light and sound, seeing and listening 2.1 perception 2.2 light 2.3 color and color sensation 2.4...
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Light and Sound, Light and Sound, Seeing and ListeningSeeing and Listening
2.1 Perception2.1 Perception
2.2 Light2.2 Light
2.3 Color and Color Sensation2.3 Color and Color Sensation
2.4 Sight and Visual Communication2.4 Sight and Visual Communication
2.5 Sound2.5 Sound
2.6 Listening and Auditory Communication2.6 Listening and Auditory Communication
Chapter 2 Theoretical Foundations of Multimedia
Perception and CognitionPerception and Cognition
Perception — the consciousness or awareness of objects Perception — the consciousness or awareness of objects or other data through the medium of the senses.or other data through the medium of the senses.
Cognition — high-order mental processes, such as Cognition — high-order mental processes, such as complex representation, inference, and interpretation, complex representation, inference, and interpretation, that lead to perception and then to understanding.that lead to perception and then to understanding.
Chapter 2 Theoretical Foundations of Multimedia
““Regions of Interest” Regions of Interest” for Studying Perceptionfor Studying Perception
• The EnvironmentThe Environment• Incoming stimuliIncoming stimuli• Sensory surfaces and peripheral neuronsSensory surfaces and peripheral neurons• The BrainThe Brain• Effector systemsEffector systems• Motor responsesMotor responses
Chapter 2 Theoretical Foundations of Multimedia
Optical IllusionsOptical Illusions
Chapter 2 Theoretical Foundations of Multimedia
Müller-Lyer IllusionMüller-Lyer Illusion
Subjective contoursSubjective contours Archimedes spiralArchimedes spiral
Auditory IllusionsAuditory Illusions
• Bach sonatas and partitasBach sonatas and partitas• Ravel’s Ravel’s BoleroBolero
Chapter 2 Theoretical Foundations of Multimedia
The Nature of LightThe Nature of Light
• A form of energy A form of energy • Particle nature of lightParticle nature of light• Waveform nature of lightWaveform nature of light• Early Philosophers and Researchers:Early Philosophers and Researchers:
PlatoPlato Sir Isaac Newton Sir Isaac Newton AlhazenAlhazen
Thomas Young Thomas Young Christopher ScheinerChristopher Scheiner Max Planck Max Planck
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The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
A Sine Wave
The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
1 sec. 2 sec. 3 sec.
One cycle per second, or 1 hertz (Hz)
The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
Two waves of equal frequency and different amplitudes
The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
Two waves and the wave resulting from their interaction
The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
Two equivalent waves in phasecancellation
The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
Two equivalent waves in phaseand the resultant wave
The Behavior of WavesThe Behavior of Waves
Chapter 2 Theoretical Foundations of Multimedia
A fundamental waveform and its second and third harmonics
The Elecromagnetic The Elecromagnetic SpectrumSpectrum
Chapter 2 Theoretical Foundations of Multimedia
The Elecromagnetic The Elecromagnetic SpectrumSpectrum
Chapter 2 Theoretical Foundations of Multimedia
The Speed of LightThe Speed of Light
Chapter 2 Theoretical Foundations of Multimedia
• 186,282.3959 miles per second
• Events within sight appear to be instantaneous
• Speed varies in different media
• Some materials absorb some ofthe light’s energy
The Measurement of The Measurement of LightLight
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• Intensity or “strength” of radiation
• Radiance — the total amount of energy(light and heat) measured in watts
• Luminance — light strength perceivedby a human eye
• Brightness — subjective measure of how bright an object appears to a human
• Strength diminishes by inverse squareproportion to distance from source
ReflectionReflection
Chapter 2 Theoretical Foundations of Multimedia
Reflection — light strikes a surface and the waves bounce off
• May cause problems on a monitor under the wrong lighting conditions
• Allows fiber optic cables to functionby causing the light being sentalong the fiber to “bounce” off ofthe walls of the cable and continue toward the other end
RefractionRefraction
Chapter 2 Theoretical Foundations of Multimedia
Refraction — light passes through a different medium and has its direction changed; sometimes called the “bending” of light
RefractionRefraction
Chapter 2 Theoretical Foundations of Multimedia
Prism separating white light
RefractionRefraction
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Lenses focus or spread light
ColorColor
Chapter 2 Theoretical Foundations of Multimedia
The sensation registered in the brain
when different wavelengths of light
impinge upon the retina of the eye,
causing a message to be sent along
the optic nerve to excite neurons in
various portions of the brain.
ColorColor
Chapter 2 Theoretical Foundations of Multimedia
Reflected color occurs when a light illuminates an object and some of thewavelengths of the light are reflectedoff of the object, while others areabsorbed by it.
Transmitted or emitted color results from an atom or a molecule emittinglight energy of a characteristic wave-length after being excited.
Measuring ColorMeasuring Color
Chapter 2 Theoretical Foundations of Multimedia
Emission and Remission Curves
Measuring Color Measuring Color
• Chroma — hue, or a color’s pure expression• Saturation — the amount of pure color (not black or
white) in a chroma• Value — subtle difference between shades and tints• Lightness — amount of light reflected from an object• Brightness — luminance of an object in the context of its
surroundings
Chapter 2 Theoretical Foundations of Multimedia
Trichromatic Vision Trichromatic Vision
• Subtractive principle of color — reflected color• Additive principle of color — emitted color• Thomas Young — proposed that the eye is composed of
three different light-sensitive materials• Hermann von Helmholtz — identified the retinal cells for
the three colors• Young-Helmholtz Theory — three–component or
trichromatic vision theory
Chapter 2 Theoretical Foundations of Multimedia
Perception of ColorPerception of Color
• The eye sees different wavelengths and intensities very The eye sees different wavelengths and intensities very differentlydifferently
• VioletViolet is barely perceived is barely perceived• RedRed is seen very well is seen very well• The cornea is The cornea is yellowyellow, and absorbs , and absorbs greengreen, , blueblue, and , and VioletViolet• As people age, the cornea becomes even more As people age, the cornea becomes even more yellowyellow so so
they see even less they see even less greengreen, , blueblue, and , and VioletViolet
Chapter 2 Theoretical Foundations of Multimedia
Psychological Aspects of Psychological Aspects of ColorColor
• Descriptive phrases — seeing Descriptive phrases — seeing RedRed; feeling ; feeling blue; blue; a black a black mood; a mood; a yellow yellow coward coward
• Color is highly subjectiveColor is highly subjective• Colors are associated with emotionsColors are associated with emotions• Warm colors (Warm colors (RedRed and and yellowyellow) appear near) appear near• Cool colors (Cool colors (blueblue and and greengreen) appear more distant) appear more distant• Pastels appear relaxed; dark colors seem more angryPastels appear relaxed; dark colors seem more angry
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Color WheelColor Wheel
Chapter 2 Theoretical Foundations of Multimedia
blueblue
magentamagenta
redred
yellowyellow
greengreen
cyancyan
Colors on Computer Colors on Computer MonitorsMonitors
• Radiated vs. reflected light (recall the Radiated vs. reflected light (recall the additive additive principle vs. the subtractive principle vs. the subtractive principle of light)principle of light)
• RGB system — RGB system — Red, Red, green, green, blueblue• CYM system — CYM system — CyanCyan, , yellowyellow, , magentamagenta• HSV system — hue, saturation, & valueHSV system — hue, saturation, & value• HLS system — hue, lightness, & saturationHLS system — hue, lightness, & saturation• CIE system — Commission Internationale CIE system — Commission Internationale de l’Eclairagede l’Eclairage
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RGB Color CubeRGB Color Cube
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greengreen
GG
yellowyellow
blueblue
redredRR
BB
black
gray linegray line
magentamagenta
cyancyanwhitewhite
Sight and Visual Sight and Visual CommunicationCommunication
• Physical process Physical process — light being trans-— light being trans- mitted and reflectedmitted and reflected• Physiological process Physiological process — light enters the — light enters the eye, falls on the eye, falls on the
retina, and is trans-retina, and is trans- mitted by the optic nervemitted by the optic nerve• Neurological process Neurological process — the brain reacts — the brain reacts to the impulses to the impulses
from the optic nervefrom the optic nerve• Psychological process Psychological process — the mind — the mind interprets the interprets the
information in the braininformation in the brain
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Sight and Visual Sight and Visual CommunicationCommunication
Chapter 2 Theoretical Foundations of Multimedia
The Camera ObscuraThe Camera Obscura
Sight and Visual Sight and Visual CommunicationCommunication
Chapter 2 Theoretical Foundations of Multimedia
Comparing Comparing a camera a camera and the and the human eyehuman eye
Aspects of Visual LiteracyAspects of Visual Literacy
• A prerequisite for the comprehension of A prerequisite for the comprehension of visual mediavisual media
• General cognitive consequencesGeneral cognitive consequences• Awareness of visual manipulationAwareness of visual manipulation• Aesthetic appreciationAesthetic appreciation
Chapter 2 Theoretical Foundations of Multimedia
Images and MeaningImages and Meaning
• SenseSense — the external reality denoted by — the external reality denoted by an imagean image• FeelingFeeling — the attitude conveyed by an — the attitude conveyed by an image image
regarding the expressed realityregarding the expressed reality• ToneTone — the attitude or message that the — the attitude or message that the creator of creator of
an image wishes to transmitan image wishes to transmit• IntentionIntention — the effect that an image is — the effect that an image is desired to desired to
produce in a viewerproduce in a viewer
Chapter 2 Theoretical Foundations of Multimedia
Images and MeaningImages and Meaning
• Sign Sign — any physical object to which a — any physical object to which a community community ascribes meaningascribes meaning
• Semiotics or Semiology Semiotics or Semiology — study of signs— study of signs• SignifierSignifier — the physical entity that — the physical entity that expresses the signexpresses the sign• Signified Signified — the concept or emotion that is — the concept or emotion that is conveyed by the conveyed by the
signsign• SignificationSignification — the link between the — the link between the expression and the expression and the
conceptconcept
Chapter 2 Theoretical Foundations of Multimedia
Images and MeaningImages and Meaning
Chapter 2 Theoretical Foundations of Multimedia
To refute the assertion that pictures are arbitrary in their To refute the assertion that pictures are arbitrary in their connection to what they purport to represent, Messaris connection to what they purport to represent, Messaris uses the real-life situation of the powerful and powerless uses the real-life situation of the powerful and powerless camera anglescamera angles
Lester’s pragmatic perspectives for Lester’s pragmatic perspectives for analyzing and interpreting imagesanalyzing and interpreting images
• Personal Personal — gut reaction; subjective— gut reaction; subjective• HistoricalHistorical— importance of the image based on — importance of the image based on the medium’s time linethe medium’s time line• TechnicalTechnical — relationship between light, the — relationship between light, the recording medium, and the recording medium, and the
presentationpresentation• Ethical Ethical — producer’s, subject’s, and viewer’s — producer’s, subject’s, and viewer’s moral and ethical moral and ethical
responsibilities to the workresponsibilities to the work• CulturalCultural — analysis of the work’s symbols that — analysis of the work’s symbols that convey meaning in this society convey meaning in this society
at this timeat this time• CriticalCritical — issues transcending a particular — issues transcending a particular image to shape a reasoned image to shape a reasoned
reactionreaction
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Still ImagesStill Images
Chapter 2 Theoretical Foundations of Multimedia
Concrete Abstract
Messaris’ ten major discrepancies Messaris’ ten major discrepancies between concrete images and realitybetween concrete images and reality
• Cannot reproduce full range of brightnessCannot reproduce full range of brightness• Cannot reproduce full range of colorsCannot reproduce full range of colors• Lack information about changes in brightnessLack information about changes in brightness• Lack information about the color of objectsLack information about the color of objects• Cannot reproduce a stereoscopic effectCannot reproduce a stereoscopic effect• Cannot reproduce motion parallax effectsCannot reproduce motion parallax effects• May not show diminution of size with increasing distance from the viewerMay not show diminution of size with increasing distance from the viewer• May not be constrained to a single view at a timeMay not be constrained to a single view at a time• May contain major distortions of featuresMay contain major distortions of features• May entail omissions of features of the subjectMay entail omissions of features of the subject
Chapter 2 Theoretical Foundations of Multimedia
Messaris’ ten major discrepancies Messaris’ ten major discrepancies between concrete images and realitybetween concrete images and reality
Messaris’ discrepancies do not present a serious problem. Human beings, even Messaris’ discrepancies do not present a serious problem. Human beings, even from a very young age, show a remarkable capacity to recognize and correctly from a very young age, show a remarkable capacity to recognize and correctly identify even the most stylized or incomplete concrete representations, identify even the most stylized or incomplete concrete representations, regardless of the presence or absence of color, depth cues, or a regardless of the presence or absence of color, depth cues, or a preponderance of easily recognizable objects. preponderance of easily recognizable objects.
The significance of this observation for a multimedia developer is that the The significance of this observation for a multimedia developer is that the expense of creating and displaying extremely high-resolution, realistic expense of creating and displaying extremely high-resolution, realistic graphics generally is not necessary. The lesson is not to waste resources on graphics generally is not necessary. The lesson is not to waste resources on glitz but to devote them to substance. glitz but to devote them to substance.
Chapter 2 Theoretical Foundations of Multimedia
Components of FormComponents of Form
• DotDot — a small circle that has been filled in — a small circle that has been filled in• LineLine — a sequence of dots so close together that there appears to be no space between — a sequence of dots so close together that there appears to be no space between
themthem• ShapesShapes
ParallelogramParallelogram — a four-sided figure with opposite sides parallel and equal in length — a four-sided figure with opposite sides parallel and equal in length CircleCircle — the locus of all points equidistant from a given point — the locus of all points equidistant from a given point TriangleTriangle — a three-sided figure — a three-sided figure
– equilateralequilateral– isoscelesisosceles
Chapter 2 Theoretical Foundations of Multimedia
Arrangements of DotsArrangements of Dots
Chapter 2 Theoretical Foundations of Multimedia
Center ofCenter ofattentionattention
TensionTensionthroughthrough
asymmetryasymmetry
TensionTensionthroughthroughdivisiondivision
Fill inFill inthe dotsthe dots
Arrangements of LinesArrangements of Lines
Chapter 2 Theoretical Foundations of Multimedia
OpenOpenspacespace
ConstrictedConstrictedspacespace
VerticalVerticalhalthalt
DynamismDynamismand and
directiondirection
Arrangements of LinesArrangements of Lines(continued)(continued)
Chapter 2 Theoretical Foundations of Multimedia
NervousNervousenergyenergy
StrengthStrengthandand
confidenceconfidence
Grace andGrace andairinessairiness
ParallelParallellineslines
and textand text
Uses of Shapes —Uses of Shapes —ParallelogramsParallelograms
Chapter 2 Theoretical Foundations of Multimedia
UnbalancedUnbalancedappearanceappearance
Balanced use of white spaceBalanced use of white space
Uses of Shapes —Uses of Shapes —CirclesCircles
Chapter 2 Theoretical Foundations of Multimedia
This circle dominates This circle dominates the field it is on.the field it is on.
This circular device is anThis circular device is animmediate attention-grabberimmediate attention-grabber
Uses of Shapes —Uses of Shapes —TrianglesTriangles
Chapter 2 Theoretical Foundations of Multimedia
Pyramid —Pyramid — symbol of symbol of
strength andstrength andstabilitystability
Isosceles triangleIsosceles trianglepointing uppointing up
evokes image ofevokes image ofa church steeplea church steeple
Isosceles triangleIsosceles trianglestronglystronglyindicatesindicatesdirectiondirection
Graphics PrimitivesGraphics Primitives
• PointPoint — a pixel on a computer screen — a pixel on a computer screen• LineLine — two or more pixels connected (adjacent) to each — two or more pixels connected (adjacent) to each
otherother• Polygon Polygon — a closed figure of more than two sides existing — a closed figure of more than two sides existing
in one planein one plane• The computer domain of straight lines and geometrical The computer domain of straight lines and geometrical
figures cannot reproduce perfect renditions of the real figures cannot reproduce perfect renditions of the real worldworld
Chapter 2 Theoretical Foundations of Multimedia
Factors Providing a Sense of DepthFactors Providing a Sense of Depth
• SpaceSpace — the frame in which an image is set — the frame in which an image is set• SizeSize — apparent sizes of objects provide clues — apparent sizes of objects provide clues• Color Color —— warm colored objects seem closer than cool ones, as do more warm colored objects seem closer than cool ones, as do more
highly contrasted objectshighly contrasted objects• LightingLighting — differences in light intensity and shadowing portray depth — differences in light intensity and shadowing portray depth• Textural GradientsTextural Gradients — e.g., ripple effects become closer together in the — e.g., ripple effects become closer together in the
distancedistance• TimeTime — a culture’s perception of time influences the depiction of depth — a culture’s perception of time influences the depiction of depth• PerspectivePerspective — a drawing technique — a drawing technique
Chapter 2 Theoretical Foundations of Multimedia
Three forms of PerspectiveThree forms of Perspective
Chapter 2 Theoretical Foundations of Multimedia
IllusionaryIllusionaryperspectiveperspective
GeometricalGeometricalperspectiveperspective
ConceptualConceptualperspectiveperspective
Motion in ImagesMotion in Images
• Real movement Real movement — animate and inanimate objects in motion — animate and inanimate objects in motion in the real worldin the real world
• Apparent movementApparent movement —still images providing the —still images providing the appearance of motionappearance of motion
• Persistence of vision Persistence of vision — the retention of an image in the — the retention of an image in the brain for a period of timebrain for a period of time
• In MM, the number of images per second and the viewer’s In MM, the number of images per second and the viewer’s persistence of vision de- termine the appearance of persistence of vision de- termine the appearance of realistic motionrealistic motion
Chapter 2 Theoretical Foundations of Multimedia
Motion in ImagesMotion in Images
• Albert Michotte Albert Michotte — Perception of physical causality— Perception of physical causality launching effectlaunching effect entraining effectentraining effect
• Graphic movementGraphic movement —the motion of the eyes in scanning an —the motion of the eyes in scanning an object (often left-to-right, top-to-bottom); culturally basedobject (often left-to-right, top-to-bottom); culturally based
• Implied movement Implied movement — the illusion of motion in a still image, — the illusion of motion in a still image, without any movement of the image, its surroundings, or the without any movement of the image, its surroundings, or the viewerviewer
Chapter 2 Theoretical Foundations of Multimedia
Early WritingEarly Writing
Chapter 2 Theoretical Foundations of Multimedia
PictographsPictographsIdeographsIdeographs
Early WritingEarly Writing
Chapter 2 Theoretical Foundations of Multimedia
HieroglyphicsHieroglyphics LogogramsLogograms
Early AlphabetsEarly Alphabets CuneiformCuneiform
TypographyTypography
Chapter 2 Theoretical Foundations of Multimedia
Movable Type
A pagefrom aGutenbergBible
Courtesy of specialCourtesy of specialcollections, M. I.collections, M. I.King Library, Uni-King Library, Uni-versity of Kentuckyversity of Kentucky
TypographyTypography
Chapter 2 Theoretical Foundations of Multimedia
Movable Type
Same pagefrom aGutenbergBible showingcolored inks and illuminations
Courtesy of specialCourtesy of specialcollections, M. I.collections, M. I.King Library, Uni-King Library, Uni-versity of Kentuckyversity of Kentucky
Typefaces —Typefaces —Serif TypefacesSerif Typefaces
Chapter 2 Theoretical Foundations of Multimedia
AGaramondAGaramond PalatinoPalatino
Bookman Old StyleBookman Old StyleCourierCourier
Footlight MT LightFootlight MT LightNew YorkNew York
Typefaces —Typefaces —Sans Serif TypefacesSans Serif Typefaces
Chapter 2 Theoretical Foundations of Multimedia
ArialArialArial NarrowArial Narrow
Century GothicCentury GothicChicagoChicagoHelveticaHelveticaImpactImpact
Typefaces —Typefaces —Special TypefacesSpecial Typefaces
Chapter 2 Theoretical Foundations of Multimedia
BraggadocioBraggadocioBrush Script MTBrush Script MT
DesdemonaDesdemonaMistralMistralStencilStencil
(symbol)(symbol)
Typefaces —Typefaces —Type StylesType Styles
Chapter 2 Theoretical Foundations of Multimedia
BoldItalic
OutlineUnderlineShadowShadowSMALL CAPS
Typefaces —Typefaces —Weight, Size, and x-heightWeight, Size, and x-height
Chapter 2 Theoretical Foundations of Multimedia
Aa Aa Aa Aa Aa AaDifferent weights and stresses
Aa Aa Aa Aa Aa Aa Aa AaFont sizes from 12 points to 96 points
hd hd hd hd hd hdVarying x-height
Typography —Typography —AlignmentAlignment
Chapter 2 Theoretical Foundations of Multimedia
Left Justified Right justified Justified Centered
Typography —Typography —Special Type TechniquesSpecial Type Techniques
Chapter 2 Theoretical Foundations of Multimedia
Production of SoundProduction of Sound
• EquilibriumEquilibrium— An object at rest; the mid-point of the — An object at rest; the mid-point of the motion of vibrationmotion of vibration
• Independence of magnitude and period Independence of magnitude and period —accounts for —accounts for the independence of volume and pitchthe independence of volume and pitch
• Speed of a point in vibration varies Speed of a point in vibration varies — as vibration — as vibration proceeds, a point reaches maxi-mum speed as it passes proceeds, a point reaches maxi-mum speed as it passes the equilibrium point, then slows until it reaches it maxi-the equilibrium point, then slows until it reaches it maxi-mum swing, reverses itself and begins to speed up againmum swing, reverses itself and begins to speed up again
Chapter 2 Theoretical Foundations of Multimedia
Sound WavesSound Waves
• Frequency Frequency — number of vibrations per second; — number of vibrations per second; determines the pitchdetermines the pitch
• AmplitudeAmplitude—the intensity or volume of a heard sound, or —the intensity or volume of a heard sound, or the signal strength of an electronically transmitted soundthe signal strength of an electronically transmitted sound
• Harmonics Harmonics — waves having frequencies related by — waves having frequencies related by arithmetic ratios; account for the different sounds of arithmetic ratios; account for the different sounds of different instru-ments, even though they are playing the different instru-ments, even though they are playing the same notesame note
Chapter 2 Theoretical Foundations of Multimedia
Harmonic MotionHarmonic Motion
Chapter 2 Theoretical Foundations of Multimedia
At restAt rest
CompressingCompressing
RarefyingRarefying
Wave motionWave motion
Fourier Spectrum AnalysisFourier Spectrum Analysis
• Baron Jean Baptiste Joseph FourierBaron Jean Baptiste Joseph Fourier• ““Any vibration that repeats itself indef-initely can be built Any vibration that repeats itself indef-initely can be built
up from (or is analyz-able into) a set of pure sinusoid up from (or is analyz-able into) a set of pure sinusoid waves”waves” Handel (1993)Handel (1993)
• ““Any periodic waveform, no matter how complex, can be Any periodic waveform, no matter how complex, can be analyzed, or decom-posed, into a set of simple sinusoid analyzed, or decom-posed, into a set of simple sinusoid waves with calculated frequencies, amplitudes, and phase waves with calculated frequencies, amplitudes, and phase angles”angles” Handel (1993)Handel (1993)
Chapter 2 Theoretical Foundations of Multimedia
Fourier Spectrum AnalysesFourier Spectrum Analyses
Chapter 2 Theoretical Foundations of Multimedia
Propagation of SoundPropagation of Sound
• ReflectionReflection— sound waves bounce off of surfaces and — sound waves bounce off of surfaces and continue to travel in a new directioncontinue to travel in a new direction
• Direct sound Direct sound —sound heard after no reflections—sound heard after no reflections
• Early sound Early sound — sound heard after only one reflection— sound heard after only one reflection
• ReverberationReverberation — sound heard after several reflections — sound heard after several reflections
Chapter 2 Theoretical Foundations of Multimedia
Propagation of SoundPropagation of Sound
Chapter 2 Theoretical Foundations of Multimedia
Doppler EffectDoppler Effect
• When either the source or the listener isWhen either the source or the listener is in motion in motion relative to the other, the wave-length of the soundwaves is relative to the other, the wave-length of the soundwaves is affected, causing the pitch to seem to varyaffected, causing the pitch to seem to vary
• The pitch becomes increasingly higher as the source The pitch becomes increasingly higher as the source approaches the listenerapproaches the listener
• The pitch becomes increasingly lower as the source The pitch becomes increasingly lower as the source recedes from the listenerrecedes from the listener
• The relative motion must be at least 20 or 30 miles per The relative motion must be at least 20 or 30 miles per hourhour
Chapter 2 Theoretical Foundations of Multimedia
Listening and Auditory Listening and Auditory CommunicationCommunication
• Hearing Hearing — merely receiving sound physi-cally, not — merely receiving sound physi-cally, not consciouslyconsciously
• Listening Listening — “is perceiving sound with careful and — “is perceiving sound with careful and responsive discrimination. It is thinking about sound — responsive discrimination. It is thinking about sound — analyzing its quality, style, interpretation, and nuance. It is analyzing its quality, style, interpretation, and nuance. It is trying to understand what motivates a sound. It is trying to understand what motivates a sound. It is engaging in new sonic exper-iences regardless of their engaging in new sonic exper-iences regardless of their strangeness. It is examining your reaction to sound in strangeness. It is examining your reaction to sound in relation to your mood and feeling.” relation to your mood and feeling.” Alten, 1994Alten, 1994
Chapter 2 Theoretical Foundations of Multimedia
Reception of SoundReception of Sound
• Habituation Habituation — 85% of all primary auditory neurons become — 85% of all primary auditory neurons become less sensitive to sounds if they persist unchanged. less sensitive to sounds if they persist unchanged. Musicians use changes in key and vibrato to counteract Musicians use changes in key and vibrato to counteract this phenomenonthis phenomenon
• Pitch Pitch — Most adults can detect pitches between 20 and — Most adults can detect pitches between 20 and 20,000 Hz, but pitches above 16,000 Hz are perceived as 20,000 Hz, but pitches above 16,000 Hz are perceived as hiss. hiss.
• Relationship to age Relationship to age — As age increases, range of hearing — As age increases, range of hearing decreases.decreases.
Chapter 2 Theoretical Foundations of Multimedia
Chapter 2 Theoretical Foundations of Multimedia
Comparison of Changes in Decibels Comparison of Changes in Decibels and Powerand Power
Chapter 2 Theoretical Foundations of Multimedia
dB dB PowerPowerdB dB PowerPower00 11 15 15 32 3211 1.31.3 18 18 64 6422 1.61.6 20 20 100 10033 22 30 30 1,000 1,00044 2.52.5 40 40 10,000 10,00055 3.23.2 50 50 100,000 100,00066 44 60 60 1,000,000 1,000,000 77 55 70 70 10,000,000 10,000,00088 66 80 80 100,000,000 100,000,00099 88 90 90 1,000,000,000 1,000,000,000
1010 10 10 100100 10,000,000,000 10,000,000,000 1111 12 12 110110 100,000,000,000 100,000,000,000 1212 16 16 120 1,000,000,000,000120 1,000,000,000,000
Perception of SoundPerception of Sound
• Hearing Levels Hearing Levels — physical, abstract, etc.— physical, abstract, etc.• Meaning Meaning — is derived from relationships among the — is derived from relationships among the
various levels on which humans hear soundsvarious levels on which humans hear sounds• Localization Localization — is the ability to locate a sound — is the ability to locate a sound
source in three-dimensional spacesource in three-dimensional space• Identification Identification — is the ability to recognize voices, — is the ability to recognize voices,
instruments, and other sources of soundsinstruments, and other sources of sounds
Chapter 2 Theoretical Foundations of Multimedia
Handel’s Approaches to Handel’s Approaches to Conceptualizing Perception of SoundConceptualizing Perception of Sound
• Prototype or template Prototype or template — compare what is heard with an — compare what is heard with an idealized versionidealized version
• Feature or attribute Feature or attribute — abstract critical features to — abstract critical features to distinguish among possibilitiesdistinguish among possibilities
• Higher-order variable Higher-order variable — time-varying, complex acoustic — time-varying, complex acoustic properties that uniquely identify an eventproperties that uniquely identify an event
• Innate systems Innate systems — distinct brain structures that yield — distinct brain structures that yield invariant preceptsinvariant precepts
Chapter 2 Theoretical Foundations of Multimedia
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