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Conference Papers Year : 2020

Listening Types in Operation Theatres

Zoe Luck
  • Function : Author
Jos Kraal
  • Function : Author

Abstract

As operation theatres produce excessive noise, the listeners are in great risk of physiological as well as psychological discomfort. It is crucial to take action and develop sensitivity and awareness to clinicians? sonic needs in operation theatres. The purpose of this observational study in orthopedic surgery was to understand how professionals and patients listen in complex sonic environments by virtue of their role. In our opinion, a distinction has to be made between hearing and listening when sound is part of a workflow. While everyone ?hears? during the surgery, as it is a physiological process, everyone pays attention to sound in their own way. Truax?s (2001) distinguished the listening attention in three categories: ?listening-in-search? (sound users), ?listening-in-readiness? (active listeners), ?background listening? (passive listeners). We augmented this framework by two additional ?listeners? considering the roles of the patient (the exposed) and the surgeon (sound producer). The sedated patient is the exposed with ?no-listening-attention?. The passive listeners are either scrub nurses or anesthetist assistants with ?background-listening?, while active listeners are scrub nurses who are ?listening-in-readiness? waiting inter alia for the surgeon, to give orders. The sound user and sound producer are the surgeons that either use sound as feedback during surgical events, but also produces sounds by using surgical tools on the patient or guiding the surgery through speech. Depending on the moments of the surgical procedure, listeners can move in-between those listening types, but mainly stay in their role. Identifying the different listening types is crucial to understand the individual concerns and needs depending on their roles.
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Dates and versions

hal-03235959 , version 1 (13-06-2021)

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Zoe Luck, Jos Kraal, Elif Ozcan. Listening Types in Operation Theatres. Forum Acusticum, Dec 2020, Lyon, France. pp.2989-2992, ⟨10.48465/fa.2020.1053⟩. ⟨hal-03235959⟩
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