles: Sonification Improves Driver Situation Awareness, Perceived Workload, and Overall Experience

Highly automated driving systems are expected to require the design of new user-vehicle interactions. Sonification can be used to provide contextualized alarms and cues that can increase situation awareness and user experience. In this study, we examined user perceptions of potential use cases for level 4 automated vehicles in online focus group interviews (N=12). Also, in a driving simulator study, we evaluated (1) visual-only display; (2) non-speech with visual display; and (3) speech with visual display with 20 young drivers. Results indicated participants’ interest in the use cases and insight on desired functions in highly automated vehicles. Both audiovisual display conditions resulted in higher situation awareness for drivers than the visual-only condition. Some differences were found between the non-speech and speech conditions suggesting benefits of sonification for both driving and non-driving related auditory use cases. This study will provide guidance on sonification design for highly automated vehicles.

Audio-Visual Mixed Reality Representation of Hazard Zones for Safe Pedestrian Navigation of a Space

Abstract It is difficult to estimate the boundaries of the hazard zones generated around autonomous machines and robots when navigating a space shared with them. We investigated the use of multimodal (auditory and/or visual) mixed-reality (MR) displays to warn users about invading such hazards zones and to help them return to safety. Two single-modality auditory and visual displays were designed, which were subjectively comparable as generic hazard displays. An experimental user study was then conducted to compare the designed single-modality displays as well as an audio-visual display that combined both. When the display included auditory information, users returned sooner to safety, although this had a small effect on performance when carrying out an independent navigation task. Additional nuanced possible differences are reported and discussed in relation to display design characteristics, as well as in relation to the limitations of the implementations that are possible with current MR head-mounted display devices.

Considerations about exhibition design after the creation of an audiovisual display for the exhibition Paul Klee - Unstable Balance

In 2019, I was with the design team of the exhibition Paul Klee - Equilíbrio Instável, held in the various spaces of the Banco do Brasil Cultural Center, in the cities of São Paulo, Rio de Janeiro and Belo Horizonte. It was an exclusive exhibition for Brazil that brought together 120 works by the artist, from the collection of Zentrum Paul Klee from Bern, Switzerland. At that time, I made an audiovisual display on five screens, which presented to the visitors aspects of the artistic techniques developed and used by the artist in his vast work.&#x0D; This research is part of a broader one, on the use of audiovisual in expographic projects that is the subject of my doctoral thesis, in progress. At this moment, however, a reflection will be presented on this specific audiovisual display, held for the exhibition cited. Our goal was to look at the various tensions that apply to the process of construction of a piece of this type, from the point of view of the design project. As well as the search for the function performed by it within the exhibition project.&#x0D; To do this reflection we started with a contextualization of this modality of exhibition using as object of study its edition held at the Banco do Brasil Cultural Center of São Paulo (CCBB-SP), looking at the spaces and their exhibition issues and its influence on the development of the project. We present, in the sequence, a description of the exhibition as a whole from the visitor point of view and from its catalog. Production files from this audiovisual display were researched, such as first drawings, scripts, concept development archives, photographic material and versions developed until its final. This material was observed from the concept of the creation networks, by Cecília Almeida Salles. We also held a dialogue with other members of the creative team, from different levels of the production process, in order to know the tensions that are applied in the production of this limited element of an expographic project like this.&#x0D; We saw, in this specific case of producing an audiovisual display, how each constituent element of an exhibition like this is traversed by tensions of various types, which are common within an exhibition design project, with many professionals from different areas involved. In addition to the identification of external factors that directly influence its production.&#x0D; We conclude then that the development of an exhibition is now inserted within what we know as a culture of design, which allows us to look at thistype of cultural manifestation as something that can no longer be limited to previous models of idealization of the exhibition space or abstain from the use of technologies and possibilities of connection with the public.

Development of Lightboard-Based Flipped Classroom Learning Videos on Parabolic Motion Materials

This study aims to produce lightboard-based flipped classroom learning videos on parabolic motion materials that are suitable for use as learning media. This type of research is ADDIE, which aims to produce a products with product validity from material experts, media experts, and physics teachers. The assessment of the feasibility level of the material expert was 94%, media expert 91.5%, and physics teacher 95%. The average level of feasibility of this learning video is 94%. The results of the assessment of 32 students as a feasibility trial for video lightboard obtained results from aspects of the material 88.15%, the effect on learning 91.41%, audiovisual display 90.10%, and language 90.36%. The average result of the feasibility of a video lightboard trial was 90.01%. From the results of the feasibility assessment it can be concluded that this learning video is categorized as very appropriate to be used as a learning media. This research can be used as a reference in producing effective and efficient learning media.

Audiovisual speech perception and language acquisition in preterm infants: A longitudinal study

BackgroundPreterm infants have a higher risk of language delay throughout childhood. The ability to integrate audiovisual speech information is associated with language acquisition in term infants; however, the relation is still unclear in preterm infant. Aim and methodsThis study longitudinally investigated visual preference for audiovisual congruent and incongruent speech during a preferential looking task using eye-tracking in preterm and term infants at 6, 12, and 18 months of corrected age. The infants' receptive and expressive vocabulary at 12 and 18 months were obtained by parent report, using the Japanese MacArthur Communicative Development Inventory. ResultsWe found that preterm infants did not clearly show visual preference for the congruent audiovisual display at any age, whereas term infants looked at the congruent audiovisual display longer than the incongruent audiovisual display at 6 and 18 months. Preterm infants' receptive and expressive vocabulary scores were lower than those of term infants at 12 and 18 months. Furthermore, the proportion of looking time toward the congruent audiovisual display at 6 months was positively correlated with receptive vocabulary scores at 12 and 18 months for both groups. ConclusionsThese findings suggest that better audiovisual speech perception abilities are one factor that results in better language acquisition in preterm as well as term infants. Early identification of behaviors associated with later language in preterm infants may contribute to planning intervention for developmental problems.

Noise, multisensory integration, and previous response in perceptual disambiguation

Sensory information about the state of the world is generally ambiguous. Understanding how the nervous system resolves such ambiguities to infer the actual state of the world is a central quest for sensory neuroscience. However, the computational principles of perceptual disambiguation are still poorly understood: What drives perceptual decision-making between multiple equally valid solutions? Here we investigate how humans gather and combine sensory information–within and across modalities–to disambiguate motion perception in an ambiguous audiovisual display, where two moving stimuli could appear as either streaming through, or bouncing off each other. By combining psychophysical classification tasks with reverse correlation analyses, we identified the particular spatiotemporal stimulus patterns that elicit a stream or a bounce percept, respectively. From that, we developed and tested a computational model for uni- and multi-sensory perceptual disambiguation that tightly replicates human performance. Specifically, disambiguation relies on knowledge of prototypical bouncing events that contain characteristic patterns of motion energy in the dynamic visual display. Next, the visual information is linearly integrated with auditory cues and prior knowledge about the history of recent perceptual interpretations. What is more, we demonstrate that perceptual decision-making with ambiguous displays is systematically driven by noise, whose random patterns not only promote alternation, but also provide signal-like information that biases perception in highly predictable fashion.