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- Pauletto, Sandra, Associate Professor
(author)
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Beyond sound objects
- 2024
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In: Traces of Sound. - Lund : Lund University Open Access.
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Book chapter (peer-reviewed)abstract
- In the mid 20th century Pierre Schaeffer introduced the term objet sonore in his now famous Traité des objets musicaux (1966) and Solfège de l'objet sonore (1967). Since then, the English term object has been used in relation to sound in many contexts. In this essay I argue that while conceptualizing sound as an object has had, and probably continues to have, many benefits for the development of audio technology and for production methods, it also obscures and undermines some fundamental and unique characteristics of sound. To exemplify how and when conceptualizing sound as an object seems to be unhelpful, I will use examples from media production, specifically the creative practice of Foley, and the use of sound in documentaries with examples from works by documentary filmmaker Erik Gandini and others. Overall, this essay aims to contribute to a better understanding of what sound is by highlighting its unique, often contradictory, characteristics - its ability to help us trace what is relevant and truthful in what is in front of us - rather than what it might have in common with other creative materials.
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| 3. |
- Pauletto, Sandra
(author)
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Film and theatre-based approaches for sonic interaction design
- 2014
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In: Digital Creativity. - : Routledge. - 1462-6268 .- 1744-3806. ; 25:1, s. 15-26
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Journal article (peer-reviewed)abstract
- Sonic interaction design studies how digital sound can be used in interactive contexts to convey information, meaning, aesthetic and emotional qualities. This area of research is positioned at the intersection of sound and music computing, auditory displays and interaction design. The key issue the designer is asked to tackle is to create meaningful sound for objects and interactions that are often new. To date, there are no set design methodologies, but a variety of approaches available to the designer. Knowledge and understandingofhow humans listen and interpret sound is the first step toward being able to create such sounds.This article discusses two original approaches that borrow techniques from film sound and theatre. Cinematic sound highlights how our interpretation of sounddependson listening modes and context, while theatre settings allow us to explore sonic interactions from the different perspectives of the interacting subject, the observer and the designer.
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| 5. |
- Dahlberg, Leif, Professor, 1962-
(author)
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Den sicilianska månen
- 1985
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In: Filmhäftet. - Uppsala : Filmhäftet. - 0345-3057. ; :49, s. 57-61
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Journal article (peer-reviewed)
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| 8. |
- Idrovo, René, et al.
(author)
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Immersive Point-of-Audition : Alfonso Cuarón’s Three-Dimensional Sound Design Approach
- 2019
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In: Music, Sound, and the Moving Image. - Liverpool : Liverpool University Press. - 1753-0768 .- 1753-0776.
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Journal article (peer-reviewed)abstract
- Technological advances have always had an impact on the development of new audio-visual aesthetics. Recently, exploiting the spatial capabilities of immersive sound technology in the form of Dolby Atmos, Alfonso Cuarón introduced in Gravity (2013) an innovative sound design approach that enhances the illusion of ‘presence’ in the space of the diegesis by always maintaining a coherent, realistic, and immersive representation of a given point-of-audition. Such sonic strategy – which we have termed immersive point-of-audition – provides a three-dimensional representation of the filmic space, localising sound effects, music, and dialogue in accordance to the position of the sources within the diegesis. In this paper, we introduce the definition and main characteristics of this emergent sound design approach, and using Gravity as an illustrative example, we argue that it has the potential of facilitating the processes of transportation and identification in cinema.
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| 9. |
- Latupeirissa, Adrian Benigno
(author)
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From Motion Pictures to Robotic Features : Adopting film sound design practices to foster sonic expression in social robotics through interactive sonification
- 2024
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Artistic work (other academic/artistic)abstract
- This dissertation investigates the role of sound design in social robotics, drawing inspiration from robot depictions in science-fiction films. It addresses the limitations of robots’ movements and expressive behavior by integrating principles from film sound design, seeking to improve human-robot interaction through expressive gestures and non-verbal sounds.The compiled works are structured into two parts. The first part focuses on perceptual studies, exploring how people perceive non-verbal sounds displayed by a Pepper robot related to its movement. These studies highlighted preferences for more refined sound models, subtle sounds that blend with ambient sounds, and sound characteristics matching the robot’s visual attributes. This part also resulted in a programming interface connecting the Pepper robot with sound production tools.The second part focuses on a structured analysis of robot sounds in films, revealing three narrative themes related to robot sounds in films with implications for social robotics. The first theme involves sounds associated with the physical attributes of robots, encompassing sub-themes of sound linked to robot size, exposed mechanisms, build quality, and anthropomorphic traits. The second theme delves into sounds accentuating robots’ internal workings, with sub-themes related to learning and decision-making processes. Lastly, the third theme revolves around sounds utilized in robots’ interactions with other characters within the film scenes.Based on these works, the dissertation discusses sound design recommendations for social robotics inspired by practices in film sound design. These recommendations encompass selecting the appropriate sound materials and sonic characteristics such as pitch and timbre, employing movement sound for effective communication and emotional expression, and integrating narrative and context into the interaction.
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| 10. |
- Latupeirissa, Adrian Benigno, et al.
(author)
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Semiotic analysis of robot sounds in films: implications for sound design in social robotics
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Other publication (other academic/artistic)abstract
- This paper investigates the sound design of robots in films and their potential influence on the field of social robotics. Cinematic robot portrayals have inspired researchers and practitioners in Human-Robot Interaction (HRI). While the non-verbal sounds of iconic film robots like R2-D2 and Wall-E have been explored, this study takes a more comprehensive approach. We explore a broader selection of 15 films featuring humanoid robots across decades through a semiotic analysis of their non-verbal communication sounds, including those related to movements and internal mechanisms. Our analysis, guided by Bateman and Schmidt’s multimodal film analysis framework following Saussure’s organization of signs through paradigmatic and syntagmatic relations, interprets the paradigmatic axis as the examination of the sound and the syntagmatic axis as the examination of the events surrounding the sound. The findings uncover two primary film robot sound materials: mechanical and synthetic. Additionally, contextual analysis reveals three narrative themes and several sub-themes related to the physical attributes of robots, their internal workings, and their interactions with other characters. The discussion section explores the implications of these findings for social robotics, including the importance of sound materials, the role of movement sounds in communication and emotional expression, and the significance of narrative and context in human-robot interaction. The paper also acknowledges the challenges in translating film sound design into practical applications in social robotics. This study provides valuable insights for HRI researchers, practitioners, and sound designers seeking to enhance non-verbal auditory expressions in social robots.
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