Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 12 of 12 Parameters |
| Bakker, E. M., & Lewis, M. S. (2002). Semantic video retrieval using audio analysis. Lecture Notes in Computer Science, 2383, 271–277. |
 
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| Added by: Mark Grimshaw-Aagaard 20/04/2005, 16:19 | |
| Cano, P., Koppenberger, M., le Groux, S., Ricard, J., Wack, N., & Herrera, P. (2005). Nearest neighbor automatic sound annotation with a WordNet taxonomy. Journal of Intelligent Systems, 24(2/3), 99–111. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/01/2006, 10:52 | |
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Summarizing other research, states that "one of the main problems faced by natural sounds and sound effects classifiers is the lack of a clear taxonomy." For musical instruments "there is a parallelism between semantic and perceptual taxonomies" that does not exist for "every-day sound classification". e.g. musical instruments are sustained, not sustained, string, brass etc. However, "one can find hissing sounds in categories of "cat", "tea boilers', "snakes." Foley artists exploit this ambiguity" by the use of sounds unconnected with a visual object. |
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| Gaver, W. W. (1986). Auditory icons: Using sound in computer interfaces. Human-computer Interaction, 2, 167–177. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 08/01/2008, 07:51 | |
| Metonymic auditory icons are those "in which a feature is used to represent the whole" | |
| "Auditory icons provide a natural and intuitive way to represent dimensional data and to represent conceptual objects in a computer system." | |
| "an auditory icon is a sound that provides information about an event that represents desired data. Instead of using dimensions of sound to stand for dimensions of the data, dimensions of the sound's source are used" | |
| Manipulating parameters of the sound itself such as pitch and loudness (what are termed proximal stimuli), forces mappings between data and representation "to be either arbitrary or, at best, metaphorical. A nomic mapping can only be produced by manipulating the sound in terms of its source -- by using natural sounds." Although such sounds may of course be symbolic or metaphorical, "natural sounds should make possible a higher degree of articulatory directness than manipulating dimensions of the sound itself." | |
| "...Wagner's "Leitmotifs" and the use of sound in video games such as Pac Man, use metaphors based on similarities between the temporal progressions of the sounds and the events they are to represent. Other examples, such as the use of changing pitch to stand for changing heights, involve the use of a dimensional metaphor, in which one ordered dimension is used to represent another." | |
| Having suggested that nomic sounds have greater articulatory directness than symbolic, Gavin warns that culturally-ingrained symbolic sounds are just as powerfully representative and should not be discarded as useless. | |
| Discusses the notion of articulatory directness which is the continuum on which symbolic (least), metaphoric and nomic (most) stand. | |
Gaver identifies three mappings between data and its representation which he applies to sound:
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| Gaver, W. W. (1993). How do we hear in the world? Explorations in ecological acoustics. Ecological Psychology, 5(4), 285–313. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/04/2013, 16:39 | |
| Using his simplified algorithms for modelling and synthesis of sound (simplification by discarding parts of the algorithm that have no perceptible effect, is likened by Gaver to "cartoon sounds" analogous to visual cartoons which "capture some defining features while leaving out incidental ones." | |
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"...material per se does not exist as for mechanical physics, but instead is separated into many other dimensions such as density, elasticity, and homegeneity. Nonetheless, people do seem to hear the material of a struck object, rather than these other properties[cite]185[/cite]." |
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| Suggests that it is a mistake that acousticians and psychologists make when they assume that hearing a sound as an event requires higher and independent thought processes (because this requires memory and experience) because the sound (these people assume) does not carry such information itself. | |
| Grönlund, B. 1997, March 21. Urbanity: Lived space and difference. Paper presented at Urbanity & Aesthetics, Copenhagen University. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/01/2006, 12:48 | |
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Some discussion of Lebebvre's differential space with some criteria being: Differential space - some criteria Dominated by users Time is a resource Non-quantifiable activities Creative space for love, being, works, amenities A place of festivity The space of non-labour Some degree of pluralism Eroticized space Space of ambiguity Fixed, semi-fixed, movable or vacant Situational, relational space Compact, highly elaborated places of encounter and transition Empty places for play and encounter - unspecified places Spaces for minorities and the marginal Differential space is the 3rd historical stage in Lefebvre's ontological transformation of space. |
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| Hermann, T., & Ritter, H. (2004). Sound and meaning in auditory data display. Proceedings of the IEEE, 92(4), 730–741. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/06/2013, 12:29 | |
| "pitch at the extremal ends of the frequency spectrum reinforces the threatening character of intense sounds and the comforting character of weak sounds." | |
| "...the laws of physics themselves can be viewed as a kind of context information for extracting meaning from sound events. Compared to other contexts, the context given by physical laws was stable all the time, so that evolution had ample time to adapt our brains extremely well to the ways how physics links sounds and their causes." | |
| "Taking a perspective motivated by ecological acoustics, we will then gradually work backward in evolutionary history to bring into view increasingly more basic constituents of auditory perception that became particularly apparent as “ basic expression,” and will connect these to more elementary dimensions of meaning, whose deepest roots ultimately can be seen in physics, reflecting very fundamental laws that connect physical and geometrical properties of our environment to sound characteristics in a rather universal manner, invariant over a wide range of conditions and time scales, so that evolution found ample occasion and time to imprint these regularities deeply into the brains of our predecessors and ourselves." | |
| Keller, P., & Stevens, C. (2004). Meaning from environmental sounds: Types of signal-referent relations and their effect on recognizing auditory icons. Journal of Experimental Psychology, 10(1), 3–12. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 00:11 | |
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The authors adapt a taxonomy of visual icon signal-referents from Familant (1993) & Detweiler for use with auditory icons. A direct reference "indicates a signal referent relation in which there is only one referent involved, the denotative referent (e.g., machine gun fire sound for firing machine gun) ... Indirect reference occurs when there are at least two referents. Typically the signal refers to the denotative referent through an intermediate sign referent ... An example from the auditory domain would be use of the sound of rattling trash cans--the sign referent--to signal that a computer file has been successfully deleted--the denotative referent."
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The results of their experiments indicate that auditory icons "may outperform abstract sounds such as earcons" in contrast to Blattner et. al.'.'s assertions (Blattner, Sumikawa, & Greenberg 1989). s assertions (Blattner, Sumikawa, & Greenberg 1989). |
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| The "predisposition to find meaning effectively widens the potential database of sounds that can be used as auditory warnings." | |
| Experimental results showed "that there is no significant difference in recognition accuracy or speed of response to ecological versus metaphorical relations." | |
| Khan, L., McLeod, D., & Hovy, E. (2004). Retrieval effectiveness of an ontology-based model for information selection. Very Large Data Bases, 13, 71–85. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/06/2005, 10:49 | |
| Kim, K., Choi, J., Kim, N., & Kim, P. (2002). Extracting semantic information from basketball video based on audio-visual features. Lecture Notes in Computer Science, 2383, 278–288. |
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| Added by: Mark Grimshaw-Aagaard 09/06/2005, 13:20 | |
| Moncrieff, S., Dorai, C., & Venkatesh, S. (2001). Analysis of environmental sounds as indexical signs in film. Lecture Notes in Computer Science, 2195, 538–545. |
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| Added by: Mark Grimshaw-Aagaard 24/08/2005, 14:36 | |
| Velivelli, A., Ngo, C.-W., & Huang, T. S. (2003). Detection of documentary scene changes by audio-visual fusion. Lecture Notes in Computer Science, 2728, 227–238. |
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| Added by: Mark Grimshaw-Aagaard 09/06/2005, 11:21 | |
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One of the team's observations of documentaries is that usually "the visual pattern has a counterpart audio pattern." An example they give is: audio class: speech <-------- speech + siren <-------- speech visual sequence: aircraft <---hanger [sic]/fire <-------- officer speaking |
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For documentaries, they define 6 audio classes:
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| Xu, M., Duan, L.-Y., Cai, J., Chia, L.-T., Xu, C., & Tian, Q. (2004). HMM-based audio keyword generation. Lecture Notes in Computer Science, 3333, 556–574. |
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| Added by: Mark Grimshaw-Aagaard 06/06/2005, 10:48 |
