1,721,012 research outputs found
The Sounding Object: estensione dei modelli di sintesi basati su impatto e frizione.
No full textViene presentato un lavoro di rielaborazione ed espansione di alcuni risultati del progetto europeo SOb (The Sounding Object) [IST-2000-25287] il cui obiettivo è stato lo sviluppo di modelli fisici sonori per l’interazione. Alcuni di questi modelli sono stati implementati in un pacchetto software come librerie (externals) per la piattaforma pure data. Partendo da tali risultati si è proceduto alla revisione di alcuni modelli, delle implementazioni, nonché alla espansione del pacchetto software mediante lo sviluppo e l’implementazione di un nuovo modello di risonatore waveguide (simulante una corda e controllabile mediante parametri fisico-geometrici). Questo lavoro verrà utilizzato nel contesto del progetto europeo CLOSED (Closing the Loop of Sound Evaluation and Design) [FP6-2004-NEST-29085], per il quale si prevede la re-ingegnerizzazione del pacchetto ed una sua ulteriore espansione
Sound modeling issues in interactive sonification - From basic contact events to synthesis and manipulation tools
Full text linkQuesta tesi affronta una varietà di temi di ricerca, spaziando dalla interazione uomo-macchina alla modellizzazione fisica. Ciò che unisce queste ampie aree di interesse è l'idea di utilizzare simulazioni numeriche di fenomeni acustici basate sulla fisica, al fine di implementare interfacce uomo-macchina che offrano feedback sonoro coerente con l'interazione dell'utente.
A questo proposito, negli ultimi anni sono nate numerose nuove discipline che vanno sotto il nome di -- per citarne alcune -- auditory display, sonificazione e sonic interaction design.
In questa tesi vengono trattate la progettazione e la realizzazione di algoritmi audio efficienti per la sonificazione interattiva. A tale scopo si fa uso di tecniche di modellazione fisica di suoni ecologici (everyday sounds), ovvero suoni che non rientrano nelle famiglie del parlato e dei suoni musicali.The work presented in this thesis ranges over a variety of research topics, spacing from human-computer interaction to physical-modeling. What combines such broad areas of interest is the idea of using physically-based computer simulations of acoustic phenomena in order to provide human-computer interfaces with sound feedback which is consistent with the user interaction.
In this regard, recent years have seen the emergence of several new disciplines that go under the name of -- to cite a few -- auditory display, sonification and sonic interaction design.
This thesis deals with the design and implementation of efficient sound algorithms for interactive sonification. To this end, the physical modeling of everyday sounds is taken into account, that is sounds not belonging to the families of speech and musical sounds
Accuracy of Musical Pitch Control Through Finger Pushing and Pulling
No full textAn experiment with trained musicians was conducted to investigate how finger pushing and pulling gestures that control pitch bending of a synthesizer tone affect accuracy with respect to a given target pitch. Additionally, the effect of different interactive vibrotactile feedback was assessed. A self-developed haptic interface called TouchBox was used for this purpose. Finally, subjective evaluations were collected for perceived agency, confidence of correctness, and pleasantness of the experience.+ ID: 590205 + Serientitel: Lecture Notes in Computer Science + PeerReviewed: Peer Reviewe
A shoe-based interface for ecological ground augmentation
No full textThe prototype of a wearable shoe-based interface is presented, which provides the user with auditory cues of ground. Data supplied by sensors embedded in the shoes drive a set of physics-based synthesis models running on a laptop, whose audio output is sent to a pair of shoe-mounted loudspeakers. By informing the synthesis models with ecological properties of grounds, neutral floors can be interactively augmented so as to react like they were made of a different material
Path Following in Non-Visual Conditions
Full text linkPath-following tasks have been investigated mostly under visual conditions, that is when subjects are able to see both the path and the tool, or limb, used for navigation. Moreover, only basic path shapes are usually adopted. In the present experiment, participants must rely exclusively on audio and vibrotactile feedback to follow a path on a flat surface. Two different, asymmetric path shapes were tested. Participants navigated by moving their index finger over a surface sensing position and force. Results show that the different non-visual feedback modes did not affect the task's accuracy, yet they affected its speed, with vibrotactile feedback causing slower gestures than audio feedback. Conversely, audio and audio-tactile feedback yielded similar results. Vibrotactile feedback caused participants to exert more force over the surface. Finally, the shape of the path was relevant to the accuracy, and participants tended to prefer audio over vibrotactile and audio-tactile feedback
Sketch a Scratch
No full textWe present a tool for the multisensory sketching and
exploration of surface or sound textures, by scraping,
rubbing, or rolling. Such actions are governed by physical
laws and give rise to a wide range of dynamic phenomena
Musical Haptics
Full text linkThis open access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance
Augmenting Sonic Experiences Through Haptic Feedback
Full text linkSonic experiences are usually considered as the result of auditory feedback alone. From a psychological standpoint, however, this is true only when a listener is kept isolated from concurrent stimuli targeting the other senses. Such stimuli, in fact, may either interfere with the sonic experience if they distract the listener, or conversely enhance it if they convey sensations coherent with what is being heard. This chapter is concerned with haptic augmentations having effects on auditory perception, for example how different vibrotactile cues provided by an electronic musical instrument may affect its perceived sound quality or the playing experience. Results from different experiments are reviewed showing that the auditory and somatosensory channels together can produce constructive effects resulting in measurable perceptual enhancement. That may affect sonic dimensions ranging from basic auditory parameters, such as the perceived intensity of frequency components, up to more complex perceptions which contribute to forming our ecology of everyday or musical sounds
Musical Haptics: Introduction
Full text linkThis chapter introduces to the concept of musical haptics, its scope, aims, challenges, as well as its relevance and impact for general haptics and human–computer interaction. A brief summary of subsequent chapters is given
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