A Compilation Flow for Parametric Dataflow: Programming Model, Scheduling, and Application to Heterogeneous MPSoC

International audienceEfficient programming of signal processing applications on embedded systems is a complex problem. High level models such as Synchronous dataflow (SDF) have been privileged candidates for dealing with this complexity. These models permit to express inherent application parallelism, as well as analysis for both verification and optimization. Parametric dataflow models aim at providing sufficient dynamicity to model new applications, while at the same time maintaining the high level of analyzability needed for efficient real life implementations. This paper presents a new compilation flow that targets parametric dataflows. Built on the LLVM compiler infrastructure, it offers an actor based C++ programming model to describe parametric graphs, a compilation front-end providing graph analysis features, and a retargetable back-end to map the application on real hardware. This paper gives an overview of this flow, with a specific focus on scheduling. The crucial gap between dataflow models and real hardware on which actor firing is not atomic, as well as the consequences on FIFOs sizing and execution pipelining are taken into account.The experimental results illustrate our compilation flow applied to compilation of 3GPP LTE-Advanced demodulation on a heterogeneous MPSoC with distributed scheduling features. This achieves performances similar to time-consuming hand made optimizations

Embodied Musical Interaction

Music is a natural partner to human-computer interaction, offering tasks and use cases for novel forms of interaction. The richness of the relationship between a performer and their instrument in expressive musical performance can provide valuable insight to human-computer interaction (HCI) researchers interested in applying these forms of deep interaction to other fields. Despite the longstanding connection between music and HCI, it is not an automatic one, and its history arguably points to as many differences as it does overlaps. Music research and HCI research both encompass broad issues, and utilize a wide range of methods. In this chapter I discuss how the concept of embodied interaction can be one way to think about music interaction. I propose how the three “paradigms” of HCI and three design accounts from the interaction design literature can serve as a lens through which to consider types of music HCI. I use this conceptual framework to discuss three different musical projects—Haptic Wave, Form Follows Sound, and BioMuse

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

Enforcing Multifunctionality: A Pressure-Induced Spin-Crossover Photomagnet

Photomagnetic compounds are usually achieved by assembling preorganized individual molecules into rationally designed molecular architectures via the bottom-up approach. Here we show that a magnetic response to light can also be enforced in a nonphotomagnetic compound by applying mechanical stress. The nonphotomagnetic cyano-bridged Fe^II–Nb^IV coordination polymer {[Fe^II(pyrazole)₄]₂[Nb^IV(CN)₈]·4H₂O}_<i>n</i> (<b>FeNb</b>) has been subjected to high-pressure structural, magnetic and photomagnetic studies at low temperature, which revealed a wide spectrum of pressure-related functionalities including the light-induced magnetization. The multifunctionality of <b>FeNb</b> is compared with a simple structural and magnetic pressure response of its analog {[Mn^II(pyrazole)₄]₂[Nb^IV(CN)₈]·4H₂O}_<i>n</i> (<b>MnNb</b>). The <b>FeNb</b> coordination polymer is the first pressure-induced spin-crossover photomagnet

LE SON NUMÉRIQUE : UNE ACOUSTIQUE AFFRANCHIE DE LA MÉCANIQUE ?

Since 1875, there have been radical innovations in our ways to deal with sound. Sounds could be recorded and converted into electrical vibrations and vice-versa. Electronics made radio and sound recording practical. A new era came about with the advent of digital recording, synthesis and processing of sound, pioneered in 1957 by Mathews. Sounds can now be coded arbitrarily and elaborated with unprecedented precision and flexibility, which seems to free acoustics from the constraints of mechanics. This has opened new applications in speech, music, noise absorption, room acoustics ; as demonstrated by acoustic illusions, it has also greatly improved our understanding of auditory perception, specially in the field of timbre. The limitations of digital acoustics depend upon the differential capacities of perception rather than upon the constraints of mechanics. Yet our auditory perception is geared to a world of mechanically-produced sounds, and mechanics should not be given a cavalier dismissal, as the work of Gibson and Cadoz has suggested : the specifics of mechanical vibrations shed light on the the perceptual organization in the hearing process. In particular, digitally-implemented mechanical models may - at least in certain cases -turn out to be more valuable for the creation of musical sounds than signal-processing models. However the ultimate criterion for endeavours related to hearing remains perceptual