2,230 research outputs found

    Towards a Cross-Disciplinary Sound Design Methodology: A Focus on Semiotics and Linguistics

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    Esta tese foca-se no mundo do design de som, centrando-se no desenvolvimento de uma metodologia que engloba vårias disciplinas. Explora o papel do design de som na transmissão de mensagens, servindo de interface entre utilizadores e dispositivos. O estudo tambÊm investiga os paralelos entre a semiótica e a linguística e o design de som, interpretando como os sons podem atuar como sinais que representam outras entidades, com base em convençþes sociais estabelecidas, e como podemos utilizar a linguística como modelo para criar sons não-falados que, tal como a linguagem, transmitem sistematicamente um significado ao utilizador. AtravÊs desta anålise abrangente, o trabalho pretende contribuir para o campo, propondo uma metodologia interdisciplinar para o design de som, melhorando assim a experiência auditiva em diversos contextos.This thesis delves into the intricate world of sound design, focusing on the development of a methodology that encompasses various disciplines. It explores the role of sound design in conveying messages, serving as an interface between users and devices. The study also investigates the parallels between semiotics and linguistics and sound design, interpreting how sounds can act as signs that represent other entities, based on established social conventions and how we can use linguistics as a model to create non-speech sounds that just like language systematically convey meaning to the user. Through this comprehensive analysis, the work aims to contribute to the field by proposing a cross-disciplinary methodology for sound design, thereby enhancing the auditory experience in diverse contexts

    Extraction and representation of semantic information in digital media

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    Composing with soundscapes : capturing and analysing urban audio for a Raw Musical interpretation

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    The sound environment is increasingly more relevant in contemporary culture. It is a ‘picture’ of a place, an X-ray of its character and activities, shapeless and amorphous, whilst full of meanings and subtleties. It is a transmission that is complementary to what a picture retains and transports. Therefore it is a unique, tangible impression of the place to which it belongs, and intrinsically, its history, and that of the people who inhabit it, and their relations. Murray Schafer termed this element as Soundscape. Although always a present element, it was only from the end of the Twentieth Century that it has been studied in a systematic way, initially in a more ecological and socio-cultural function approach, but slowly it has been seen as an artistic tool, both in direct use of the sounds as well as being an inspiration, and a starting point, for creation. The exploratory research project presented here aims to study the capture and analysis of the urban soundscape, with a special focus on its temporal evolution, and its application in the creative and artistic context. At the first stage, we try to understand how and, if possible, to capture and represent the most challenging part of this massive sound element, which is its constant changing on the time axis. Grasping its nuances on both small and large time scales. The second phase is to understand the pertinence of such information and its direct influence in the act of music and sonic creation. To achieve these goals a multidisciplinary approach based on two main pillars was necessary: Soundscape and Computer Music. These disciplines determine the scientific areas in which this research had to be focused. Due to the fact that this thesis has a relatively broad scope of interests, there is a survey of the state of the art relating to projects and approaches that relate to the interests of this investigation in different ways. In areas such as: Music Information Retrieval, Algorithmic Composition, Eco Composition, and Sound Maps. This survey confirms the contemporaneity, relevance and originality of the project, both scientifically and artistically. In order to evaluate the proposed approach to the soundscape, URB, an experimental system to capture, analyse and store the urban soundscape was developed and implemented. The system is based on current technology, but is affordable and robust. To ensure the sustainability of the project, development was based in open source technology, to ensure the possibility of the project expanding and shaping according to the interests and needs of specific places, populations, research centres and/or artistic interests. Three main goals have guided the development of this system: addressing the lack of temporal perspective of the sound representation of urban spaces; the design of a free and autonomous system that depends only on the users, which results in a public free access database; to facilitate and systematize the access to data on the sound characteristics of an urban soundscape for both ecological studies as well as for creative and artistic purposes. A server keeps a record of the collected data, which can either be read directly, through an application developed for this purpose, or through a visual interface with a time-line approach, but always allowing for the possibility of creating original access tools that best serve the user’s purposes. After implementing the system, through four listening points, and confirming its robustness, we advance to the system’s application in the development of artistic works. For this purpose a challenge was proposed to a number of artists with distinct aesthetic backgrounds and training. This challenge resulted in different works that were presented to the public in different formats and media, such as works for classical instrumental, electro-acoustic works, improvisational moments with real-time sonification of the soundscape, sonic installations and sculptures powered by the system presented. This practice leads to a fundamental reflection in this research. We describe the different approaches chosen by each creator and primarily assess the pertinence in the artistic result of using a continuous and discrete system of urban soundscape analysis, from a creator’s point of view as well as from a listener’s point of view. With this research we are able to present a functional approach to the lack of temporal perspective in the usual sound maps that focus on the geographic origin of the recordings. We conclude that soundscapes can provide useful data for artistic creation and we promote a direct connection between that kind of approach and the artists. Even before the works developed and the artist’s feedback, whilst not ignoring the different approaches and opinions, we can conclude that this approach seems to promote new and functional soundscape composition ideas, making URB a relevant resource to compose original soundscape based music. Also, through analysis of the pieces, we could point out patterns of the technical and artistic choices on how to deal with information from the soundscape data, both in deferred time and real-time.A paisagem sonora é cada vez mais relevante na cultura contemporânea. É uma ‘fotografia’ de um lugar. Uma radiografia ao seu carácter e atividades, simultaneamente disforme e amorfa como repleta de significados e subtilezas. Uma transmissão complementar ao que a imagem retém e transporta. É portanto uma impressão única , tangível do lugar a que pertence e, intrinsecamente , da sua história , das pessoas que o habitam, das suas relações. Murray Schafer batizou este elemento como Soundscape (Paisagem Sonora). E embora tenha sido sempre um elemento presente, só a partir do final do séc. XX é que tem vindo a ser estudado de uma forma sistematizada, inicialmente numa abordagem mais ecológica e das suas funções socioculturais, mas lentamente encarado como uma ferramenta artística tanto no uso direto dos sons, como sendo o ponto de partida de inspiração para a criação. O projeto de investigação de carácter exploratório que aqui apresentamos visa o estudo da recolha e análise da paisagem sonora urbana, com especial enfoque na sua evolução temporal e da sua aplicação no contexto criativo artística. Como tal, numa fase inicial, procurar entender como e, se possível, capturar e representar o elemento mais desafiante que é a permanente mutação sonora no eixo temporal, apreendendo as suas nuances tanto numa escala de tempo diminuta como em grandes escalas temporais. Numa segunda fase entender a pertinência desta informação e da sua influência direta no ato da criação musical e sonora. Para cumprir estes objectivos foi necessária uma abordagem multidisciplinar fundamentada em dois pilares principais: Paisagem-Sonora e Informática Musical. Estas disciplinas determinam as áreas científicas em que esta investigação se debruçou. Tendo esta tese um âmbito de interesses relativamente amplo, há um levantamento do estado da arte referente a projetos e abordagens de áreas distintas que ,de diferentes formas , se relaciona com os interesses da nossa investigação. Em áreas como: Musical Information Retrieval, Composição Algorítmica, Eco Composição, Mapas Sonoros. Este levantamento confirma a atualidade, a pertinência e a originalidade do projeto, tanto cientificamente como artisticamente. A fim de avaliar a abordagem proposta à paisagem sonora, foi desenvolvido e posto em prática um sistema experimental de captura, análise e armazenamento de ambiente sonoro urbano, de nome URB. Sistema esse baseado em tecnologia atual, mas acessível e robusta para garantir a sustentabilidade do projeto e apoiado em desenvolvimento código aberto para garantir a possibilidade do projeto se expandir e se moldar de acordo com os interesses e necessidades concretas de locais, populações, centros de investigação e interesses artísticos. Três objetivos principais guiaram o desenvolvimento deste sistema: colmatar a falta de perspectiva temporal em grande escala de uma representação sonora de um espaço urbano; o desenho de um sistema que livre e autónomo, que apenas dependa dos utilizadores, que resulte numa base de dados de acesso público e gratuito; facilitar e sistematizar o acesso à informação sobre as caraterísticas sonoras de um ambiente sonoro urbano tanto para estudos ecológicos como para função criativa e artística. É mantido num servidor o registo de toda a informação recolhida, que tanto pode ser consultado diretamente, através de uma aplicação desenvolvida para o efeito, através de um interface visual ao estilo de linha temporal, deixando sempre a possibilidade para a criação de ferramentas de acesso originais que sirvam melhor os propósitos do utilizador. Após a implementação do sistema, através de quatro pontos de escuta, e a confirmação da sua robustez, avançamos para a aplicação do sistema no desenvolvimento de obras artísticas. Para tal, foi lançado um desafio a um conjunto de artistas que partem de diferentes formações e identidades estéticos. Esse desafio resultou em diferentes obras que foram apresentadas ao público com diferentes formatos e suportes, como obras integralmente para formatos instrumentais clássicos, obras electroacústicas, momentos de improvisação em tempo real com a sonorização do ambiente sonoro, instalações e esculturas sonoras alimentadas pelo sistema apresentado. Desta prática resulta uma reflexão fundamental nesta investigação. Descrevemos as diferentes abordagens escolhidas por cada criador e acima de tudo avaliamos a pertinência no resultado artístico do uso de um sistema contínuo e discreto de análise de ambiente sonoro urbano, tanto do ponto de vista do criador como do ponto de vista do ouvinte. A partir desta investigação, apresentamos uma abordagem funcional para a falta de perspectiva temporal nos mapas sonoros clássico que incidem principalmente sobre as origens geográfica das gravações. Concluímos que as paisagens sonoras podem fornecer dados úteis para a criação artística e promovemos uma conexão direta entre essa abordagem e os artistas. Perante os trabalhos e análises desenvolvidos por diferentes criadores, concluímos que esta aproximação promove ideias novas e funcionais para a composição. Além disso, através da análise de peças, apontamos padrões nas escolhas técnicas e estéticas sobre como lidar com as informações a partir dos dados da paisagem sonora, tanto em tempo diferido como em tempo real

    Interdependent Compositions Employed in Sonic Ecosystems: Integrating the Listener in the Evolving Soundscape

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    A presente dissertação explora a integração de ouvintes na paisagem sonora em transformação enquanto compositores do ambiente sónico, no formato de instalaçþes åudio.A investigação Ê motivada pela necessidade de promover e discutir a identidade do património aural da cidade do Porto e a sua crescente transformação.O desenho metodológico seguido Ê o practice-led research/research-led practice, e foca-se na compreensão e no desenvolvimento de ecossistemas sonoros e das relaçþes interdependentes entre os agentes internos e externos do sistema.Os participantes exploram cartografias sonoras generativas, transformando iterativamente a natureza composicional das paisagens ao navegarem por motivos abrangentes ou focarem em elementos específicos da experiência.Palavras-chave: Identidade, Transformação, Ecossistema, Composição de Paisagens Sonoras, Interatividade.This dissertation explores the integration of listeners in the evolving soundscape as compositional agents of the sonic environment, presented as an audio installation.The investigation is motivated by the need to promote and discuss the sonic landscape identity of Porto and its rapid transformation. A method of practice-led research/research-led practice is followed, focusing on the development and understanding of sonic ecosystems and the interdependent relationships between its internal and external agents.Participants explore generative aural cartographies, transforming iteratively the nature of compositions by expanding into wider motifs or focusing on small and specific elements of the experience.Keywords: Identity, Transformation, Ecosystem, Soundscape Composition, Interactivity

    Affective Man-Machine Interface: Unveiling human emotions through biosignals

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    As is known for centuries, humans exhibit an electrical profile. This profile is altered through various psychological and physiological processes, which can be measured through biosignals; e.g., electromyography (EMG) and electrodermal activity (EDA). These biosignals can reveal our emotions and, as such, can serve as an advanced man-machine interface (MMI) for empathic consumer products. However, such a MMI requires the correct classification of biosignals to emotion classes. This chapter starts with an introduction on biosignals for emotion detection. Next, a state-of-the-art review is presented on automatic emotion classification. Moreover, guidelines are presented for affective MMI. Subsequently, a research is presented that explores the use of EDA and three facial EMG signals to determine neutral, positive, negative, and mixed emotions, using recordings of 21 people. A range of techniques is tested, which resulted in a generic framework for automated emotion classification with up to 61.31% correct classification of the four emotion classes, without the need of personal profiles. Among various other directives for future research, the results emphasize the need for parallel processing of multiple biosignals

    Designing for What is Usually Hidden - Visualization Techniques for Design of Autonomous Media Agents

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    Autonomous Agents are usually designed to work in the background and their work is mostly hidden from the user. This causes both ethical and practical problems that can be remedied by providing feedback and control to the user (Bellotti and Sellen, 1993). This thesis presents an overview study exploreing advantages and disadvantages of four visualization techniques: colouring, pictographic symbols, metaphors, and affective computing, as they are employed in providing feedback and control regarding Autonomous Agents. The study is performed by evaluating an example project, with elements of Design Science. The thesis concludes that all techniques have both advantages and disadvantages regarding different aspects of their use

    Making music through real-time voice timbre analysis: machine learning and timbral control

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    PhDPeople can achieve rich musical expression through vocal sound { see for example human beatboxing, which achieves a wide timbral variety through a range of extended techniques. Yet the vocal modality is under-exploited as a controller for music systems. If we can analyse a vocal performance suitably in real time, then this information could be used to create voice-based interfaces with the potential for intuitive and ful lling levels of expressive control. Conversely, many modern techniques for music synthesis do not imply any particular interface. Should a given parameter be controlled via a MIDI keyboard, or a slider/fader, or a rotary dial? Automatic vocal analysis could provide a fruitful basis for expressive interfaces to such electronic musical instruments. The principal questions in applying vocal-based control are how to extract musically meaningful information from the voice signal in real time, and how to convert that information suitably into control data. In this thesis we address these questions, with a focus on timbral control, and in particular we develop approaches that can be used with a wide variety of musical instruments by applying machine learning techniques to automatically derive the mappings between expressive audio input and control output. The vocal audio signal is construed to include a broad range of expression, in particular encompassing the extended techniques used in human beatboxing. The central contribution of this work is the application of supervised and unsupervised machine learning techniques to automatically map vocal timbre to synthesiser timbre and controls. Component contributions include a delayed decision-making strategy for low-latency sound classi cation, a regression-tree method to learn associations between regions of two unlabelled datasets, a fast estimator of multidimensional di erential entropy and a qualitative method for evaluating musical interfaces based on discourse analysis
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