Is loudness part of a sound recognition process?

International audienceInfluence of loudness on sound recognition was investigated in an explicit memory experiment based on a conscious recollection-test phase-of previously encoded information-study phase. Three encoding conditions were compared: semantic (sounds were sorted in three different categories), sensory (sounds were rated in loudness), and control (participants were solely asked to listen to the sounds). Results revealed a significant study-to-test change effect: loudness change between the study and the test phases affects recognition. The effect was not specific to the encoding condition (semantic vs sensory) suggesting that loudness is an important hint for everyday sounds recognition. [Q-JF] Dat

Outils innovants pour la création d’esquisses sonores combinant vocalisations et gestes

Les designers produisent différents types de représentations physiques et/ou digitales lors des différentes phases d'un processus de design. Ces objets intermédiaires de représentation permettent et supportent l'incarnation des idées du designer, de les externaliser, mais aussi la médiation entre les personnes qui sont impliquées dans les différentes phases du design (designers produits, ingénieurs, marketing, ...). Les designers sonores, eux aussi, produisent des sons intermédiaires pour les présenter aux commanditaires par un processus itératif de raffinement de ces propositions. Ainsi ces différents sons intermédiaires sont des esquisses sonores qui représentent les différentes étapes intermédiaires d'un processus de création en constante évolution. Nous présentons ici une proposition d'une méthode d'esquisse sonore basée sur la voix et étendue par l'utilisation d'une synthèse sonore par corpus de son. Cet outil a été développé dans le cadre du projet Européen SkAT-VG (Sketching Audio Technologies using Vocalizations and Gestures). L'utilisation de la vocalisation s'ancre dans la pratique du design permettant de stimuler la génération de proposition sonore et la médiation entre les créatifs

Mapping Sound Properties and Oenological Characters by a Collaborative Sound Design Approach -Towards an Augmented Experience

International audienceThe paper presents a specific sound design process implemented upon a collaboration with an important stakeholder of the wine (Champagne) industry. The goal of the project was to link sound properties with oenological dimensions in order to compose a sonic environment able to realise a multisensory experience during the wine tasting protocol. This creation has resulted from a large scale methodological approach based on the semantic transformation concept (from wine words to sound words) and deployed by means of a codesign method-after having shared respective skills of each field (sound and oenology). A precise description of the workflow is detailed in the paper, The outcomes of the work are presented, either in terms of realisation or conceptual knowledge acquisition. Then, future perspectives for the following of the work are sketched, especially regarding the notion of evaluation. The whole approach is finally put in the broad conceptual framework of 'sciences of sound design' that is developed and argued in the light of this study

The Role of Sound Source Perception in Gestural Sound Description

We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source, and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds where no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterwards, we conducted interviews asking participants to verbalize their experience, watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds where causal action can be identified, participants mainly mimic the action that has produced the sound. In the other case, when no action can be associated to the sound, participants trace contours related to sound acoustic features. We also found that the inter-participants gesture variability is higher for causal sounds compared to non-causal sounds. Variability demonstrates that in the first case, participants have several ways of producing the same action whereas in the second case, the sound features tend to make the gesture responses consistent

Catégorisation auditive des sources sonores

cote interne IRCAM: Houix02aNone / NoneNational audienceNon

La perception des sons du quotidien, vers une application au design sonore

cote interne IRCAM: Houix12cNone / NoneInternational audienceLa perception des sons du quotidien, vers une application au design sonor

Foreword: Could a Functional Sound Be Beautiful?

International audienc

Catégorisation auditive des sources sonores

Notre étude porte sur la description des sources sonores,ici des barres de métal frappées, en termes de leurs propriétés audibles. Ces propriétés spécifient les caractéristiques physiques des sources telles que la géométrie, le matériau. Une première série d'expériences a mis en jeu la classification de sons de barres de métal excitées en différents points. Notre but était de savoir si les auditeurs arrivent à extraire des invariants perceptifs propres à chaque barre, spécifiant leurs propriétés géométriques. Il n'apparaît pas que les auditeurs utilisent l'information acoustique brute afin d'extraire des invariants perceptifs propres à une barre. Une deuxième série d'expériences a utilisé un paradigme d'appariement intermodal entre la représentation visuelle de paires de sources sonores et le son produit par celles-ci, grâce à l'utilisation de sons de synthèse. Ils n'étayent pas l'hypothèse selon laquelle il existe unr perception directe des propriétés géométriques de ces sources.We orient this work toward the description of sound sources, struck metal bars in our case, in terms of their audibler properties. These properties specify th physical characteristics of the sources such as their geometry, material. A first series of experiments involves the classification of sound of metal bars struk at different positions. The aim was to determine wheter listeners can extract the perceptual invariants specific to each bar's geometric properties. They do not seem to use the raw acoustic information to extract the perceptual invariants that specify the bar. A second series of experiments used a cross-modal matching paradigm between the visual representation of pairs of souns sources and the sounds produced by them, using synthesized sounds. The results show that listeners use perceptual strategies in order to associate sounds with their visual representation, but they do notsupport the hypothesis of a direct perception of geometric properties.LE MANS-BU Sciences (721812109) / SudocSudocFranceF

Structures vibrantes et catégorisation auditive

cote interne IRCAM: Houix01aNone / NoneInternational audienceNon

Sound design: an applied, experimental framework to study the perception of everyday sounds

International audienceMutations in late 20th-century sound design have transformed it from an empirical know-how into a full-fledged research field, with applications in the domain of everyday sound perception. This evolution leads us to propose an updated definition and a new description of the sound design process. Our updated definition, namely ‘making intentions audible’, is based on two types of intentions, one, essential, of function, and the other of form. We describe here three types of intentions of function, able to communicate information through an artifact. We then give a new description of the overall sound design process, as a combination of three steps (analysing, creating and testing), which articulate sound perception and sound design. Our first claim here is that the sound design process should be informed by knowledge, research and exploration of everyday sound perception; several industrial examples thereof will be presented. Our second claim is that sound design should be used to inform everyday sound perception research, both by suggesting new informative experiments and raising new methodological issues, ranging from sound design tools to experimental setups that need to be implemented specifically in the framework of sonic interaction design