Perception of the object attributes for sound synthesis purposes

International audienceThis paper presents a work in progress on the perception of the attributes of the shape of a resonant object. As part of the ecological approach to perception-assuming that a sound contains specific morphologies that convey perceptually relevant information responsible for its recognition, called invariants-the PRISM laboratory has developed an environmental sound synthesizer aiming to provide perceptual and intuitive controls for a non-expert user. Following a brief presentation of the di↵erent strategies for controlling the perceptual attributes of the object, we present an experiment conducted with calibrated sounds generated by a physically-informed synthesis model. This test focuses on the perception of the shape of the object, more particularly its width and thickness since these attributes, especially the thickness, have not been much studied in the literature from a perceptual point of view. The first results show that the perception of width is di cult for listeners, while the perception of thickness is much easier. This study allows us to validate the proposed control strategy. Further works are planned to better characterize the perceptual invariants relevant for shape perception

The Sound Design Toolkit

The Sound Design Toolkit is a collection of physically informed sound synthesis models, specifically designed for practice and research in Sonic Interaction Design. The collection is based on a hierarchical, perceptually founded taxonomy of everyday sound events, and implemented by procedural audio algorithms which emphasize the role of sound as a process rather than a product. The models are intuitive to control \u2013 and the resulting sounds easy to predict \u2013 as they rely on basic everyday listening experience. Physical descriptions of sound events are intentionally simplified to emphasize the most perceptually relevant timbral features, and to reduce computational requirements as well

Timbre from Sound Synthesis and High-level Control Perspectives

International audienceExploring the many surprising facets of timbre through sound manipulations has been a common practice among composers and instrument makers of all times. The digital era radically changed the approach to sounds thanks to the unlimited possibilities offered by computers that made it possible to investigate sounds without physical constraints. In this chapter we describe investigations on timbre based on the analysis by synthesis approach that consists in using digital synthesis algorithms to reproduce sounds and further modify the parameters of the algorithms to investigate their perceptual relevance. In the first part of the chapter timbre is investigated in a musical context. An examination of the sound quality of different wood species for xylophone making is first presented. Then the influence of instrumental control on timbre is described in the case of clarinet and cello performances. In the second part of the chapter, we mainly focus on the identification of sound morphologies, so called invariant sound structures responsible for the evocations induced by environmental sounds by relating basic signal descriptors and timbre descriptors to evocations in the case of car door noises, motor noises, solid objects, and their interactions

An exploration of the relationship between touch and sound

This thesis serves as a written accompaniment for an interactive installation art project. In addition to a detailed description and evaluation of the other components of the project, it also features a number of abstract discussions on pertinent topics, and describes how the outcomes of these lines of research informed the final iteration of the installation. The project is a sonic art installation that explores several concepts, uniting them to create an audience experience that is intended to be both novel and accessible. It deals with the experience of physical space and structure, and how it can be complemented sonically, emphasising and reimagining the structure with sound. The structure and generated sound are intrinsically linked, and this relationship is exploited to transform the perception of space for artistic effect. The installation also places heavy emphasis on collective interaction. All audience members experience the same sound (albeit from a different position and perspective), so their interactions all affect each other. The installation was designed to optimise this paradigm of interaction, and it is a point of interest to observe what happens in this regard. Complementary to the exploration of physical structure and space is experimentation with physical materials and how they can be expressed sonically. Since all of the sound in the piece has its foundation in sounds recorded by contact microphones attached to the materials that make up the structure, a relationship of some form is inherent, and further expression can be established by manipulating and transforming the sound

On the influence of non-linear phenomena on perceived interactions in percussive instruments

International audienceIn this paper, we investigate the hypothesis that perceived impact strength is strongly influenced by the non-linear behavior produced by large deformations in percussive instruments. A sound corpus is first generated from a physical model that simulates non-linear vibrations of a thin plate. The e↵ect of non-linear phenomena on the perceived strength is further quantified through a listening test. The aim of this study is to improve the expressive potential of synthesizers of percussive sounds through the development of signal transformation models. Future work will focus on the modeling of sound morphologies that correspond to non-linear behavior and the development of a transparent control strategy

KINE[SIS]TEM'17 From Nature to Architectural Matter

Kine[SiS]tem – From Kinesis + System. Kinesis is a non-linear movement or activity of an organism in response to a stimulus. A system is a set of interacting and interdependent agents forming a complex whole, delineated by its spatial and temporal boundaries, influenced by its environment. How can architectural systems moderate the external environment to enhance comfort conditions in a simple, sustainable and smart way? This is the starting question for the Kine[SiS]tem’17 – From Nature to Architectural Matter International Conference. For decades, architectural design was developed despite (and not with) the climate, based on mechanical heating and cooling. Today, the argument for net zero energy buildings needs very effective strategies to reduce energy requirements. The challenge ahead requires design processes that are built upon consolidated knowledge, make use of advanced technologies and are inspired by nature. These design processes should lead to responsive smart systems that deliver the best performance in each specific design scenario. To control solar radiation is one key factor in low-energy thermal comfort. Computational-controlled sensor-based kinetic surfaces are one of the possible answers to control solar energy in an effective way, within the scope of contradictory objectives throughout the year.FC

Facial Modelling and animation trends in the new millennium : a survey

M.Sc (Computer Science)Facial modelling and animation is considered one of the most challenging areas in the animation world. Since Parke and Waters’s (1996) comprehensive book, no major work encompassing the entire field of facial animation has been published. This thesis covers Parke and Waters’s work, while also providing a survey of the developments in the field since 1996. The thesis describes, analyses, and compares (where applicable) the existing techniques and practices used to produce the facial animation. Where applicable, the related techniques are grouped in the same chapter and described in a chronological fashion, outlining their differences, as well as their advantages and disadvantages. The thesis is concluded by exploratory work towards a talking head for Northern Sotho. Facial animation and lip synchronisation of a fragment of Northern Sotho is done by using software tools primarily designed for English.Computin

Material agency and performative dynamics in the practices of media art

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel UniversityThis dissertation identifies a strategy of artistic inquiry within contemporary media art practice. It applies the concept of material that acts in an agential capacity, generating performative acts. It argues that the emergent potentials of materials and their interconnectedness with the compositional layers of a work can facilitate modes of effecting change in the artistic system. Through the theoretical investigation of the production processes of physical structures and environments, the thesis focuses on the compositional dynamics within which materials actively perform. It examines how Lars Spuybroek’s architectural design method of Material Machines (2004), and both the tactile potential as well as tactical uses of materials as generators to the formtaking process, might describe an open and active artistic strategy for employing the experimental capacities of such materialization processes. Building on philosophical and conceptual arguments that trace concepts of agency (Bruno Latour’s Actant-Network theory) and enactment (Karen Barad’s concept of intra-acting), the thesis introduces the two installation works ANI_MATE (described as a performative pneumatic stage machine) and ON TRACK (described as a mechanic-robotic installation). These apply the introduced artistic strategies. The analyses of these two artworks traces the particular capacities of the materials involved (respectively, their elasticity or viscosity) to negotiate forces of physical movement, which effect the system to transiently or irreversibly transform. ANI_MATE is a machine that is artist-operated and that explores the relationship between liveanimation procedures and the transformability and flexibility of its material environment. In contrast, ON TRACK’s performative machine ecology removes human agency. The machines act autonomously, giving rise to chance in the artistic system and allowing agency to emerge from the dynamic interconnectivity between materials, parts, and processes, eventually producing an entropic scenario of spilling resources. The thesis concludes that, in the context of a post digital paradigm in-development, such artistic practice offers a new strategy for an emergent aesthetics within contemporary physical-digital performance