Understanding and Tuning Mass-Interaction Networks Through Their Modal Representation

International audienceSound is all about vibration, and the GENESIS environment provides an efficient way for modeling and simulating complex vibrating structures, enabling to produce rich sounds. In this paper, we propose an overview of tools recently developed and available within the GENESIS environment, allowing a better understanding on how mass-interaction networks behave and introducing some enhanced tuning of their vibrating properties. All these tools try to address an inherent need of any creative process either in the physical world or in GENESIS, which is to create bidirectional connections between properties of a phenomenon, in our case, audible sounds, and properties of what produced it, here, mass-interaction networks. For this purpose, we will introduce the topological and modal representations of such mass-interaction networks and appreciate how relevant it can be to switch between these different representations to really apprehend its inner properties and those of the sounds it produces

Artistic creation and computer interactive multisensory simulation force feedback gesture transducers

International audienceThe team built up from 1976 with fundamental aims motivated by the computer entering in several fields of artistic creation. The deep mutation represented by the computer, regarding the technology history, required a new and fundamental analysis of the role of the material tools in artistic creation as well as the role of the computer itself as tool. New concepts and theories were necessary that cannot be simply deduced from the previous. The computer was then envisaged to introduce explicitly a new mediation level in the creation process, through the paradigm of the interactive and multisensory simulation (IMS) of physical objects. This principle and its correlated techniques are the core of the computer creation tool envisaged. The higher level functionality being built from this base

Interactive physically-based sound simulation

The realization of interactive, immersive virtual worlds requires the ability to present a realistic audio experience that convincingly compliments their visual rendering. Physical simulation is a natural way to achieve such realism, enabling deeply immersive virtual worlds. However, physically-based sound simulation is very computationally expensive owing to the high-frequency, transient oscillations underlying audible sounds. The increasing computational power of desktop computers has served to reduce the gap between required and available computation, and it has become possible to bridge this gap further by using a combination of algorithmic improvements that exploit the physical, as well as perceptual properties of audible sounds. My thesis is a step in this direction. My dissertation concentrates on developing real-time techniques for both sub-problems of sound simulation: synthesis and propagation. Sound synthesis is concerned with generating the sounds produced by objects due to elastic surface vibrations upon interaction with the environment, such as collisions. I present novel techniques that exploit human auditory perception to simulate scenes with hundreds of sounding objects undergoing impact and rolling in real time. Sound propagation is the complementary problem of modeling the high-order scattering and diffraction of sound in an environment as it travels from source to listener. I discuss my work on a novel numerical acoustic simulator (ARD) that is hundred times faster and consumes ten times less memory than a high-accuracy finite-difference technique, allowing acoustic simulations on previously intractable spaces, such as a cathedral, on a desktop computer. Lastly, I present my work on interactive sound propagation that leverages my ARD simulator to render the acoustics of arbitrary static scenes for multiple moving sources and listener in real time, while accounting for scene-dependent effects such as low-pass filtering and smooth attenuation behind obstructions, reverberation, scattering from complex geometry and sound focusing. This is enabled by a novel compact representation that takes a thousand times less memory than a direct scheme, thus reducing memory footprints to within available main memory. To the best of my knowledge, this is the only technique and system in existence to demonstrate auralization of physical wave-based effects in real-time on large, complex 3D scenes

Topology, Geometry, Matter of Vibrating Structures Simulated with CORDIS-ANIMA Sound Synthesis Methods

International audiencePhysical modelling of musical instrument offers wide and rich possibilities for the simulations of physical phenomena. The CORDIS-ANIMA system uses this formalism for sound synthesis. The aim is to simulate of all the components of an instrument and in particular the central element of this chian, the vibrating structure. Many experiments have been driven in this way and gave interesting results regarding the topological and geometrical characteristics and beside the physical parameters of inertia stiffness and viscosity of the network that describe the structure

Aerospace medicine and biology: A cumulative index to the continuing bibliography of the 1973 issues

A cumulative index to the abstracts contained in Supplements 112 through 123 of Aerospace Medicine and Biology A Continuing Bibliography is presented. It includes three indexes: subject, personal author, and corporate source