Roland Cahen

Centre de Recherche en Design (CRD) ENSCi - ENS Paris-Saclay

In this paper, we discuss key research questions generated from a collaborative workshop, during which our aim was to explore the potential of a wearable device to produce novel audio-haptic sensory experiences. The main intention of this research is to enable users with any type of hearing profile to appreciate a body-centered listening experience...

Wearable audio-tactile devices can be evaluated not only in terms of the perceptual experiences they elicit, but also how they come to exist. In this project case study, we show how the industrial environment influenced the design processes that have structured both the purpose and the form of two wearable audio-tactile devices, here described as d...

This paper explores the process of kinetic music design. The first part of this paper presents the concept of kinetic music. The second part presents the sound design and compositional process of this type of music. The third part presents some excerpts from the composition logbook of a piece called Kinetic Design to illustrate the process of kinet...

Modèles physiques, modèles abstraits Réflexion sur la possibilité d'une abstraction des modèles sonores. Dans le monde des objets physique, le monde réel, les phénomènes physiques ont essentiellement des causes physiques, même si la cause première, si cette notion aristotélicienne peut s'appliquer à la réalité quotidienne, la raison d'agir ou l'ori...

De la musique cinétique aux dispositifs instrumentaux, des nouvelles interfaces à la notion de topophonie, en passant par les programmes audiographiques ou la synthèse granulaire, le compositeur électroacoustique, designer sonore et enseignant Roland Cahen, dresse la liste des recherches, des directions et des innovations qui ont transformé la musi...

At the moment most tools for videoconferencing used by teachers for their online courses suffer from a problematical audio framework. It is easy to speak and listen to speech in both ways though the videoconference tool. It is also possible to share visuals, a screen or an application window. But it becomes much more difficult when you want to shar...

MusiqueLab : 6 musical applications for collective music teaching and practice in classroom. Developpent at Ircam for the Ministère de l'Education Nationale (2002-2003)

Un Orgue immersif pour le XXIème siècle, dédié à la découverte muséographique et à la création et à la pratique collective pédagogique. Ce document est le rendu de l’ENSCI et constitue le livrable de «l’étude de conception» définie dans la convention de partenariat. Il présente le projet sur la base des différents pré-rendus et échanges entre l’équ...

Computer games and virtual worlds are “traditionally” visually orientated, and their audio dimension often secondary. In this paper we will describe New Atlantis a virtual world that aims to put sound first. We will describe the motivation, the history and the development of this Franco-American project and the serendipitous use made of the distanc...

Upmix Café est un concept de café musical augmenté permettant d’améliorer l’expérience musicale dans les cafés musicaux équipé d’un dispositif de diffusion multi-point utilisant de préférence un système WFS (Wave Field Synthesis) appuyé sur un réseau social de musiciens via un service de diffusion proposant une approche éditoriale et des créations...

Un Studio Experimental New Atlantis à l'ENSCI les Ateliers Octobre 2015 - Janvier 2016. Pendant le semestre, nous avons créé un espace partagé, c'est à dire visitable en ligne avec d'autres partenaires de jeu sonore. Le 15 Janvier 2016, cet espace a été visité collectivement lors d'une performance publique au Cube (Issy les Moulineaux) en ligne ave...

Through the history of sound design teaching at ENSCI les Ateliers, this paper tries to bring out a genuine view of what could sound design teaching for designers be today. It also explains the importance of sound design in different applications and traces the extension of the domain. We will tries to give possible answers from an empirical and cr...

Traditionally, when one wishes to explain abstract phenomena with animations, sound is only used to identify and precise salient events, while image is used to place objects and visualize their movement. Sound spatialization is not used, or only to lateralize objects in the stereo. The question we ask in this design studio is: Can spatial sounds he...

Dirty Tangible Interfaces (DIRTI) are a new concept in interface design that forgoes the dogma of repeatability in favor of a richer and more complex experience, constantly evolving, never reversible, and infinitely modifiable. We built a prototype interface realizing the DIRTI principles based on low-cost commodity hardware and kitchenware: A vide...

Topophony literally means a place of sound, in other words sound spaces, which can be real, virtual or augmented (mixed). For example, in real life, sound sources are distributed around us: some are fixed, other are mobile. As listeners, we evolve in a space and constantly mix the sources that surround us. That experience is what we call sound navi...

Ce document est le rendu de l’ENSCI les Ateliers et constitue le livrable de «l’étude de conception» définie dans la convention de partenariat. Il présente le projet sur la base des différents pré-rendus et échanges entre l’équipe de l’ENSCI et celle du CIP. Par convention, bien que le nom de ce lieu-instrument n’ait pas encore été choisi, nous uti...

Abstract : An analytical and experimental approach of activations profiles for audio-graphic navigation in foliage clusters. The paper is part of the Topophonie research project, the aim to which is navigation within au- dio-graphic clusters. Clusters are wide ranges of objects of the same class. By Audio-graphic we mean synchronized audio and grap...

cote interne IRCAM: Schwarz11b

In audio-graphic scenes, visual and audio modalities are synchronized in time and space, and their behaviour is determined by a common process. We present here a novel way of modeling audio-graphic content for interactive 3D scenes with the concept of sound processes and their activation through 2D or 3D profiles. Many 3D applications today support...

Métrophonie est une maquette de simulation du paysage sonore habité par les véhicules électriques et hybrides de demain. L’arrivée des véhicules Hybrides et Electriques constitue une opportunité unique dans l’histoire du paysage sonore pour améliorer la qualité de vie de centaines de millions de personnes dans le monde. Il s’agit donc de ne pa...

cote interne IRCAM: Cahen08a

Corpus-based concatenative synthesis plays grains from a large corpus of segmented and descriptor-analysed sounds according to proximity to a target position in the descriptor space. This can be seen as a content-based extension to granular synthesis providing direct access to specific sound characteristics. The interactive concatenative sound synt...

Plumage is an interface for interactive 3D audio/graphic scene browsing and design. The interface relies on the notion of tape heads in a sonic and graphic 3D space made of feathers associated with sound micro-samples. The spatial layout of the feathers is defined by sound parameters of the associated samples. The musical play is the outcome of a c...

The ENIGMES experimental project took place at ENSCI les Ateliers (National School of Industrial Creation) in 2006-2007. Its aim was to develop usage scenarios of navigable scores or in other words, score instruments. After the end of the project, the aim of this paper is to question the comparison between these experiments as musically oriented to...

ENIGMES (Expérimentation de Nouvelles Interfaces Gestuelles Musicales et Sonores) est un projet de recherche et d’expérimentation pédagogique interdisciplinaire développé à l’ENSCI (Ecole Nationale Supérieure de Création Industrielle) en 2006-2007 dans le cadre du studio de création sonore de Roland Cahen. Les champs de compétence concernés sont :...

Corpus-based concatenative synthesis (CBCS) builds on a large database of segmented and descriptor-analysed sounds that are selected and played according to proxim-ity to a target position in the descriptor space. This can be seen as a content-based extension to granular synthe-sis providing direct access to specific sound characteris-tics in real-...

This paper describes the main ideas developed in the ENIGMES (Experimentation of New Gestual Interfaces for Electroacoustic Music and Sound. It took place in 2006 at the ENSCi (National Superior School of Industrial Creation) and gathered students, teachers, artists and researchers on the theme of "navigable scores".

Sound Navigation consists in browsing through different sound objects and sound generators situated within a virtual world including virtual spatialized sound and visual scenes, to perform a musical trajectory and composition. In the PHASE Project installation, the D virtual world resembles the surface of a vinyl disk, magnified so that one can see...

PHASE is a research project concerning multi-modal systems for generation, handling and control of sound and music. Some of the research results have been implemented in an interactive installation, a musical game integrating various metaphors. This installation, open to the public at the G. Pompidou museum for three months, was an extraordinary su...

The PHASE project is a research project devoted to the study and the realization of systems of multi-modal interaction for generation, handling and control of sound and music. Supported by the network RIAM (Recherche et Innovation en Audiovisuel et Multimédia), it was carried out by the CEA-LIST for haptic research, Haption for the realization of t...

PHASE is a research project devoted to the study and the implementation of multi-modal systems for generation, handling and control of sound and music. Supported by the RIAM network (a French network dedicated to Research and Innovation in Audiovisual and Multimedia), it was carried out by the CEA-LIST and Haption for the haptic research and supply...

Une réflexion autour de la navigation sonore, de la spatialisation des sons dans la nature et de la façon de produire des phénomènes sonores spatiaux en studio

Compositeur, mon but n'est pas de développer une technique pour restituer les sons naturels, j'en laisse le soin aux ingénieurs. Par contre, les remarques qui précèdent me permettent d'entrevoir un art de la plastique des sons ayant chacun leur vécu spatial ou leur cinétique propre. les sons produits auront donc comme spécificité d'allier la forme...

1. ABSTRACT This paper attempts to develop concepts of multimodal objects made out of the interaction between space and sound though motion. The present paper is mostly descriptive and tries to gather experiences in order to delimit a new field of applications, concepts and method. My purpose is to describe some specificities of sound navigation de...