MIMO feedback and application to detection

International audienceThe feedback effect is well known but unwanted, by sound engineers. It results from a feedback loop between a microphone and a loudspeaker. Recently, it has been shown that we can take benefit of this effect to estimate with a very good accuracy some parameters such as sound speed. More recently, some experimental results has shown the effect of a local perturbation on the top of an ultrasonic wavewguide. Here we generalize the concept to MIMO (Multiple Input Multiple Output) system where the feedback effect occurs between an array of emitters and an array of receivers. We propose to model the MIMO feedback effect by introducing a feedback matrix. Thanks to the singular decomposition of this matrix times the transfert matrix, we are able to predict the spatial dependence of the feedback effect either on the emitting array and on the receiving array. In a second part, we present experimental results that are obtained with an array of about 10 microphones and an array of about 10 loudspeakers. Several feedback matrices have been tested. One of them is inspired from time reversal. We have applied this technique to detect a person who goes across this acoustic barrier

Méthodes et outils pour définir et véhiculer une identité sonore : application au design sonore identitaire de la marque SNCF

Brands are today looking for new ways to convey their identity. Currently, brands sound identity is mostly based on music for ads or for selling places, and communication elements like voice or jingles. In this thesis, we focus on products sound design as a way to convey brand identity. Is it possible to take into account brand values in the writing of the requirements for a sound designer? For a given object, what are the relevant design features to consider in order to communicate a desired identity? In our works, we propose a sound design methodology for the translation of brand values into sound attributes, and for conveying the resulting sound identity through a series of products. Based on the analysis of several studies on sound verbal description, we elicited a sound lexicon of 35 words adapted to the description of sound properties. We propose to use this lexicon along with two communication tools, moodboards and a “sound design deck”, to translate brand identity into words easily understandable by both experts and non-experts. We also propose a methodology for linking the physical constraints of the objects to design to words of the lexicon. This method is based on a sound indexing experiment, inspired from sensory analysis. The methodology we propose is applied to the design of SNCF sound identity through different elements (alarms, validating machines, split-flap displays…). The originality of this work resides in its interdisciplinarity combining different approaches such as marketing, design, sensory analysis and auditory perception. This work proposes both methodologies and tools that facilitate communication in sound design, and shows that it is possible to convey brand identity through products sound design.Aujourd'hui, l'identité sonore des marques concerne principalement les musiques associées aux publicités ou diffusées sur les points de vente, ainsi que des éléments de communication comme la voix ou les jingles. Dans cette thèse, nous nous intéressons au design sonore des produits et équipements comme vecteur de l'identité de marque. Nous proposons une méthodologie de design sonore identitaire permettant de traduire les valeurs d'une marque en termes sonores, et de véhiculer l'identité sonore ainsi définie sur une série d'objets caractéristiques de la marque. A partir d'une analyse d'un grand nombre d'études sur la perception des sons, nous avons établi un lexique sonore de 35 termes adapté à la description des différentes caractéristiques du son. Nous proposons d'utiliser ce lexique ainsi que différents outils de communication pour traduire les valeurs identitaires d'une marque en termes sonores compréhensibles par tous les acteurs du projet en design sonore. Nous proposons également une méthode d'analyse fonctionnelle permettant de spécifier les contraintes techniques liées à la nature ou à la fonction de l'objet choisi pour véhiculer l'identité. Cette méthode repose sur une expérience d'indexation sonore, inspirée de l'analyse sensorielle. La méthodologie proposée a été appliquée au design de l'identité sonore de la marque SNCF véhiculée à travers différentes sources (alarmes, composteurs, tableau d'affichage,...). Ces travaux ont permis de construire et de tester des méthodologies et outils facilitant la communication dans le design sonore, et ont montré que l'identité des marques pouvait s'exprimer à travers la conception des sons de leurs produits et équipements

Optical simulations and optimization of perovskite/CI(G)S tandem solar cells using the transfer matrix method

In this work we employ the transfer matrix method for the analysis of optical materials properties to simulate and optimize monolithic tandem solar cell devices based on CuIn$_{1−x}$Ga$_x$Se$_2$, CI(G)S, and perovskite (PVK) absorbers. By finding models that fit well the experimental data of the CI(G)S solar cell, the semitransparent perovskite solar cell (PSC) and the PVK/CI(G)S monolithic tandem solar cell, we were able to perform a detailed optical loss analysis that allowed us to determine sources of parasitic absorption. We found better substitute materials for the transport layers to increase the power conversion efficiency and, in case of semitransparent PSCs, sub-bandgap transmittance. Our results set guidelines for the monolithic PVK/CI(G)S tandem solar cells development, predicting an achievable efficiency of 30%

Diverse mutations and structural variations contribute to Notch signaling deregulation in paediatric T-cell lymphoblastic lymphoma

Background T-cell lymphoblastic lymphoma (T-LBL) is an aggressive neoplasm closely related to T-cell acute lymphoblastic leukaemia (T-ALL). Despite their similarities, and contrary to T-ALL, studies on paediatric T-LBL are scarce and, therefore, its molecular landscape has not yet been fully elucidated. Thus, the aims of this study were to characterize the genetic and molecular heterogeneity of paediatric T-LBL and to evaluate novel molecular markers differentiating this entity from T-ALL. Procedure Thirty-three paediatric T-LBL patients were analyzed using an integrated approach, including targeted next-generation sequencing, RNA-sequencing transcriptome analysis and copy-number arrays. Results Copy number and mutational analyses allowed the detection of recurrent homozygous deletions of 9p/CDKN2A (78%), trisomy 20 (19%) and gains of 17q24-q25 (16%), as well as frequent mutations of NOTCH1 (62%), followed by the BCL11B (23%), WT1 (19%) and FBXW7, PHF6 and RPL10 genes (15%, respectively). This genetic profile did not differ from that described in T-ALL in terms of mutation incidence and global genomic complexity level, but unveiled virtually exclusive 17q25 gains and trisomy 20 in T-LBL. Additionally, we identified novel gene fusions in paediatric T-LBL, including NOTCH1-IKZF2, RNGTT-SNAP91 and DDX3X-MLLT10, the last being the only one previously described in T-ALL. Moreover, clinical correlations highlighted the presence of Notch pathway alterations as a factor related to favourable outcome. Conclusions In summary, the genomic landscape of paediatric T-LBL is similar to that observed in T-ALL, and Notch signaling pathway deregulation remains the cornerstone in its pathogenesis, including not only mutations but fusion genes targeting NOTCH1.We thank the centres of the Sociedad Espanola de Hematologia y Oncologia Pediatricas that submitted cases for consultation, to Noelia Garcia, Silvia Martin and Helena Suarez for their excellent technical assistance and to Nerea Dominguez for updating clinical data. We are indebted to the IDIBAPS Genomics Core Facility and to the HCB-IDIBAPS, the HospitaI Infantil Sant Joan de Deu and the Hospital Universitari Vall d'Hebron Tumour Biobanks, all integrated in the National Network Biobanks of ISCIII for the sample and data procurement. This work was supported by Asociacion Espanola Contra el Cancer (AECC CICPFI6025SALA and 'Ayudas Clinico Formacion AECC 2020' to Jaime Verdu-Amoros), Asociacion de aitas y amas para la humanizacion, socializacion e investigacion del Cancer Infantil y la divulgacion de la donacion de medula osea-La Cuadri del Hospi, Fondo de Investigaciones Sanitarias Instituto de Salud Carlos III (Miguel Servet Program I and II CP13/00159 and MSII18/00015; Itziar Salaverria), Generalitat de Catalunya Suport Grups de Recerca (2017-SGR-1107; Itziar Salaverria), and the European Regional Development Fund 'Una manera de fer Europa'. Joan Enric Ramis-Zaldivar was supported by a fellowship AGAUR FI-DGR 2017 (2017 FI_B01004) from Generalitat de Catalunya. Noelia Garcia has been continuously supported by Accio instrumental d'incorporacio de cientifics i tecnlegs PERIS 2016 (SLT002/16/00336) and PERIS 2020 (SL017/20/000204) from Generalitat de Catalunya. Julia Salmeron-Villalobos was supported by a fellowship from La Caixa (CLLEvolution-HR17-00221). This work was developed partially at the Centro Esther Koplowitz, Barcelona, Spain

Designing Sound Identity: Providing new communication tools for building brands "corporate sounds"

cote interne IRCAM: Carron14aNone / NoneNational audienceIn this paper we focus through a series of interviews on the relation between sound and brand identity in the context of musical and sound design for the industry. The interviews showed that the sound design process involves stakeholders who have different domains of expertise, which leads to difficulties in the interaction between them. As a solution, we propose a methodological framework for designing sound identity supported by two communication tools: a deck of cards allowing the different stakeholders to share a common vocabulary concerning both brand and sound concepts, and a sound charter which is a way to communicate guidelines for sound design through the use of sound identity semantic descriptors, illustrated by sound examples

Designing sound identity: providing new communication tools for building brands "corporate sound"

International audienceIn this paper we focus through a series of interviews on the relation between sound and brand identity in the context of musical and sound design for the industry. The interviews showed that the sound design process involves stakeholders who have different domains of expertise, which leads to difficulties in the interaction between them. As a solution, we propose a methodological framework for designing sound identity supported by two communication tools: a deck of cards allowing the different stakeholders to share a common vocabulary concerning both brand and sound concepts, and a sound charter which is a way to communicate guidelines for sound design through the use of sound identity semantic descriptors, illustrated by sound examples

Designing Sound Identity: Providing new communication tools for building brands "corporate sound"

ABSTRACT In this paper we focus through a series of interviews on the relation between sound and brand identity in the context of musical and sound design for the industry. The interviews showed that the sound design process involves stakeholders who have different domains of expertise, which leads to difficulties in the interaction between them. As a solution, we propose a methodological framework for designing sound identity supported by two communication tools: a deck of cards allowing the different stakeholders to share a common vocabulary concerning both brand and sound concepts, and a sound charter which is a way to communicate guidelines for sound design through the use of sound identity semantic descriptors, illustrated by sound examples. General Terms Design, Human factors Keywords Brand identity, product sound design, design process, communication tool, semantics