Thèses sur le sujet « Perception spatiale auditive »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 24 meilleures thèses pour votre recherche sur le sujet « Perception spatiale auditive ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Hartnagel, David. « La perception de l'espace multisensoriel appréhendée par l'étude de la fusion visuo-auditive : les effets de la dissociation des référentiels spatiaux ». Paris 8, 2007. http://octaviana.fr/document/135521491#?c=0&m=0&s=0&cv=0.
Texte intégralFrames of reference dissociation effect on the multisensory space is estimated in a Visual-Auditory (VA) fusion task. Godfroy et al. (2003), showed that there is a symmetrical organization of the VA space relative to the mid sagittal plane. Spatial information is coded differently in visual and auditory sensory systems, eye-centred for vision, head-centred for audition. A first experiment shows a reference frame dissociation effect, VA fusion space is symmetrically organized relative to an intermediary axis inbetween head and eye position when fixation cross is laterally shifted. In a 2nd experiment in total darkness, this effect is also found. Hence, head and eye position for VA information displays need to be accounted for. To bypass this eye position effect, a third experiment investigates allocentric visual cues influence. Again, multisensory space perception still depends on the eye-in-head position. The dissociation of egocentric reference frames effect on VA fusion is robust and regular, visual cues provided by the environment are not so relevant. These results confirm that VA fusion is an integrative phenomenon; it depends on the spatial coding of each sensory modality. VA reference frame seems not to reflect an intermediate stage in a reference frame transformation from head-centred to eye-centred, but rather as electrophysiological data proposed (Snyder, 2005), an idiosyncratic representation of space
Després, Olivier. « Mécanismes de localisation spatiale chez l'homme : interaction entre le système visuel et le système auditif ». Strasbourg 1, 2004. https://publication-theses.unistra.fr/public/theses_doctorat/2004/DESPRES_Olivier_2004.pdf.
Texte intégralPires, Isabel Maria Antunes. « La notion d'espace dans la création musicale : idées, concepts et attributions : une réflexion à propos d'"espaces" intentionnellement perçus ou composés de l'"entité sonore" ». Paris 8, 2007. http://octaviana.fr/document/133290859#?c=0&m=0&s=0&cv=0.
Texte intégralOur research presents some ideas about composing musical spaces. This study includes the intentional use of the perceived sound qualities in sound construction, and, by the consequence, in musical composition. Our research is in the intersection between the sound as a physical phenomenon, the spatial sensations created by the auditory perception of some sound proprieties, and the musical composition of sound spaces. We develop the idea of a sound entity that we can compose from its microstructure to the macrostructure. We conceive it by means of an analogical thinking about the tangible world objects and the auditory sound sensations. We consider the ideas of volume, form and matter, positions and movements of the material objects. We used these ideas as metaphor to conceive sound entities integrated into and musical composed spaces. The conception of the sound entity as a group of heteroclite elements ; il make possible the conception of operational networks. The composer can use these networks for sound manipulations in his compositional work
Pires, Isabel Maria Antunes Vaggione Horacio. « La notion d'espace dans la création musicale ». Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/AntunesPiresThese.pdf.
Texte intégralGandemer, Lennie. « Son et posture : le rôle de la perception auditive spatiale dans le maintien de l'équilibre postural ». Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM4749/document.
Texte intégralPostural control is known to be the result of the integration by the central nervous system of several sensory modalities. In the literature, visual, proprioceptive, plantar touch and vestibular inputs are generally mentioned, and the role of audition is often neglected, even though sound is a rich and broad source of information on the whole surroundind 3D space. In the frame of this PhD, we focused on the specific role of sound on posture. The first part of this work is related to the design, the set-up and the perceptual evaluation of a fifth order ambisonics sound spatialization system. This system makes it possible to generate and move sound sources in the 3D space surrounding the listener and also to synthesize immersive and realistic sound environments. Then, this sound spatialization system was used as a tool to generate sound stimuli used in five different postural tests. In these tests, we studied the static upright stance of young and healthy subjects. The results of these studies show that the spatial auditory information can be integrated in the postural control system, allowing the subjects to reach a better stability.Two complementary trails are proposed to explain these stabilizing effects. Firstly, the spatial acoustic cues can contribute to the building of a mental representation of the surrounding environment; given this representation, the subjects could improve their stability. Secondly, we introduce multisensory integration phenomena: the auditory component could facilitate the integration of the other modalities implied in the postural control system
Fekih, Kabil. « Le parcours sonore : de la construction urbaine aux constructions mentales ». Grenoble 2, 2006. http://www.theses.fr/2006GRE29063.
Texte intégralHartnagel, David Roumes Corinne. « La perception de l'espace multisensoriel appréhendée par l'étude de la fusion visuo-auditive les effets de la dissociation des référentiels spatiaux / ». Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/consult.php?url_these=theses/HartnagelThese.pdf.
Texte intégralBordeau, Camille. « Développement d’un dispositif de substitution sensorielle vision-vers-audition : étude des performances de localisation et comparaison de schémas d’encodage ». Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. https://nuxeo.u-bourgogne.fr/nuxeo/site/esupversions/32b91892-b42f-4d42-bf10-0ad744828698.
Texte intégralVisual-to-auditory sensory substitution devices convert visual information into soundscapes for the purpose of allowing the perception of the environment with the auditory modality when the visual modality is impaired. They constitute a promising solution for improving the autonomy of visually impaired people when traveling on foot. The main objective of this thesis work was to determine an encoding scheme for sensory substitution allowing 3-dimensional spatial perception by proposing familiarization and evaluation protocols in virtual environments with different complexities. The first aim was to determine whether the reproduction of acoustic cues for auditory spatial perception was more effective than the use of acoustic cues involved in audio-visual interactions. The first study demonstrated that the modulation of pitch in the encoding scheme could partly compensate for the perceptual limits of spatialization for the dimension of elevation. The second study showed that the modification of the sound envelope could partly compensate for the compressed perception of distance. The second objective was to determine to what extent the determined encoding scheme preserved spatial perception abilities in a complex environment where several objects were present. The third study demonstrated that the segregation capabilities of a complex visual scene through the soundscape depend on the specific spectral signature of the objects composing it when pitch modulation is used as an acoustic cue in the encoding scheme. The work of this thesis has practical implications for the improvement of substitution devices concerning, on the one hand, the possibility of compensating spatial perceptual limits with non-spatial acoustic cues in the encoding scheme, and on the other hand, the need to reduce the amount of auditory information to preserve the segregation abilities of the soundscape. The familiarization and evaluation protocols in a virtual environment having been developed to be adapted to the visually impaired population, the work of this thesis highlights the potential of virtual environments to precisely evaluate the abilities to use sensory substitution devices in a secure context
Masson, Damien. « La perception embarquée : analyse sensible des voyages urbains ». Phd thesis, Grenoble 2, 2009. http://tel.archives-ouvertes.fr/tel-00441955.
Texte intégralHendrickx, Etienne. « Influence de la stéréoscopie sur la perception du son : cas de mixages sonores pour le cinéma en relief ». Thesis, Brest, 2015. http://www.theses.fr/2015BRES0078/document.
Texte intégralFew psychoacoustic studies have been carried out about the influence of stereoscopy on the sound mixing of movies. Yet very different opinions can be found in the cinema industry and in scientific papers. Some argue that sound needs to be mixed differently for stereoscopic movies while others pretend that this influence is negligible.A first set of experiments was conducted, which focused on the perception of ambience. Eight sequences - in their stereoscopic (s-3D) and non-stereoscopic (2D) versions, with several different sound mixes - were presented to subjects. For each presentation, subjects had to judge to what extent the mix sounded frontal or “surround.” The goal was to verify whether stereoscopy had an influence on the perception of the front/surround balance of ambience. Results showed that this influence was weak, which was consistent with a preliminary experiment conducted in a mixing auditorium where subjects had to mix the front/surround balance of several sequences themselves.Studies were then conducted on the perception of sound objects such as dialogs or on-screen effects. A fourth experiment focused on ventriloquism in elevation: when presented with a spatially discordant auditory-visual stimulus, subjects sometimes perceive the sound and the visual stimuli as coming from the same location. Such a phenomenon is often referred to as ventriloquism, because it evokes the illusion created by a ventriloquist when his voice seems to emanate from his puppet rather than from his mouth. While this effect has been extensively examined in the horizontal plane and to a lesser extent in distance, few psychoacoustic studies have focused on elevation. In this experiment, sequences of a man talking were presented to subjects. His voice could be reproduced on different loudspeakers, which created disparities in both azimuth and elevation between the sound and the visual stimuli. For each presentation, subjects had to indicate whether or not the voice seemed to emanate from the mouth of the actor. Ventriloquism was found to be highly effective in elevation, which suggests that audiovisual coherence in elevation might be unnecessary in theaters
Marry, Solène. « L'espace public sonore ordinaire : les paramètres de la perception sonore dans les espaces publics : contribution à une connaissance de l'ambiance sonore ». Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENH008/document.
Texte intégralThe particularity and challenge of this research subject lie in the confrontation between the urbanistic vision of the public space, the physical approach to acoustic measurement and the consideration of how the sonic environment is perceived. Several types of public spaces were used to study the assessment of urban sonic ambiances. We problematize our study of the understanding and assessment of sound perception in order to highlight some of its relevant parameters. The methodology was designed to combine perceptive data and physical measurements. The first stage of in situ investigation thus provided a corpus of 174 questionnaires, 513 photographs and 18 non-directive group interviews. Acoustic measurements were then made at the same temporalities. Finally, a second stage of in-depth individual interviews conducted with the 29 participants was completed with the realization of 145 mental mind maps. This multifaceted methodology helped to determine the influence of several parameters such as human presence, nature, the mineral aspect, seasonality and urban forms on the spatial and sonic assessment in public spaces
Parseihian, Gaëtan. « Sonification binaurale pour l'aide à la navigation ». Phd thesis, Université Pierre et Marie Curie - Paris VI, 2012. http://tel.archives-ouvertes.fr/tel-00771316.
Texte intégralGodfroy, Martine. « Interactions visuo-auditives : un phénomène intégratif pour la perception spatiale ». Paris 5, 2003. http://www.theses.fr/2003PA05H060.
Texte intégralRouhana, Joëlle Blandin Yannick. « Flexibilité de l'intégration multi-sensorielle aspects spatiaux et temporels / ». Poitiers : I-Médias, 2008. http://08.edel.univ-poitiers.fr/theses/index.php?id=1795.
Texte intégralRouhana, Joëlle. « Flexibilité de l'intégration multi-sensorielle : aspects spatiaux et temporels ». Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Rouhana-Joelle/2008-Rouhana-Joelle-These.pdf.
Texte intégralThis work examines the flexibility of multisensory integration in its spatial and temporal aspects. First, we are interested in the integration of visual and proprioceptive information in localizing a position. Performance is studied in a spatial position reproduction task (Exp. 1) crossing three conditions of encoding and reproduction (visual, proprioceptive, visuo-proprioceptive). Second, we are interested in the integration of visual and auditory information during time. Performance is studied in a visuo-auditory dual task of choice reaction time. Two visuo-manual and auditorymanual tasks and one visuo and auditory-manual dual task were proposed handling the stimuli presentation order (Exp. 2), introducing a cue about the stimuli presentation order (Exp. 3) and resorting to a population of experts in «Counter strike» (Exp. 4). Main results showed that the similarity and the bimodal richness of both encoding and reproduction phases are optimal for localizing a position (Exp. 1). Visuo-auditory integration during time is influenced by individual differences, partly by the reliability of sensory modality and the stimuli presentation order, and by expertise (Exp. 2, 3, 4). This work revealed flexibility in multisensory integration processes according to multiple factors of which some act as well on the integration of spatial information and on the integration of information during time
Scannella, Sébastien. « Bases cérébrales du conflit visuo-auditif spatial et sémantique : études en IRM fonctionnelle et EEG ». Toulouse 3, 2011. http://thesesups.ups-tlse.fr/1349/.
Texte intégralThe human cognitive system receives environmental information through multiple sensory channels. Most of the time, the channels provide congruent content, the integration of which helps build an unified perception of the world, but sometimes the environment provides inconsistent stimuli that perturb efficient interpretation. These situations generate a conflict associated with a behavioral cost, and sometimes severe consequences. In this research, we were interested in the visuo-auditory conflict and one of its consequences: the insensitivity to auditory alarms, sometimes observed in pilots. These were the questions that motivated this research: What are the brain structures involved in this conflict management? When do they act during the sensorimotor and cognitive processes? What are the physiological processes that may explain the insensitivity to auditory alarms sometimes observed in pilots during the landing, phase of the flight? We showed that the parieto-frontal network involved in unimodal conflict management is also involved in visual-auditory conflict. We also showed that both attentional and pre-attentional mechanisms can modify our perception. These modulations occur through multimodal interactions at different levels of the sensorimotor processing. Lastly, we showed that the insensitivity to alarms in pilots was related to both a pre-attentional modulation of auditory signal and to decision making difficulty in a complex environment. We finally proposed a simplified model of the functioning of the brain network involved in visual-auditory conflict management
Colafrancesco, Julien. « Spatialisation de sources auditives étendues : applications musicales avec la bibliothèque HOA ». Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080092.
Texte intégralMainstream spatialization techniques are often oriented towards the reproduction of point sources; extension remains a relatively unexplored topic. This thesis advocates that extended sources are yet expressive objects that could contribute to the richness of spatialization practices, especially in the field of music. We’ll decompose this thesis in three hypotheses. A perceptive one, who postulates that extended sources are perceptually relevant, i.e., that they offer the possibility of varying new sound attributes and that the listener is sensitive to these variations. An analytical one, who proposes that the most common spatialization techniques focus to point sources is arbitrary and that other source’s models can be considered. And an operational one, who suggests that it’s possible to create tools for composers so they can handle and musicalize extended objects. To confirm these hypotheses, we’ll formalize the auditory and musical properties of extended sources and we’ll propose concrete methods for their analysis and synthesis. This work will be considered as part of the HOA library, a set of low-level spatialization tools we’ve founded for the purpose of experimentation. We’ll describe the specificities of this library and see how its architecture and its different modules allow the generalization of ambisonics to new practices away of punctuality
Adhitya, Sara. « Sonifying Urban Rhythms : towards the spatio-temporal composition of the urban environment ». Paris, EHESS, 2013. http://www.theses.fr/2013EHES0079.
Texte intégralThis thesis is concerned with the composition of the urban rhythms generated by urban design and planning. It recognises the temporal limitations of the graphic urban masterplan, with its tendency of being static and singular in the composition of urban expérience. Thus it proposes the integration of rhythm into the urban design and planning process, with the aim to improve the temporal quality of urban design. In order to represent these urban rhythms, as designed in the graphic masterplan, we propose their sonification. A Sonified Urban Masterplan (SUM) tool was developed, allowing the sonification of multiple layers of maps along a number of paths of interest. An urban sonic code was then developed in order to map the relevant graphic urban parameters into sound parameters. This sonification strategy was applied to the city of Paris as a case study, producing a sonified set of maps whose composition could be ‘listened’ to over time. Temporal issues concerning human movement, transport infrastructure, activity distribution, and the structuring of urban form and design elements could be represented and heard. We then investigated the potential of the SUM tool as a design and planning tool. Thus through the integration of sonification in urban design and planning, this thesis permits the spatio-temporal representation and composition of urban form
Riera, Robusté Joan. « Spatial hearing and sound perception in musical composition ». Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.
Texte intégralThis thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.
Esta tese explora as possibilidades da Audição Espacial em relação à percepção do som e apresenta três composições acusmáticas baseadas numa estética musical que enfatiza esta relação e a incorpora como uma parte do seu discurso musical. A primeira característica importante destas composições é a utilização exclusiva de sinusóides e de outros sinais sonoros invariáveis no tempo. Embora estes tipos de sinais não apresentem variações no tempo, é possível percepcionar variações de altura, intensidade e timbre assim que estes se movem no espaço, devido aos processos acústicos envolvidos na audição espacial. Para enfatizar a percepção destas variações, esta tese propõe dividir um som em múltiplas unidades e espalhá-las no espaço utilizando vários monitores dispostos à volta da plateia. Além da percepção de variações de características do som, também é possível criar variações de ritmo e de textura que dependem de como os sons são dispostos no espaço. Esta estratégia permite superar o problema de “sound surrogacy” implícito na música acusmática, uma vez que é possível estabelecer relações causa-efeito entre o movimento do som e a percepção de variações de características do som, variações do ritmo e textura. Outra consequênça importante da utilização da fragmentação com a espacialização do som é a possibilidade de criar campos sonoros difusos, independentemente dos níveis de reverberação da sala, e de criar espaços sonoros com uma certa profundidade, sem utilizar nenhum tipo de delay ou reverberação artificiais.
Fernández, Prieto Irene. « Development and neural bases of the spatial recoding of acoustic pitch ». Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401340.
Texte intégralEstudios previos sugieren la existencia de correspondencias transmodales entre la altura tonal y las dimensiones visuoespaciales (por ejemplo, la elevación espacial o el tamaño visual) (Gallace y Spence, 2006; Rusconi y cols., 2006). La investigación en neuroimagen ha puesto de manifiesto la activación de áreas parietales (por ejemplo, el surco intraparietal, IPS) tradicionalmente asociadas a funciones espaciales, durante la realización de tareas musicales relacionadas con la altura tonal (Foster y Zatorre, 2010a, 2010b). El objetivo de esta tesis doctoral fue investigar los mecanismos cognitivos, de desarrollo y neurales que subyacen a estas correspondencias transmodales. En la primera parte de la tesis, se estudió el papel de las correspondencias transmodales en la modulación de la atención. Exploramos cómo un sonido dinámico específico (por ejemplo, un sonido ascendente) modula exógenamente la localización espacial de un estímulo visual en un adulto. Los participantes realizaron una tarea que consistió en una modificación del paradigma clásico de Posner, en la que usamos sonidos ascendentes y descendentes como señales auditivas. En una segunda parte de la tesis se analizó el desarrollo de los mecanismos implicados en el procesamiento de las correspondencias transmodales. Más específicamente, se investigó si estas están presentes desde muy temprano en el desarrollo, o aparecen debido a al incremento de la experiencia en el entorno. Para ello, se observó la asociación entre la altura tonal y el tamaño visual en bebés de 4 y 6 meses de edad en un paradigma audiovisual de preferencia visual. Por último, en un intento por establecer el papel funcional de ciertas áreas del lóbulo parietal derecho en la asociación entre la altura tonal y la elevación espacial, analizamos si los síndromes neurológicos, asociados con una alteración funcional o estructural del lóbulo parietal derecho (por ejemplo, el trastorno de aprendizaje no verbal, TANV), pueden afectar al desempeño de tareas relacionadas con la altura tonal. Para lograr nuestros objetivos, se comparó el rendimiento en tareas visuoespaciales y auditivas de pacientes con pacientes con TANV y un grupo de control sin trastornos neurológicos o psiquiátricos. Los resultados de estos tres estudios que constituyen esta tesis sugieren: (1) que los sonidos ascendentes pueden ejercer mayor modulación del tiempo de reacción del sistema perceptivo respecto a los objetos visuales que los sonidos descendentes, (2) la existencia de asociaciones transmodales entre la altura tonal y el tamaño visual en bebés de 6 meses de edad, pero no en bebés más pequeños, lo que sugiere que la experiencia y/o maduración es necesaria para desarrollar plenamente esta asociación, y (3) que la alteración funcional o estructural de áreas parietales tiene un impacto negativo en las tareas de procesamiento auditivo, por ejemplo, discriminar alturas tonales. En conclusión, se confirmó que la altura tonal puede modular la atención espacial. En segundo lugar, las correspondencias transmodales están controladas por mecanismos básicos que están presentes desde temprana edad. Por último, también se encontró evidencia de que la percepción de la información auditiva compleja podría requerir áreas del cerebro relacionadas con trastornos neurológicos que afectan el procesamiento del espacio.
Colafrancesco, Julien. « Spatialisation de sources auditives étendues : applications musicales avec la bibliothèque HOA ». Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080092.
Texte intégralMainstream spatialization techniques are often oriented towards the reproduction of point sources; extension remains a relatively unexplored topic. This thesis advocates that extended sources are yet expressive objects that could contribute to the richness of spatialization practices, especially in the field of music. We’ll decompose this thesis in three hypotheses. A perceptive one, who postulates that extended sources are perceptually relevant, i.e., that they offer the possibility of varying new sound attributes and that the listener is sensitive to these variations. An analytical one, who proposes that the most common spatialization techniques focus to point sources is arbitrary and that other source’s models can be considered. And an operational one, who suggests that it’s possible to create tools for composers so they can handle and musicalize extended objects. To confirm these hypotheses, we’ll formalize the auditory and musical properties of extended sources and we’ll propose concrete methods for their analysis and synthesis. This work will be considered as part of the HOA library, a set of low-level spatialization tools we’ve founded for the purpose of experimentation. We’ll describe the specificities of this library and see how its architecture and its different modules allow the generalization of ambisonics to new practices away of punctuality
Lidji, Pascale. « Musique et langage : spécificités, interactions et associations spatiales ». Thèse, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/1866/6347.
Texte intégralMoreira, Julian. « Évaluer l'apport du binaural dans une application mobile audiovisuelle ». Electronic Thesis or Diss., Paris, CNAM, 2019. http://www.theses.fr/2019CNAM1243.
Texte intégralIn recent years, smartphone and tablet global performances have been increased significantly (CPU, screen resolution, webcams, etc.). This can be particularly observed with video quality of mobile media services, such as video streaming applications, or interactive applications (e.g., video games). However, these evolutions barely go with the integration of high quality sound restitution systems. Beside these evolutions though, new technologies related to spatialized sound on headphones have been developed, namely the binaural restitution model, using HRTF (Head Related Transfer Functions) filters.In this thesis, we assess the potential contribution of the binaural technology to enhance the quality of experience of an audiovisual mobile application. A part of our work has been dedicated to define what is an “audiovisual mobile application”, what kind of application could be fruitfully experienced with a binaural sound, and among those applications which one could lead to a comparative experiment with and without binaural.In a first place, the coupling of a binaural sound with a mobile-rendered visual tackles a question related to perception: how to spatially arrange a virtual scene whose sound can be spread all around the user, while its visual is limited to a very small space? We propose an experiment in these conditions to study how far a sound and a visual can be moved apart without breaking their perceptual fusion. The results reveal a strong tolerance of subjects to spatial discrepancies between the two modalities. Notably, the absence or presence of individualization for the HRTF filters, and a large separation in elevation between sound and visual don’t seem to affect the perception. Besides, subjects consider the virtual scene as if they were projected inside, at the camera’s position, no matter what distance to the phone they sit. All these results suggest that an association between a binaural sound and a visual on a smartphone could be used by the general public.In the second part, we address the main question of the thesis, i.e., the contribution of binaural, and we conduct an experiment in a realistic context of use. Thirty subjects play an Infinite Runner video game in their daily lives. The game was developed for the occasion in two versions, a monophonic one and a binaural one. The experiment lasts five weeks, at a rate of two sessions per day, which relates to a protocol known as the “Experience Sampling Method”. We collect at each session notes of immersion, memorization and performance, and compare the notes between the monophonic sessions and the binaural ones. Results indicate a significantly better immersion in the binaural sessions. No effect of sound rendering was found for memorization and performance. Beyond the contribution of the binaural, we discuss about the protocol, the validity of the collected data, and oppose theoretical considerations to practical feasibility
Moreira, Julian. « Évaluer l'apport du binaural dans une application mobile audiovisuelle ». Thesis, Paris, CNAM, 2019. http://www.theses.fr/2019CNAM1243/document.
Texte intégralIn recent years, smartphone and tablet global performances have been increased significantly (CPU, screen resolution, webcams, etc.). This can be particularly observed with video quality of mobile media services, such as video streaming applications, or interactive applications (e.g., video games). However, these evolutions barely go with the integration of high quality sound restitution systems. Beside these evolutions though, new technologies related to spatialized sound on headphones have been developed, namely the binaural restitution model, using HRTF (Head Related Transfer Functions) filters.In this thesis, we assess the potential contribution of the binaural technology to enhance the quality of experience of an audiovisual mobile application. A part of our work has been dedicated to define what is an “audiovisual mobile application”, what kind of application could be fruitfully experienced with a binaural sound, and among those applications which one could lead to a comparative experiment with and without binaural.In a first place, the coupling of a binaural sound with a mobile-rendered visual tackles a question related to perception: how to spatially arrange a virtual scene whose sound can be spread all around the user, while its visual is limited to a very small space? We propose an experiment in these conditions to study how far a sound and a visual can be moved apart without breaking their perceptual fusion. The results reveal a strong tolerance of subjects to spatial discrepancies between the two modalities. Notably, the absence or presence of individualization for the HRTF filters, and a large separation in elevation between sound and visual don’t seem to affect the perception. Besides, subjects consider the virtual scene as if they were projected inside, at the camera’s position, no matter what distance to the phone they sit. All these results suggest that an association between a binaural sound and a visual on a smartphone could be used by the general public.In the second part, we address the main question of the thesis, i.e., the contribution of binaural, and we conduct an experiment in a realistic context of use. Thirty subjects play an Infinite Runner video game in their daily lives. The game was developed for the occasion in two versions, a monophonic one and a binaural one. The experiment lasts five weeks, at a rate of two sessions per day, which relates to a protocol known as the “Experience Sampling Method”. We collect at each session notes of immersion, memorization and performance, and compare the notes between the monophonic sessions and the binaural ones. Results indicate a significantly better immersion in the binaural sessions. No effect of sound rendering was found for memorization and performance. Beyond the contribution of the binaural, we discuss about the protocol, the validity of the collected data, and oppose theoretical considerations to practical feasibility