Wavefield Synthesis; Archaeoacoustics

Date: 
Fri, 11/13/2009 - 2:15pm
Location: 
CCRMA Classroom, The Knoll 217
Event Type: 
DSP Seminar

Announcement: DSP Seminar Friday November 13, 2009, 2:15pm

This week's DSP Seminar will feature two presentations:  Grace Leslie, a Ph.D. candidate at UCSD, will discuss her recent work related to wavefield synthesis for interactive applications at IRCAM on the SAME project, http://www.sameproject.eu/ , and Miriam Kolar, a CCRMA Ph.D. candidate will present an overview of her recent archaeological acoustics work at Chavin de Huantar, https://ccrma.stanford.edu/groups/chavin/ (abstracts follow).  We will meet in the classroom at 2:15 PM.

 

Wavefield Synthesis for Interactive Sound Installations

 Grace Leslie, IRCAM - Paris, France, University of California,
San Diego; Diemo Schwarz, Olivier Warusfel, Frédéric Bevilacqua,
Pierre Jodlowski, IRCAM - Paris, France

Wavefield synthesis (WFS), the spatialization of audio through the recreation of a virtual source’s wavefront, is uniquely suited to interactive applications where listeners move throughout the rendering space and more than one listener is involved. This paper describes the features of WFS that make it useful for interactive applications, and takes a recent project at IRCAM as a case study that demonstrates these advantages. The interactive installation GrainStick was developed as a collaboration between the composer Pierre Jodlowski and the European project Sound And Music For Everyone Everyday Everywhere Everyway (SAME) at IRCAM, Paris. The interaction design of GrainStick presents a new development in multimodal interfaces and multichannel sound by allowing users control of their auditory scene through gesture analysis performed on infrared camera motion tracking and accelerometer data. The results from an initial pilot perceptual study of an active listening paradigm incorporating the Grainstick installation are discussed.


Archaeoacoustics: Gallery Acoustics and Auditory Implications at Chavín de Huántar, Perú

Miriam Kolar, CCRMA, Stanford University

The archaeological record provides evidence for the pivotal role of 3000-year old Chavín de Huántar, Perú, in the Andean evolution of social inequality, in part via legitimization of authority through sensory manipulation. To understand auditory implications of site design, we are measuring, quantifying, and archiving extant acoustics. Ongoing measurement and analysis confirms that architectural features of the underground galleries at Chavín create acoustic conditions that obscure auditory localization cues. Such indications of structure-based auditory disorientation are consistent with sensory manipulation being a factor in design, and ground inferences regarding the contextual potential of the Chavín Strombus trumpets.

 

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