Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion最新文献_第2页

Subjective Evaluation of a Speech Emotion Recognition Interaction Framework 语音情感识别交互框架的主观评价

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243294

N. Vryzas, María Matsiola, Rigas Kotsakis, Charalampos A. Dimoulas, George M. Kalliris

{"title":"Subjective Evaluation of a Speech Emotion Recognition Interaction Framework","authors":"N. Vryzas, María Matsiola, Rigas Kotsakis, Charalampos A. Dimoulas, George M. Kalliris","doi":"10.1145/3243274.3243294","DOIUrl":"https://doi.org/10.1145/3243274.3243294","url":null,"abstract":"In the current work, a conducted subjective evaluation of three basic components of a framework for applied Speech Emotion Recognition (SER) for theatrical performance and social media communication and interaction is presented. The multidisciplinary survey group used for the evaluation is consisted of participants with Theatrical and Performance Arts background, as well as Journalism and Mass Communications Studies. Initially, a publically available database of emotional speech utterances, Acted Emotional Speech Dynamic Database (AESDD) is evaluated. We examine the degree of agreement between the perceived emotion by the participants and the intended expressed emotion in the AESDD recordings. Furthermore, the participants are asked to choose between different coloured lighting of certain scenes captured on video. Correlations between the emotional content of the scenes and selected colors are observed and discussed. Finally, a prototype application for SER and multimodal speech emotion data gathering is evaluated in terms of Usefulness, Ease of Use, Ease of Learning and Satisfaction.","PeriodicalId":129628,"journal":{"name":"Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion","volume":"344 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123355070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 6

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion 2018年音频会议论文集:沉浸和情感中的声音

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274

引用次数: 3

On Transformations between Paradigms in Audio Programming 论音频编程范式间的转换

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243298

R. Kraemer, Cornelius Pöpel

引用次数: 0

Re-Thinking Immersive Technologies for Audiences of the Future 为未来观众重新思考沉浸式技术

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3275379

A. Chamberlain, S. Benford, A. Dix

引用次数: 1

Evolving in-game mood-expressive music with MetaCompose 使用MetaCompose改进游戏内的情绪表达音乐

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243292

Marco Scirea, Peter W. Eklund, J. Togelius, S. Risi

{"title":"Evolving in-game mood-expressive music with MetaCompose","authors":"Marco Scirea, Peter W. Eklund, J. Togelius, S. Risi","doi":"10.1145/3243274.3243292","DOIUrl":"https://doi.org/10.1145/3243274.3243292","url":null,"abstract":"MetaCompose is a music generator based on a hybrid evolutionary technique that combines FI-2POP and multi-objective optimization. In this paper we employ the MetaCompose music generator to create music in real-time that expresses different mood-states in a game-playing environment (Checkers). In particular, this paper focuses on determining if differences in player experience can be observed when: (i) using affective-dynamic music compared to static music, and (ii) the music supports the game's internal narrative/state. Participants were tasked to play two games of Checkers while listening to two (out of three) different set-ups of game-related generated music. The possible set-ups were: static expression, consistent affective expression, and random affective expression. During game-play players wore a E4 Wristband, allowing various physiological measures to be recorded such as blood volume pulse (BVP) and electromyographic activity (EDA). The data collected confirms a hypothesis based on three out of four criteria (engagement, music quality, coherency with game excitement, and coherency with performance) that players prefer dynamic affective music when asked to reflect on the current game-state. In the future this system could allow designers/composers to easily create affective and dynamic soundtracks for interactive applications.","PeriodicalId":129628,"journal":{"name":"Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion","volume":"165 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126746122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 11

Auditory Masking and the Precedence Effect in Studies of Musical Timekeeping 音乐计时研究中的听觉掩蔽与优先效应

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243312

Steffan Owens, Stuart Cunningham

引用次数: 0

The Design of Future Music Technologies: 'Sounding Out' AI, Immersive Experiences & Brain Controlled Interfaces 未来音乐技术的设计:“发声”AI、沉浸式体验和脑控界面

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243314

A. Chamberlain, Mads Bødker, Maria Kallionpää, Richard Ramchurn, D. D. Roure, S. Benford, A. Dix

引用次数: 0

Smart Mandolin: autobiographical design, implementation, use cases, and lessons learned 智能曼陀林:自传式设计、实现、用例和经验教训

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243280

L. Turchet

引用次数: 28

Designing Musical Soundtracks for Brain Controlled Interface (BCI) Systems 为脑控接口(BCI)系统设计音乐原声

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243288

Richard Ramchurn, A. Chamberlain, S. Benford

引用次数: 5

A Prototype Mixer to Improve Cross-Modal Attention During Audio Mixing 一个原型混音器，以提高跨模态注意力在音频混音

Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion Pub Date : 2018-09-12 DOI: 10.1145/3243274.3243290

Josh Mycroft, T. Stockman, J. Reiss

{"title":"A Prototype Mixer to Improve Cross-Modal Attention During Audio Mixing","authors":"Josh Mycroft, T. Stockman, J. Reiss","doi":"10.1145/3243274.3243290","DOIUrl":"https://doi.org/10.1145/3243274.3243290","url":null,"abstract":"The Channel Strip mixer found on physical mixing desks is the primary Graphical User Interface design for most Digital Audio Workstations. While this metaphor provides transferable knowledge from hardware, there may be a risk that it does not always translate well into screen-based mixers. For example, the need to search through several windows of mix information may inhibit the engagement and 'flow' of the mixing process, and the subsequent screen management required to access the mixer across multiple windows can place high cognitive load on working memory and overload the limited capacity of the visual mechanism. This paper trials an eight-channel proto-type mixer which uses a novel approach to the mixer design to address these issues. The mixer uses an overview of the visual interface and employs multivariate data objects for channel parameters which can be filtered by the user. Our results suggest that this design, by reducing both the complexity of visual search and the amount of visual feedback on the screen at any one time, leads to improved results in terms of visual search, critical listening and mixing workflow.","PeriodicalId":129628,"journal":{"name":"Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116625006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3