In this article, we propose a control strategy for synthesized continuous-interaction sounds. The framework of our research is based on the action–object paradigm that describes the sound as the result of an action on an object and that presumes the existence of sound invariants (i.e., perceptually relevant signal morphologies that carry information about the action's or the object's attributes). Auditory cues are investigated here for the evocations of rubbing, scratching, and rolling interactions. A generic sound-synthesis model that simulates these interactions is detailed. We then suggest an intuitive control strategy that enables users to navigate continuously from one interaction to another in an “action space,” thereby offering the possibility to simulate morphed interactions—for instance, ones that morph between rubbing and rolling.
International audienceThis article aims to reveal the efficiency of sonification strategies in terms of rapidity, precision and overshooting in the case of a one-dimensional guidance task. The sonification strategies are based on the four main perceptual attributes of a sound (i.e. pitch, loudness, duration/tempo and timbre) and classified with respect to the presence or not of one or several auditory references. Perceptual evaluations are used to display the strategies in a precision/rapidity space and enable prediction of user behavior for a chosen sonification strategy. The evaluation of sonification strategies constitutes a first step toward general guidelines for sound design in interactive multimedia systems that involve guidance issues
The quality of handwriting is evaluated from the visual inspection of its legibility and not from the movement that generates the trace. Although handwriting is achieved in silence, adding sounds to handwriting movement might help towards its perception, provided that these sounds are meaningful. This study evaluated the ability to judge handwriting quality from the auditory perception of the underlying sonified movement, without seeing the written trace. In a first experiment, samples of a word written by children with dysgraphia, proficient children writers, and proficient adult writers were collected with a graphic tablet. Then, the pen velocity, the fluency, and the axial pen pressure were sonified in order to create forty-five audio files. In a second experiment, these files were presented to 48 adult listeners who had to mark the underlying unseen handwriting. In order to evaluate the relevance of the sonification strategy, two experimental conditions were compared. In a first ‘implicit’ condition, the listeners made their judgment without any knowledge of the mapping between the sounds and the handwriting variables. In a second ‘explicit’ condition, they knew what the sonified variables corresponded to and the evaluation criteria. Results showed that, under the implicit condition, two thirds of the listeners marked the three groups of writers differently. In the explicit condition, all listeners marked the dysgraphic handwriting lower than that of the two other groups. In a third experiment, the scores given from the auditory evaluation were compared to the scores given by 16 other adults from the visual evaluation of the trace. Results revealed that auditory evaluation was more relevant than the visual evaluation for evaluating a dysgraphic handwriting. Handwriting sonification might therefore be a relevant tool allowing a therapist to complete the visual assessment of the written trace by an auditory control of the handwriting movement quality.
10th International Symposium on Computer Music Multidisciplinary Research (CMMR) - Sound, Music and Motion, Marseille, FRANCE, OCT 15-18, 2013International audienceno abstrac
Abstract:In this paper, a flexible control strategy for a synthesis model dedicated to nonlinear friction phenomena is proposed. This model enables to synthesize different types of sound sources, such as creaky doors, singing glasses, squeaking wet plates or bowed strings. Based on the perceptual stance that a sound is perceived as the result of an action on an object we propose a genuine source/filter synthesis approach that enables to elude physical constraints induced by the coupling between the interacting objects. This approach makes it possible to independently control and freely combine the action and the object. Different implementations and applications related to computer animation, gesture learning for rehabilitation and expert gestures are presented at the end of this paper.
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