| 1. |
- Bresin, Roberto, et al.
(författare)
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Auditory feedback through continuous control of crumpling sound synthesis
- 2008
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Ingår i: Proceedings of Sonic Interaction Design. - : IUAV University of Venice. - 9788890341304 ; , s. 23-28
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Konferensbidrag (refereegranskat)abstract
- A realtime model for the synthesis of crumpling sounds ispresented. By capturing the statistics of short sonic transients which give rise to crackling noise, it allows for a consistent description of a broad spectrum of audible physical processes which emerge in several everyday interaction contexts.The model drives a nonlinear impactor that sonifies every transient, and it can be parameterized depending on the physical attributes of the crumpling material. Three different scenarios are described, respectively simulating the foot interaction with aggregate ground materials, augmenting a dining scenario, and affecting the emotional content of a footstep sequence. Taken altogether, they emphasize the potential generalizability of the model to situations in which a precise control of auditory feedback can significantly increase the enactivity and ecological validity of an interface.
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| 2. |
- Bresin, Roberto, 1963-, et al.
(författare)
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Expressive sonification of footstep sounds
- 2010
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Ingår i: Proceedings of ISon 2010. - Stockholm, Sweden : KTH Royal Institute of Technology. ; , s. 51-54
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Konferensbidrag (refereegranskat)abstract
- In this study we present the evaluation of a model for the interactive sonification of footsteps. The sonification is achieved by means of specially designed sensored-shoes which control the expressive parameters of novel sound synthesis models capable of reproducing continuous auditory feedback for walking. In a previousstudy, sounds corresponding to different grounds were associated to different emotions and gender. In this study, we used an interactive sonification actuated by the sensored-shoes for providing auditory feedback to walkers. In an experiment we asked subjects to walk (using the sensored-shoes) with four different emotional intentions (happy, sad, aggressive, tender) and for each emotion we manipulated the ground texture sound four times (wood panels, linoleum, muddy ground, and iced snow). Preliminary results show that walkers used a more active walking style (faster pace) when the sound of the walking surface was characterized by an higher spectral centroid (e.g. iced snow), and a less active style (slower pace) when the spectral centroid was low (e.g. muddy ground). Harder texture sounds lead to more aggressive walking patters while softer ones to more tender and sad walking styles.
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