Sound Perception and Design

Sub title:
The team's project combines research in sound perception and cognition with research and applications in sound design.

App:

Model:

Id:

Fields:

Content:
<p>It implements art/science&nbsp;relations, on the one hand, by contributing to musical and sound research&nbsp;with scientific questions of a perceptive and cognitive nature (&lsquo;from sound&nbsp;to subject&rsquo; theme), and on the other hand, by placing the problems of&nbsp;applied sound creation in the field of design research (&lsquo;from subject to&nbsp;sound&rsquo; theme).&nbsp;</p> <p>The applicative component allows the development of research-project or&nbsp;research-action type activities, within the framework of doctoral theses&nbsp;or industrial collaborations (Renault, Krug, SNCF, etc.) that combine the&nbsp;scientific and technological &ldquo;knowledge&rdquo; of the team&rsquo;s researchers with the&nbsp;artistic &ldquo;know-how&rdquo; of the composers who systematically work alongside&nbsp;them (e.g. A. Cera, S. Gaxie, A. Sigman, R. Rivas, N. Sch&uuml;tz).&nbsp;</p> <p>Finally, the team&rsquo;s work method is rounded out by an essential educational&nbsp;dimension. The team&rsquo;s involvement in the DNSEP Sound Design at the&nbsp;TALM-Le Mans School of Art and Design allows them to contribute to the&nbsp;training and development of the discipline. This involvement includes the&nbsp;supervision of an annual practical workshop that brings together sound&nbsp;design and design students to discuss a real-life case presented by an&nbsp;industrial or institutional partner (City of Le Mans, Ile-de-France Region,&nbsp;RATP, Maison de la Radio, Sainte-Anne Hospital, etc.). </p> <p>The research carried out on the 'from sound to subject' theme focuses primarily&mdash;and historically&mdash;on environmental sounds; a singular object that provides access to several levels of cognitive representation, in connection with distinct modes of listening (reduced, causal, semantic listening). They are implemented at different temporal scales (from the event to the final sound scene), at different degrees of complexity (from pure sound to complex sound), and aim as much at the characterization of low-level perceptual mechanisms (loudness, auditory salience...), as at the understanding of higher-level cognitive processes involving recognition, identification, categorization, memorization or emotional processing of sound information. On the memorial and emotional dimensions, the team's research is moving into the field of multimodal perception, focusing in particular on the relations between the auditory and olfactory modalities (CIFRE thesis in progress with IFF).</p> <p>The research carried out on the theme &lsquo;from subject to sound&rsquo; expands the&nbsp;category of environmental sounds to that of sound artefacts&mdash;resulting&nbsp;from human transformation, of artificial origin&mdash;and raises the question of&nbsp;their conception (design) but also their reception (perception). They therefore&nbsp;focus on the discipline of sound design, considered as an object of&nbsp;study and research in its own right, by integrating it into the field of design&nbsp;research, a broader conceptual framework that is more established from<br />a historical and epistemological point of view. This desire to make sound&nbsp;design interact with design, and to acquire its own knowledge, methodologies,&nbsp;and tools, is inspired by the approach of design sciences formalized in&nbsp;particular by Nigel Cross (2006).</p> <p>This approach is deployed on dimensions relating to the people, processes, and products of the discipline; it is complemented, moreover, by a particular consideration of the modalities of reception of sound design &lsquo;objects&rsquo; (artifacts). Whether these objects are tangible, digital or spatial, the problem of perceptual evaluation is of particular interest. Finally, the team is involved in the theme&mdash;found throughout the laboratory&mdash;"Sound, Music / Health", in projects on the use of sound and music in the reduction of anxiety (Psyson project), the use of vocal feedback in psychotherapy protocols (N. Guerouaou's thesis), or the design of audio-tactile devices for extra-tympanic listening (C. Richards' thesis).</p> <h2>Major Themes</h2> <ul> <li>Perception, representation, and description of sounds</li> <li>Loudness of multi-source sounds</li> <li>Vocal imitation and identification</li> <li>Timbre acoustics and semantics</li> <li>Perception/cognition of complex sounds</li> <li>Local/global perception</li> <li>Vocal and musical cognition and emotion</li> <li>Social cognition and vocal identity</li> <li>Inverse correlation and prosody</li> <li>Cognition and musical creativity</li> <li>Sound design and interaction</li> <li>Multimodal sound design, sonification</li> <li>Sound design for health</li> <li>Sound conception tools</li> </ul> <h2>Specialist Areas</h2> <p>Experimental psychology, data analysis (numerical, verbal), acoustics, psychoacoustics, psychology and cognitive neurosciences, sound design, design.</p> <p style="text-align: right;"><a href="https://www.stms-lab.fr/team/perception-et-design-sonores/" target="_blank" class="wys-button">Website Team</a></p>

App:

Model:

Id:

Fields: