Sound(e)scape: Can a Sonic Break Improve Cognitive Performance?
Alaa Algargoosh – algargoosh@vt.edu
Virginia Polytechnic Institute and State University (Virginia Tech), Perry St, Blacksburg, VA, 24061, United States
Megan Wysocki
Virginia Polytechnic Institute and State University (Virginia Tech)
Amneh Hamida
RWTH Aachen University.
Popular version of 1pNSa4 – Cognitive Restoration in Virtual Interactions with Indoor Acoustic Environments
Presented at the 189th ASA Meeting
Read the abstract at https://eppro02.ativ.me//web/index.php?page=Session&project=ASAASJ25&id=3977035
–The research described in this Acoustics Lay Language Paper may not have yet been peer reviewed–
People often associate restorative experiences with nature: the sound of birds, wind, or flowing water. But what if indoor spaces could offer their own kind of mental escape, not through what we see, but through how we interact with sound?
This idea began with a simple observation. When you walk into a space and notice how your footsteps and voice are reflected back to you, the echoes create a subtle sense of awe. According to Attention Restoration Theory, experiences that evoke fascination and effortless engagement can help replenish mental resources. We wanted to explore whether these moments of acoustic interaction between a person and a space could invite gentle attention and, in turn, support cognitive restoration. In Attention Restoration Theory, this is referred to as soft fascination, a type of stimulus that is engaging but not overwhelming.
Exploring Echoes as a Path to Mental Restoration:
During a live demonstration at the MIT Museum, we used auralization a technology that allows you to hear your voice as if you were in a different place using that place’s sound signature or impulse response. A volunteer hummed into the acoustic signature of Hagia Sophia. Later, the entire audience hummed together and reflected on their experiences. The conversation pointed to the potential of such acoustic interaction to support a meditative state by impacting sense of space, time, and self.
This inspired a controlled experiment to study the restorative potential of indoor acoustic environments. We asked people to experience different sound environments (Figure 1) and measure their cognitive activity before and after each interaction. Early results suggest that interactive acoustics may support attention restoration depending on the acoustic characteristics, opening a new way of thinking about how sound affects us indoors.
Figure 1: Virtual interaction with an acoustic environment during the experiment, where a person hears their own voice transformed through the acoustic signature of another space.
Figure 1: Virtual interaction with an acoustic environment during the experiment, where a person hears their own voice transformed through the acoustic signature of another space.Why does this matter?
We spend most of our time indoors, yet discussions of restorative environments often focus on natural settings. This is especially relevant for workplaces and schools, where mental fatigue is common. It may also hold meaningful promise for neurodivergent individuals, including those with ADHD, who often benefit from environments that support attention without overstimulating it.
We imagine applications in immersive restorative spaces where people can interact with sound to reset and return to their activities with greater clarity. We also envision subtle integration into transitional spaces such as staircases, corridors, and building entrances that provide gentle cognitive relief as people move throughout their day.
Sound(e)scape reframes acoustics not as background, but as a tool for well-being. By understanding how interactive sound shapes attention and cognition, we can design buildings that do not simply avoid harmful noise. They can actively help the mind take a restorative break.
Figure 2: Visualization of interacting with different acoustic environments. Left: A person vocalizing in an office environment (MIT Media Lab). Middle: “Hagia Sophia – Muhammad, Allah, Abu Bakr” by Rabe!, licensed under CC BY-SA 3.0 (https://commons.wikimedia.org/wiki/File:Hagia_Sophia_-_Muhammad,_Allah,_Abu_Bakr.jpg) Cropped and one person added by Alaa Algargoosh. Right: A person vocalizing in Boston Symphony Hall.
Figure 2: Visualization of interacting with different acoustic environments. Left: A person vocalizing in an office environment (MIT Media Lab). Middle: “Hagia Sophia – Muhammad, Allah, Abu Bakr” by Rabe!, licensed under CC BY-SA 3.0 (Sound recordings:
1. Vocalizing in an office environment (MIT Media Lab).
2. Virtual vocalization in Hagia Sophia.
3. Virtual vocalization in Boston Symphony Hall.
The virtual vocalizations were generated using the impulse responses available at ODEON software library.