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

Misdariis, Nicolas; Susini, Patrick; Houix, Olivier; Rivas, Roque; Cerles, Clément; Lebel, Eric; Tetienne, Alice; Duquesne, Aliette

doi:10.1007/978-3-030-70210-6_32

Cited by 4 publications

(4 citation statements)

References 18 publications

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“…Warm (chaud) and round (rond) are two sound attributes that seem to share many similarities in the description of sound as observed in some works (Bernays & Traube, 2014;Carron, 2016;Zacharakis et al, 2014). Studies conducted by three of the authors of this article have observed difficulties in distinguishing the two terms in professional conversations between sound designers and industrial partners (Carron et al, 2015;Misdariis et al, 2019). Although not thoroughly documented, this issue is persistent in sound design workshops based on verbal descriptions of sound characteristics.…”

Section: A S Human Beings W E a R E U Se D Tomentioning

confidence: 72%

“…Later, Kendall and Carterette (1993) used unipolar scales, or verbal attribute magnitude estimation (VAME), e.g., ''bright-non bright.'' Either using VAME or bipolar semantic scales to evaluate sounds, multiple subsequent studies have investigated the semantic dimensions of timbre (Alluri & Toiviainen, 2010;Nyka ¨nen et al, 2009;Pratt & Doak, 1976;Stepa ´nek, 2006;Traube, 2004;Zacharakis et al, 2014).…”

Section: A S Human Beings W E a R E U Se D Tomentioning

confidence: 99%

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Investigating the Shared Meaning of Metaphorical Sound Attributes

et al. 2022

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Music or sound professionals use specific terminology to communicate about timbre. Some key terms do not come from the sound domain and do not have a clear definition due to their metaphorical nature. This work aims to reveal shared meanings of four well-used timbre attributes: bright, warm, round, and rough. We conducted two complementary studies with French sound and music experts (e.g., composers, sound engineers, sound designers, musicians, etc.). First, we led interviews to gather definitions and instrumental sound examples for the four attributes (N = 32). Second, using an online survey, we tested the relevance and consensus on multiple descriptions most frequently evoked during the interviews (N = 51). The analysis of the rich corpus of verbalizations from the interviews yielded the main description strategies used by the experts, namely acoustic, metaphorical, and source-related. We also derived definitions for the attributes based on significantly relevant and consensual descriptions according to the survey results. Importantly, the definitions rely heavily on metaphorical descriptions. In sum, this study presents an overview of the shared meaning and perception of four metaphorical timbre attributes in the French language.

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Section: A S Human Beings W E a R E U Se D Tomentioning

confidence: 72%

Section: A S Human Beings W E a R E U Se D Tomentioning

confidence: 99%

Investigating the Shared Meaning of Metaphorical Sound Attributes

et al. 2022

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“…When the diverse literatures are taken together, it soon becomes clear how widespread the interest in sensory mapping/translation really is (cf. Misdariis et al, 2021 ; Trotta et al, 2020 , for a couple of other recent examples). Beyond its relevance to artistic performance or marketing/design contexts, we suggest that such a widespread interest might be rooted in the nature of the topic itself, which raises a number of intriguing (not to mention challenging) issues (see Daniels et al, 2010 ; Daniels & Naumann 2015 ).…”

Section: Sensory Translationmentioning

confidence: 97%

Sensory translation between audition and vision

Spence,

Di Stefano

2023

Psychon Bull Rev

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Across the millennia, and across a range of disciplines, there has been a widespread desire to connect, or translate between, the senses in a manner that is meaningful, rather than arbitrary. Early examples were often inspired by the vivid, yet mostly idiosyncratic, crossmodal matches expressed by synaesthetes, often exploited for aesthetic purposes by writers, artists, and composers. A separate approach comes from those academic commentators who have attempted to translate between structurally similar dimensions of perceptual experience (such as pitch and colour). However, neither approach has succeeded in delivering consensually agreed crossmodal matches. As such, an alternative approach to sensory translation is needed. In this narrative historical review, focusing on the translation between audition and vision, we attempt to shed light on the topic by addressing the following three questions: (1) How is the topic of sensory translation related to synaesthesia, multisensory integration, and crossmodal associations? (2) Are there common processing mechanisms across the senses that can help to guarantee the success of sensory translation, or, rather, is mapping among the senses mediated by allegedly universal (e.g., amodal) stimulus dimensions? (3) Is the term ‘translation’ in the context of cross-sensory mappings used metaphorically or literally? Given the general mechanisms and concepts discussed throughout the review, the answers we come to regarding the nature of audio-visual translation are likely to apply to the translation between other perhaps less-frequently studied modality pairings as well.

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“…This paper deals only with the first question. The identification and description of these sounds must be linked with a shared meaning between the different actors of the project to allow a good communication between engineers, researchers and sound composers [5]. Several works were carried to identify methodologies to communicate on sounds in a sound design context with words [6], imitations [7], gestures [8] ...…”

Section: Introductionmentioning

confidence: 99%

How do Automotive Acousticians talk about Sounds and Comfort in Electric Vehicle?

Duroyon,

Misdariis,

Susini

et al. 2024

Proceedings of the 10th Convention of the European Acoustics Association Forum Acusticum 2023

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The original idea of this work is to propose an improvement in the acoustic comfort inside electric vehicles, by designing sounds added to sounds perceived as unpleasant thanks to the audio system of the car. The first step in the sound design approach consists in identifying and describing sounds. Therefore, we start by extracting a lexicon spontaneously used by automotive acousticians. The choice was made to conduct 12 interviews guided by a semi-structured questionnaire. The resulting interviews are then analyzed to classify the extracted terms into 4 categories of descriptors formalized in previous studies, illustrated here with examples: Hedonic (e.g. Pleasant), Causal (e.g. Electric motor), Reduced (e.g. High pitched) and Names (e.g. Whining noise). The second step in our framework is to describe the hedonic perception of comfort/discomfort of these sounds using the contextual elements given by the participants. This issue is addressed by obtaining a verbal portrait of the acoustical characteristics perceived as pleasant and unpleasant. We present here the ranking of the most representative sound sources identified in the car cabin as well as their perceptive definitions, focusing on the sound properties and comfort/discomfort impact spontaneously given by participants. The sound design process will be further explored.

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

Cited by 4 publications

References 18 publications

Investigating the Shared Meaning of Metaphorical Sound Attributes

Investigating the Shared Meaning of Metaphorical Sound Attributes

Sensory translation between audition and vision

How do Automotive Acousticians talk about Sounds and Comfort in Electric Vehicle?

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