14th International Conference on Digital Audio Effects
DAFx-11 September 19-23, 2011 Paris, France

 

► Satellite Workshops

Whole program here

Access to the workshops is free for attendants of the DAFx conference and by invitation for non-DAFx-attendants.

Satellite Workshop 1
Title: “Versatile Sound Models for Interaction in Audio–Graphic Virtual Environments:
Control of Audio-graphic Sound Synthesis”
Organizers: Roland Cahen, Diemo Schwarz, Hui Ding

The use of 3D interactive virtual environments is becoming more widespread in areas such as games, architecture, urbanism, information visualization and sonification, interactive artistic digital media,
serious games, gamification. The limitations in sound generation in  existing environments are increasingly obvious with current requirements.

This workshop will look at recent advances and future prospects in sound modeling, representation, transformation and synthesis for interactive audio-graphic scene design.

Several approaches to extending sound generation in 3D virtual environments have been developed in recent years, such as sampling, modal synthesis, additive synthesis, corpus based synthesis, granular
synthesis, description based synthesis, physical modeling… These techniques can be quite different in their methods and results, but may also become complementary towards the common goal of versatile and understandable virtual scenes, in order to cover a wide range of object types and interactions between objects and with them.

The purpose of this workshop is to sum up these different approaches, present current work in the field, and to discuss their differences, commonalities and complementarities.

Detailed information about the workshop can be found here: http://www.topophonie.fr/event/3

Satellite Workshop 2
Title: “Modalys, a physical synthesizer: more than twenty years of researches developments and musical uses”
Speakers: Nicolas Ellis, Joel Bensoam, Jean Lochard, René Caussé

In the early 90′s, the software was initially created with the intent to serve as a virtual instrument maker workshop. The usages are now extending from the virtual reproduction of existing acoustic instruments to industrial prototyping. This diversification made necessary to rethink many parts of the software, from the core synthesiser to the numerous interfaces : textual (Lisp), Max/MSP (mlys), OpenMusic, Matlab.

Satellite Workshop 3
Title: “From ASA to CASA, what does the C stand for anyway?”
► Organizers: Mathieu Lagrange, Luis Gustavo Martins

Detailed information about the workshop can be found here: http://anasynth.ircam.fr/home/blogs/lagrange/casa-workshop-dafx

Auditory Scene Analysis (ASA) is the process by which the human auditory system organizes sound into perceptually meaningful elements. Inspired by the seminal work of Al Bregman (1990) and other researchers in perception and cognition, early computational systems were built by engineers such as David Mellinger (1991) or Dan Ellis (1996).

Strictly speaking, a CASA or a “machine listening” system is an computational system whose general architecture or key components design are motivated by facts taken from ASA. Though, ASA being a Gestaltist theory that focuses on the description and not on the explanation of the studied phenomenon, computational enthusiasts are left with a largely open field of investigation.

Perhaps this lack of definition did not fit into the way we do research nowadays, since papers strictly tackling this issue are relatively scarce. Though, informal discussions with experts in the sound and musical audio processing areas confirm that making sense of strongly polyphonic signals is a fundamental problem that is interesting both from the methodological and application point of views. Consequently, we (organisers of this workshop) believe that there are fundamental questions that need to be raised and discussed in order to better pave the way of research in this field.

Among others, those questions are:
● From ASA to CASA: only insights ?
-Is the knowledge transfer from ASA to CASA only qualitative ?
-Are there other approaches in scientific fields such as biology, cognition, etc. that are also potentially meaningful for building powerful computational systems ?
● What is CASA ?
-Is CASA a goal in itself ?
-Can it be decomposed into well defined tasks ?
● Is CASA worth pursuing ?
-What are the major locks in contemporary CASA ?
-How does it relates to other sound processing areas such as Blind Source Separation (BSS) or Music Information Retrieval (MIR) ?

This workshop aims at bringing to the audience some background and new topics on ASA and CASA. Those questions will then be raised and discussed with the help of the invited speakers