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Texte du colloque " Emotions, Cognition et création artistique". Toulouse 18-20 octobre 2017.; International audience

Texte proposé pour les actes du colloque " De l'humanité de l'humain dans l'art ", Aix en Provence, 5-7 février 2018

This article attempts to present the different theories concerning the hypnotic phenomenon, starting from the principle that hypnosis is rather a major anthropological fact than a simple psychological or consciousness modification, since the hypnotic phenomenon is integrated in social life in many civilizations. For this reason, we approach the question epistemologically, without discarding any theory, and trying to identify what each of them brings to the knowledge of this complex phenomenon.It actually appears that the multiplicity of theories relativizes the strength of each of them. So, in the end, it is very difficult to propose a coherent overall scheme or a unifying theory of what the hypnotic phenomenon is. In a simplified way, two theoretical frameworks face each other: psychological approaches in a broad sense (cognitive psychology, psychoanalysis, social psychology) and physiological approaches (including neurosciences). None of them provides a decisive explanation. Such a proliferation prompts us to consider if, finally, to search an explanation of the hypnotic phenomenon makes sense and if hypnosis could not be a part of the "difficult problem" (or explanatory gap) of the neuroscience concerning consciousness., Cet article tente de faire le point des différentes théories concernant le phénomène hypnotique, en partant du principe qu’il s’agit plus d’un fait anthropologique majeur que d’une simple modification psychologique ou de la conscience, tant le phénomène hypnotique est intégré à une problématique sociale dans de nombreuses civilisations. C’est pourquoi, nous abordons la question de manière épistémologique, sans prendre parti pour telle ou telle théorie et en essayant de dégager ce que chacune d’entre elle apporte à la connaissance de ce phénomène complexe.Il apparait en réalité que la multiplicité des théories relativise la force de chacune d’elle, et que, au bout du compte, il est bien difficile de proposer un schéma d’ensemble cohérent ou une théorie unificatrice de ce qu’est le phénomène hypnotique. De manière simplifiée, deux cadres théoriques se font face : les approches psychologiques au sens large (psychologie cognitive, psychanalyse, psychologie sociale) et les approches physiologiques (dont les neurosciences) sans qu’aucune d’elle n’apporte d’explication décisive. Une telle prolifération incite à se demander si finalement envisager une explication du phénomène hypnotique a un sens et si l’on n’est pas avec l’hypnose au cœur du « problème difficile » (ou fossé explicatif) des neurosciences concernant la conscience.

International audience; This paper investigates a few situations where inventive notation has opened the way to new forms of musical expression. After some observations on musical notation from a theoretical perspective, the close relationship between Earle Brown (a New-York School composer) and André Boucourechliev (a French composer of Bulgarian origins) will help define a vivid experimental field in the realm of musical notation. Closely related to the concept of the open work, the unconventional scores of those composers address crucial questions about Western Art music-making in the 1950s. Although less discussed than serialism, spectralism, or extended instrumental techniques, the notational issue encountered by Brown and Boucourechliev is manifested in contemporary composers’ experiments with multimedia/animated scores, and their shift away from textual to digitally augmented notation. This survey of the different solutions adopted by composers will contextualize my own practice-led compositional research, and clarify the notational tools I developed both for the performance of my own compositions, and for pedagogical applications.

International audience; Unter Berücksichtigung der therapeutischen Wirkung traditioneller Musik, die mit zeitgenössischen Kreationen im Kontext der Globalisierung hybridisiert, liefert dieser Artikel einige Analysen von musikalischen Werken, die eindeutig mit Schamanismus in Verbindung stehen. Nicht nur die therapeutischen Arbeiten, sondern auch die primitivistischen Wurzeln, die umfassenden Konzepte von Trance und Psychedelia und die aktuellen Exzesse der "Klangkunst" gegenüber New Agism und Neo-Schamanismus werden hinterfragt. Die Hauptmusiker studierte Alain Berlaud, Marie-Hélène Bernard, John Burke, Tan Dun, Zarina Kopyrina, György Ligeti, Francisco López, Sainkho Namtchylak, Thierry Pécou, Gaëtan Perseilhan, Jacques Schwartz-Bart, Corine Sombrun, Barry Truax, Sigolène Valax , Claude Vivier.; Noting the therapeutic impact of traditional music that hybridizes to contemporary creations in a context of globalization, this article provides some analyzes of musical works clearly related to shamanism. Not only the therapeutic works, but also the primitivist roots, the broad concepts of trance and psychedelia, and the current excesses of "sound art" in the face of New Agism and neo-shamanism are questioned. The main musicians studied are Alain Berlaud, Marie-Hélène Bernard, John Burke, Tan Dun, Zarina Kopyrina, György Ligeti, Francisco López, Sainkho Namtchylak , Thierry Pécou, Gaëtan Perseilhan, Jacques Schwartz-Bart, Corine Sombrun, Barry Truax, Sigolene Valax, Claude Vivier.; Tomando nota del impacto terapéutico de la música tradicional que se hibridiza con las creaciones contemporáneas en un contexto de globalización, este artículo proporciona algunos análisis de obras musicales claramente relacionadas con el chamanismo. No solo se cuestionan las obras terapéuticas, sino también las raíces primitivistas, los amplios conceptos de trance y psicodelia, y los excesos actuales del "arte sonoro" frente al Nuevo Agismo y el neo-chamanismo. Los principales músicos estudiados son Alain Berlaud, Marie-Hélène Bernard, John Burke, Tan Dun, Zarina Kopyrina, György Ligeti, Francisco López, Sainkho Namtchylak, Thierry Pécou, Gaëtan Perseilhan, Jacques Schwartz-Bart, Corine Sombrun, Barry Truax, Sigolène Valax , Claude Vivier.; Constatant l’impact thérapeutique des musiques traditionnelles qui s’hybrident aux créations contemporaines dans un contexte de mondialisation, cet article fournit quelques analyses d’œuvres musicales clairement reliées au chamanisme. Sont interrogées non seulement les œuvres à visée thérapeutique, mais aussi les racines primitivistes, les notions larges de transe et de psychédélisme, et les dérives actuelles de l’« art sonore » face au New Agism et au néo-chamanisme. Les principaux musiciens étudiés sont Alain Berlaud, Marie-Hélène Bernard, John Burke, Tan Dun, Zarina Kopyrina, György Ligeti, Francisco López, Sainkho Namtchylak, Thierry Pécou, Gaëtan Perseilhan, Jacques Schwartz-Bart, Corine Sombrun, Barry Truax, Sigolène Valax, Claude Vivier.; Notando l'impatto terapeutico della musica tradizionale che si ibrida con le creazioni contemporanee in un contesto di globalizzazione, questo articolo fornisce alcune analisi di opere musicali chiaramente correlate allo sciamanesimo. Non solo le opere terapeutiche, ma anche le radici primitiviste, gli ampi concetti di trance e psichedelia e gli attuali eccessi di "sound art" di fronte al New Agism e al neo-sciamanismo sono messi in discussione. I principali musicisti studiati sono Alain Berlaud, Marie-Hélène Bernard, John Burke, Tan Dun, Zarina Kopyrina, György Ligeti, Francisco López, Sainkho Namtchylak, Thierry Pécou, Gaëtan Perseilhan, Jacques Schwartz-Bart, Corine Sombrun, Barry Truax, Sigolène Valax , Claude Vivier.

International audience; Featured Application: The proposed framework is highly suitable for audio applications that require analysis–synthesis systems with the following properties: stability, perfect reconstruction, and a flexible choice of redundancy. Abstract: Many audio applications rely on filter banks (FBs) to analyze, process, and re-synthesize sounds. For these applications, an important property of the analysis–synthesis system is the reconstruction error; it has to be minimized to avoid audible artifacts. Other advantageous properties include stability and low redundancy. To exploit some aspects of auditory perception in the signal chain, some applications rely on FBs that approximate the frequency analysis performed in the auditory periphery, the gammatone FB being a popular example. However, current gammatone FBs only allow partial reconstruction and stability at high redundancies. In this article, we construct an analysis–synthesis system for audio applications. The proposed system, referred to as Audlet, is an oversampled FB with filters distributed on auditory frequency scales. It allows perfect reconstruction for a wide range of FB settings (e.g., the shape and density of filters), efficient FB design, and adaptable redundancy. In particular, we show how to construct a gammatone FB with perfect reconstruction. Experiments demonstrate performance improvements of the proposed gammatone FB when compared to current gammatone FBs in terms of reconstruction error and stability, especially at low redundancies. An application of the framework to audio source separation illustrates its utility for audio processing.

This article describes in first person what is the experience of hypnotic trance, using self-explanations of conscious experiences., Cet article décrit en première personne ce qu'est l'expérience de la transe hypnotique, en utilisant une auto-explicitation des vécus conscients.

International audience; Timbre provides an important cue to identify musical instruments. Many timbral attributes covary with other parameters like pitch. This study explores listeners' ability to construct categories of instrumental sound sources from sounds that vary in pitch. Nonmusicians identified 11 instruments from the woodwind, brass, percussion, and plucked and bowed string families. In experiment 1, they were trained to identify instruments playing a pitch of C4, and in experiments 2 and 3, they were trained with a five-tone sequence (F#3–F#4), exposing them to the way timbre varies with pitch. Participants were required to reach a threshold of 75% correct identification in training. In the testing phase, successful listeners heard single tones (experiments 1 and 2) or three-tone sequences from (A3–D#4) (experiment 3) across each instrument's full pitch range to test their ability to generalize identification from the learned sound(s). Identification generalization over pitch varies a great deal across instruments. No significant differences were found between single-pitch and multi-pitch training or testing conditions. Identification rates can be predicted moderately well by spectrograms or modulation spectra. These results suggest that listeners use the most relevant acoustical invariance to identify musical instrument sounds, also using previous experience with the tested instruments.

International audience; In this paper we studied a new approach to investigate sound perception. Assuming that a sound contains specific morphologies that convey perceptually relevant information responsible for its recognition, called invariants, we explored the possibility of a new method to determine such invariants, using vocal imitation. We conducted an experiment , asking participants to imitate sounds evoking movements and materials generated through a sound synthesizer. Given that that the sounds produced by the synthesizer were based on invariant structures, we aimed at retrieving this information from the imitations. Results showed that the participants were able to correctly imitate the dynamics of the sounds, i.e. the action-related information evoked by the sound, whereas texture-related information evoking the material of the sound source was less easily imitated.

International audience; Since the revival of Historically Informed Performance in the 1960s, the interpretation of Early Music has continuously raised questions many of which remain unanswered. Nevertheless, understanding of earlier practice continues to grow and performers have long surpassed the strict historical urtext approach that initially prevailed, largely due to the growing body of evidence that instrumentalists of earlier times relied heavily on aurally transmitted improvised musical traditions, which can only be re-imagined today. The modern musician must also improvise in order to reconstitute or re-invent missing elements belonging to a long-forgotten tradition. From a philosophical point of view, therefore, the performance of early music today is closely related to hermeneutics, and the multiple questions involved in the interpretative process.

International audience; This paper is concerned with the design of efficient and controllable filters for sound synthesis purposes, in the context of the generation of sounds radiated by nonlinear sources. These filters are coupled and generate tonal components in an interdependent way, and are intended to emulate realistic perceptually salient effects in musical instruments in an efficient manner. Control of energy transfer between the filters is realized by defining a matrix containing the coupling terms. The generation of prototypical sounds corresponding to nonlinear sources with the filter bank is presented. In particular, examples are proposed to generate sounds corresponding to impacts on thin structures and to the perturbation of the vibration of objects when it collides with an other object. The different sound examples presented in the paper and available for listening on the accompanying site tend to show that a simple control of the input parameters allows to generate sounds whose evocation is coherent, and that the addition of random processes allows to significantly improve the realism of the generated sounds.

In traditional combustion engine vehicles, the sound of the engine plays an important role in enhancing the driver’s experience of the vehicle’s dynamics, and contributes to both comfort and safety. However, with the development of quieter electric vehicles, drivers no longer receive this important auditory feedback, and this can lead to a less satisfying acoustic environment in the vehicle cabin. To address this issue, sonification strategies have been developed for electric vehicles to provide similar auditory feedback to the driver, but feedback from users has suggested that the sounds produced by these strategies do not blend seamlessly with the other sounds in the vehicle cabin. This study focuses on identifying the key acoustic parameters that create a sense of cohesion between the synthetic sounds and the vehicle’s natural soundscape, based on the characteristics of traditional combustion engine vehicles. Through analyzing the time and frequency of the noises produced by combustion engine vehicles, the presence of micro-modulations in both frequency and amplitude was identified, as well as resonances caused by the transfer of sound between the engine and the cabin. These parameters were incorporated into a synthesis model for the sonification of electric vehicle dynamics, based on the Shepard-Risset illusion. A perceptual test was conducted, and the results showed that the inclusion of resonances in the synthesized sounds significantly enhanced their naturalness, while micro-modulations had no significant impact.

International audience; Distance perception in an audio content has long been investigated as sources’ distance, how far the source is from the perspective of a listener. Yet, an audio spatial scene is not only perceived as a sum of punctual audio entities but it also takes into account a broader aspect, based for example on shape or textures.Moreover, in the domain of soundscape studies, researchers describe soundscapes as a sonic environment with emphasis on the way it is perceived and understood by an individual. This leads to the existence of an interaction between the recognition of the sonic environment and its perception.Based on this framework, how does the auditory distance perception, defined as acoustic horizon, is influenced by the recognition of the environment?For that, we designed an experiment which showed that it does exist an interaction between the recognition and the perception of the acoustic horizon. In addition, we discussed how this interaction could be linked to multiple factors. We will present our results and the leads for a better perceptual characterization of the acoustic horizon.

International audience; The Corsica Sud-Archives project [CO S-A] explore the post-archiving life of archives. Often, once archives are classified, stored, or made available online, their significance diminishes. What happens to archives after they have been archived? In the 1990s, Derrida wrote that archives are in a constant struggle with themselves. Thus, the [CO S-A] project sought to transform this risk into a compelling question: What can archival updates contribute to the archive?Since the late twentieth century, there has been a growing interest in archives from institutional (Farge, 1989; Clavert & Muller, 2017), epistemological (Derrida, 1995), and ethical (Zetlyn, 2022) perspectives. The "documental turn" (Ketelaar, 2006; Mechoulan, 2011; Lemay & Klein, 2012; Leibovici, 2020) or the exploration of documents (Caillet & Pouillaude, 2017) has highlighted the necessity of contemplating new methods for engaging with archives and data, particularly through artistic approaches. It has also shed light on the dynamics of circulation, accumulation, and extraction that underlie their creation.If the preservation of archives often leads to a reduction in their usage, their artistic and civic use (known as "archival use") can revitalize the life cycle of the archives, generate new knowledge, and reshape our shared heritage (Lemay & Klein, 2012). In this context, [CO S-A] serves as a space that challenges our unexplored thoughts and collective memories, while bridging different territories.[CO S-A] functions as a case study, specifically focusing on the Repertorium VOCE, one of the largest online sound archives dedicated primarily to Corsican music. The project encompasses three main axes of research, creation, and action, each with the objective of revitalizing the collection in various ways and integrating it into our present lives.The first axis involves the artistic creation process, undertaken by three artists who utilize the Repertorium archives. Their approach involves "working" with the archives, reimagining, diverting, and improvising upon them.The second axis entails an archival expertise of the Repertorium, with the aim of developing a conservation and heritage valorization policy for the long term. This effort is carried out in collaboration with the Museum of Corsica (Territorial Collectivity of Corsica), the M3C Media Library (UMR LISA), and the CNCM Voce.The third axis focuses on local engagement with the residents and users of the village. It involves promotional activities targeted at a wider audience and raising awareness of the importance of listening through a Soundwalk in the village of Pigna in February 2023.These three axes constitute an exploratory and unprecedented protocol. This protocol will be extended in various ways to Mediterranean island territories. Additionally, this protocol will be the subject of a methodological innovation filing. Indeed, it is the result of an interdisciplinary approach that combines contributions from historical sciences, musicology, sound arts, and artistic creation.; Le projet [CO S-A] Corsica Sud-Archives a comme objectif de réfléchir à la vie de l’archive après sa mise en archive. Cette vie s’amenuise souvent une fois que l’archive est classée, mise en « boite » ou désormais « mise en ligne ». Qu’advient-il de l’archive une fois qu’elle est archivée ? L’archive lutte toujours contre elle-même écrivait Derrida dans les années 1990. Alors, au risque de sa décontextualisation, le projet [CO S-A] a souhaité transformer ce risque en une problématique forte : que peuvent les réactualisations de l’archive pour l’archive ? Un intérêt grandissant pour la question des archives d’un point de vue institutionnel (Farge, 1989 ; Clavert & Muller, 2017) mais aussi épistémologique (Derrida, 1995) et éthique (Zetlyn, 2022) a progressivement vu le jour depuis la fin du XXe siècle. Le « tournant documental » (Ketelaar, 2006 ; Mechoulan, 2011 ; Lemay & Klein, 2012 ; Leibovici, 2020) ou documentaire (Caillet & Pouillaude, 2017) a montré la nécessité de réfléchir à de nouveaux modes d’exploration des archives et données culturelles (notamment via les usages artistiques) ainsi qu'aux dynamiques de circulation, d'accumulation et d'extraction sous-jacentes à leur création. Si la conservation des archives est souvent le temps de l’amenuisement de leurs usages, leur exploitation artistique et citoyenne (Archival use) permet de relancer le cycle de la vie de l’archive (Lemay & Klein, 2012), de créer de nouvelles connaissances et de repenser le patrimoine commun. C’est ainsi qu’il faut comprendre [CO S-A] comme un espace qui interroge nos impensés, nos mémoires communes et qui trace des ponts et des passerelles entre les territoires. [CO S-A] est en quelque sorte une étude de cas. Ce cas, c’est le Repertorium VOCE, l’un des plus grands fond d’archives en ligne dédié, principalement, aux musiques corses. Trois axes de recherche, de création mais aussi d’action constituent le projet. Chacun des axes a eu comme objectif de réactualiser ce fonds de différentes manières, pour tenter d’assurer la longévité de sa vie passée, et de l’inscrire dans nos vies actuelles. Le 1er axe a consisté en un travail de création musicale, réalisé par trois artistes et basé sur le réemploi des archives issues du Repertorium. Il s’agissait de « travailler » les archives, de les réécrire, de les détourner, de les réinterpréter et de les improviser.Le 2e axe a accompli une expertise archivistique du Repertorium afin d’établir une politique de conservation et de valorisation du patrimoine à moyen et long terme, en relation avec le Musée de la Corse (Collectivité territoriale de Corse), la Médiathèque M3C (UMR LISA) et le CNCM Voce.Le 3e axe a été une action locale auprès des habitants et des usagers du village. Une action de valorisation auprès d’un public élargi, une sensibilisation à l’écoute sous la forme d’une balade sonore que nous avons installée dans le village de Pigna en février 2023. Ces trois axes constituent un protocole exploratoire, inédit. Protocole que nous allons prolonger de différentes façons sur les territoires insulaires méditerranéens. Ce protocole va par ailleurs faire l’objet d’un dépôt d’invention méthodologique. En effet, il est aussi le fruit d’une logique interdisciplinaire qui croise les apports des sciences historiques, avec la musicologie, les arts sonores et la création artistique.

International audience; With the development of electric motor vehicles, the domain of automotive sound design addresses new issues, and is now concerned by creating suitable and pleasant soundscapes inside the vehicle. For instance, the absence of predominant engine sound changes the driver perception of the dynamic of his car. Previous studies proposed relevant sonification strategies to augment the interior sound environment by bringing back vehicle dynamics with synthetic auditory cues. Yet, users report a lack of blending with the existing soundscape. In this study, we analyze acoustical and perceptual spatial characteristics of the car soundscape and show that that the spatial attributes of sound sources are fundamental to improve the perceptual coherency of the global environment.; Avec le développement des véhicules à moteur électrique, le domaine de la conception sonore automobile aborde de nouvelles questions, et s'attache désormais à créer des ambiances sonores adaptées et agréables à l'intérieur du véhicule. Par exemple, l'absence du son prédominant du moteur modifie la perception du conducteur quant au dynamisme de sa voiture. Des études antérieures ont proposé des stratégies de sonification pertinentes pour augmenter l'environnement sonore intérieur en ramenant la dynamique du véhicule à l'aide d'indices auditifs synthétiques. Pourtant, les utilisateurs signalent un manque d'intégration dans l'environnement sonore existant. Dans cette étude, nous analysons les caractéristiques spatiales acoustiques et perceptives du paysage sonore de la voiture et montrons que les attributs spatiaux des sources sonores sont fondamentaux pour améliorer la cohérence perceptive de l'environnement global.

International audience; This paper deals with the design of transaural systems in usual rooms, whose response has a strong influence on sound reproduction. The paper proposes to select configurations for the best perceptual rendering. However, realistic perceptive experiments cannot deal with the many possible room and loudspeaker configurations. Therefore, the authors propose to assess them using objective scores that are extrapolated from the results of perceptive tests assessing a suitable selection of rooms and loudspeaker configurations. This extrapolation then allows comparison of a much larger set of combinations, leading to the conclusion that close-to-ears configurations allow reduction of the room influence, leading to a good perceived fidelityeven inside usual rooms. Closer loudspeakers are, however, likely to be more sensitive to listener position, so the robustness of loudspeaker configurations to listener misplacement were investigated. A suitable objective score, again based on a perceptive test, led to the surprising conclusion that some close-to-ears configurations are also robust to listener position.

International audience; Synthèse Perceptive de Champ Sonore Tridimensionnel

Travailler avec la spatialisation sonore est aujourd'hui un processus commun : il existe de nombreux logiciels, plugins et formats de partage. Bien qu'ils deviennent plus intuitifs grâce au formalisme « object-based », nous pouvons toujours nous demander comment manipuler et synthétiser des sons qui ne peuvent pas être représentés par un objet sonore étendu, comme le bruit ambiant ou des textures.En même temps, composer un espace auditif en positionnant uniquement des objets sonores n'est presque jamais suffisant du point de vue perceptif et l'expérience quotidienne en des créateur.ices de contenu immersif montre qu'il faut autre chose pour améliorer la plausibilité et le sentiment d'immersion.Sur la base de ce constat, nous souhaitons étudier l'influence du contexte de l'objet sonore sur l'environnement sonore perçu et plus particulièrement la corrélation possible entre les paramètres acoustiques et le percept auditif. L'objectif principal de ce travail est d'entamer une réflexion sur un outil audio permettant de manipuler les aspects spatiaux des scènes auditives en fonction de paramètres perceptifs. Pour illustrer cette recherche, nous nous concentrons sur l'horizon acoustique perçu et sur les caractéristiques spatiales qui lui sont corrélées, telles que décrites par le World Soundscape Project.La présentation portera sur la conception d'une expérience perceptive permettant d'aborder ces questions avec, entre autre, la conception de quatre paysages sonores virtuels réalisés dans le cadre du formalisme orienté objet, en collaboration avec un ingénieur du son. Nous présenterons ensuite l'expérience elle-même qui a été menée dans une sphère de 42 enceintes au laboratoire PRISM ainsi que les premiers résultats corroborant nos hypothèses.

International audience; In a recent article (Vion Dury & Mougin, 2022), we reviewed the literature on high intellectual potential in adults (HPI). We also refer the reader to the difference we make between High Intelligence Quotient (HQI) and High Intelligence Potential (HP), the latter integrating a broader vision of intelligence than the HQI which only evaluates cognitive processes. We have noticed, on the one hand, that among the patients who engage in psychotherapy, a certain number present characteristics of HP, independently of the reason for which the request for psychotherapy is made. On the other hand, other patients who already know they have HP come to consult for difficulties, especially social ones, that they do not spontaneously link to their High Potential. We have constructed a 123-item questionnaire on a phenomenological basis, i.e., based on what they say they experience. This questionnaire makes it possible to draw up profiles of high potentials based on a classification of 12 dimensions.Its use in psychotherapy is particularly useful.Translated with www.DeepL.com/Translator (free version); La spécificité des psychothérapies chez les HPI Dans un récent article (Vion Dury & Mougin, 2022), nous avons fait le point de la littérature concernant le haut potentiel intellectuel de l'adulte (HPI). Nous y renvoyons d'ailleurs le lecteur concernant la différence que nous faisons entre Haut Quotient intellectuel (HQI) et haut potentiel intellectuel (HP) ce dernier intégrant une vision plus large de l'intelligence que le HQI qui n'évalue que les processus cognitifs. Nous avons remarqué, d'une part, que, parmi les patients qui s'engagent dans une psychothérapie, un certain nombre présente des caractéristiques de HP, indépendamment de la raison pour laquelle la demande de psychothérapie est faite. D'autre part, d'autres patients qui se savent déjà HP viennent consulter pour des difficultés, notamment sociales, qu'ils ne relient pas spontanément à leur Haut Potentiel. Nous avons construit un questionnaire de 123 items sur une base phénoménologique, c'est à dire à partir de ce que les disent vivre. Ce questionnaire permet, à partir d'une classification en 12 dimensions, de dresser des profils de haut potentiel.Son utilisation en psychothérapie est particulièrement utile.

International audience; Today, intangible cultural heritage can be seen from new perspectives. After the progressive renewal of practices linked to digital technology in the human and social sciences, the sound archive benefits from a second wind, an almost unexpected rebound that questions its "life" at the heart of contemporary societies in the Mediterranean area. At the same time as they make up for a primordial function of conservation through research, the processes of transmission and sound creation manage to institute this archive of the sensitive as a "living" archive. This observation gives rise to a certain number of debates:To what extent, as posed for example by the SONNISULA or IMAPI projects, are the principles of archiving (conservation, citability, interoperability, FAIR principles, etc.) able to enter into a dialogue with contemporary artistic creation that transforms or displaces traditions in practices that are sometimes distant? How can intangible heritage be enhanced through scientific research and for the general public, in particular by confronting it with sound and ecological practices?This second cycle of seminars is once again devoted to Digital Humanities. It will be held in the immersive room of the "Places, Identities, eSpaces, Activities" laboratory (UMR 6240 LISA) with a view to offering and implementing all the technical potential of its sound immersion system, an innovative, coherent and dynamic mediation tool for the scientific community, the professional world and the general public. The seminar cycle is open to all. All the videos and podcasts will be put online for viewing and listening on the M3C open archive platform of the UMR 6240 LISA laboratory.Translated with www.DeepL.com/Translator (free version); Le patrimoine culturel immatériel se laisse envisager aujourd’hui sous de nouvelles perspectives. Après le renouvellement progressif des pratiques liées au numérique en sciences humaines et sociales, l’archive sonore bénéficie d’un second souffle, d’un rebond presque inattendu qui nous interroge sur sa “vie“ au coeur des sociétés contemporaines dans l’aire méditerranéenne. En même temps qu’ils suppléent à une fonction primordiale de conservation par la recherche, les processus de transmission et de création sonore parviennent à instituer cette archive du sensible en tant qu’archive “vivante”. Un tel constat laisse poindre un nombre certain de débats :Dans quelle mesure, ainsi que le posent par exemple les projets SONNISULA ou IMAPI, les principes de l’archivistique (conservation, citabilité, interopérabilité, principes FAIR…) sont-ils en mesure d’entamer un dialogue avec la création artistique contemporaine qui transforme ou déplace les traditions dans des pratiques quelquefois éloignées ? Comment peut-on valoriser par le truchement de la recherche scientifique et pour le grand public, les patrimoines immatériels, notamment en les confrontant aux pratiques sonores et écologiques?Ce second cycle de séminaires se consacre une fois encore aux Humanités Numériques. Il se tient au sein de la salle immersive du laboratoire “Lieux, Identités, eSpaces, Activités” (UMR 6240 LISA) dans la perspective d’offrir et de mettre en oeuvre toutes les potentialités techniques de son système d’immersion sonore, outil de mediation innovant, cohérent et dynamique donné à l’écoute de la communauté scientifique, du monde professionnel et aussi grand public. Le cycle de séminaires est ouvert à tous. L’ensemble des vidéos et des podcasts sera mis en ligne pour visionnage et pour écoute sur la plateforme d’archive ouverte de la M3C du laboratoire UMR 6240 LISA.

International audience; The Temporal Voice Areas (TVAs) respond more strongly to speech sounds than to non-speech vocal sounds, but does this make them Temporal “Speech” Areas? We provide a perspective on this issue by combining univariate, multivariate, and representational similarity analyses of fMRI activations to a balanced set of speech and non-speech vocal sounds. We find that while speech sounds activate the TVAs more than non-speech vocal sounds, which is likely related to their larger temporal modulations in syllabic rate, they do not appear to activate additional areas nor are they segregated from the non-speech vocal sounds when their higher activation is controlled. It seems safe, then, to continue calling these regions the Temporal Voice Areas.

Since its conception, the computer has found applications to accompany human creativity. Today, the debate about computers and creativity involves several challenges, such as understanding human creativity, modeling the creative process, and programming the computer to exhibit behavior that appears to be creative to some extent. In this paper, we are interested in how the computer can be used as a tool to promote creativity in a musical composition. We automatically extracted the brightness curve from a silent movie and then used it to compose a piece of music to accompany the movie. We extracted several parameters from the brightness curve, and applied compositional rules from these parameters to write the instrumental music for the film. The final composition has a synchronicity and aesthetic fit with the film that are surprising. This compositional process also allowed for a degree of aesthetic freedom that would otherwise have been impossible., in French language

Within certain categories of geometric shapes, prototypical exemplars that best characterize the category have been evidenced. These geometric prototypes are classically identified through the visual and haptic perception or motor production and are usually characterized by their spatial dimension. However, whether prototypes can be recalled through the auditory channel has not been formally investigated. Here we address this question by using auditory cues issued from timbre-modulated friction sounds evoking human drawing elliptic movements. Since non-spatial auditory cues were previously found useful for discriminating distinct geometric shapes such as circles or ellipses, it is hypothesized that sound dynamics alone can evoke shapes such as an exemplary ellipse. Four experiments were conducted and altogether revealed that a common elliptic prototype emerges from auditory, visual, and motor modalities. This finding supports the hypothesis of a common coding of geometric shapes according to biological rules with a prominent role of sensory-motor contingencies in the emergence of such prototypical geometry.

International audience; The human auditory system is designed to capture and encode sounds from our surroundings and conspecifics. However, the precise mechanisms by which it adaptively extracts the most important spectro-temporal information from sounds are still not fully understood. Previous auditory models have explained sound encoding at the cochlear level using static filter banks, but this vision is incompatible with the nonlinear and adaptive properties of the auditory system. Here we propose an approach that considers the cochlear processes as envelope interpolations inspired by cochlear physiology. It unifies linear and nonlinear adaptive behaviors into a single comprehensive framework that provides a data-driven understanding of auditory coding. It allows simulating a broad range of psychophysical phenomena from virtual pitches and combination tones to consonance and dissonance of harmonic sounds. It further predicts the properties of the cochlear filters such as frequency selectivity. Here we propose a possible link between the parameters of the model and the density of hair cells on the basilar membrane. Cascaded Envelope Interpolation may lead to improvements in sound processing for hearing aids by providing a non-linear, data-driven, way to preprocessing of acoustic signals consistent with peripheral processes.

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International audience; In this paper we review the current problematic of high intelligence quotient (HQI) individuals as it is developed both in the paradigm of cognitive psychology and in that of clinical psychology. The evolution of the HQI concept as well as that of intelligence models is presented. We insist on the limits of the cognitive approach alone, whereas clinical psychology highlights the particularities of these people which oblige us to widen the framework of HQI to prefer the notion of High Potential, thus underlining that the processes involved are not only cognitive but global, also emotional, affective and creative. The comparison of the two paradigmatic approaches (cognitive psychology and clinical psychology) shows, particularly on this theme, very different epistemological conceptions of intelligence. It also highlights the limits of neuropsychological tests in the face of the living, subtle and embodied actuality of differential psychology. These two approaches are both necessary and complementary.; Dans ce texte nous tentons de faire une revue de la problématique actuelle des personnes à haut quotient intellectuel (HQI) telle qu'elle est développée à la fois dans le paradigme de la psychologie cognitive mais aussi dans celui de la psychologie clinique. L'évolution du concept de HQI ainsi que celle des modèles d'intelligence sont présentées. Nous insistons sur les limites de la seule approche cognitive, alors que la psychologie clinique met en évidence des particularités de ces personnes qui obligent à élargir le cadre du HQI pour lui préférer la notion de Haut Potentiel, soulignant ainsi que les processus impliqués ne sont pas seulement cognitifs mais globaux, également émotionnels, affectifs et créatifs. La mise en regard des deux approches paradigmatiques (psychologie cognitive et psychologie clinique) montre, en particulier sur cette thématique, des conceptions épistémologiques très différentes quant à l'intelligence. Elle met également en évidence la limite des tests neuropsychologiques face à l'actualité vivante, subtile et incarnée de la psychologie différentielle. Ces deux approches sont à la fois nécessaires et complémentaires. 1

Perception of acoustic environments is a research field that has been widely explored since the beginning of the 20th century. In recent decades, the development of techniques and tools for capture and auralization of 3D acoustic fields, coupled with the development of virtual reality technologies, has allowed us to consider new problems related to the immersion and spatial sensation of these environments. The work presented in this thesis aims to develop new experimental protocols based on such tools and techniques to characterize the perception of acoustic environments in immersive conditions.The first experiment presented in this thesis deals with perceptual evaluations of the spatial quality of ambisonic auralizations of measured room acoustics, based on comparisons between localization performances of sound sources in auralization contexts with those observed in real listening conditions. This experiment, based on a method in which spatial attributes of sources were reported in virtual reality, highlights typical spatial distortions of sound sources induced by the auralization process, and also reveals that these degradations are influenced by the different acoustic conditions under study. In a second chapter, a multi-dimensional characterization (acoustic and perceptual) of an acoustic corpus measured in twenty heritage buildings is presented. The acoustic characterization, based on the calculation of a set of acoustic parameters, allows to propose an acoustic map of the buildings and a categorization of the acoustic parameters in three main factors. The perceptual characterization, based on the methodology of the first experiment, reveals that, in a context of HOA auralization, the perceived distance and the spatial accuracy of sound sources seem to be affected by the acoustic properties of the studied rooms. The third experiment investigates the audio-visual adequacy between acoustic environments and their visual representations in a multi-modal immersive context. This study reveals that the audio-visual coherence of acoustic spaces is mainly evaluated on a simple relation between the reverberation time of the room and its visually rep- resented volume. This work opens concrete prospects regarding the improvement of auralization techniques, the perceptual characterization of heritage acoustics and the synthesis of acoustic spaces in a multi-sensory immersive context.; L’étude de la perception des environnements acoustiques est un champ de re- cherche largement exploré depuis le début du XXème siècle. Ces dernières décennies, l’essor de techniques et outils de captation et d’auralisation de champs acoustiques spatialisés, couplé au développement des technologies de réalité virtuelle permettent d’envisager de nouvelles problématiques relatives à l’immersion et à l’impression spatiale de ces environnements. Les travaux présentés dans cette thèse visent à pro- poser des nouveaux protocoles expérimentaux, basés sur ces outils et techniques, pour la caractérisation de la perception d’environnements acoustiques en conditions d’immersion 3D.La première expérience présentée dans cette thèse porte sur l’évaluation perceptive de la qualité spatiale de l’auralisation ambisonique d’acoustiques de salles mesurées, en comparant les performances de localisation de sources sonores en contexte d’auralisation avec celles observées en conditions réelles d’écoute. Cette expérience, basée sur une méthode de report des attributs spatiaux de sources en réalité virtuelle met en évidence des dégradations de la précision spatiale des sources sonores induites par l’auralisation, et révèle également une dépendance de ces attributs saptiaux aux différentes conditions acoustiques à l’étude. Dans un second temps, un travail de caractérisation multi-dimensionnelle (acoustique et perceptive) d’un corpus d’acoustiques mesurées dans une vingtaines d’édifices du patrimoine est présenté. La caractérisation acoustique, basée sur le calcul d’un ensemble de descripteurs acoustiques, permet de proposer une cartographie acoustique des édifices et une catégorisation des paramètres acoustiques en trois grands facteurs. De son côté, la caractérisation perceptive, fondée sur la méthodologie de la première expérience révèle que, dans un contexte d’auralisation HOA, la distance perçue et la précision spatiale des sources semblent affectées par des propriétés acoustiques des salles étudiées. La troisième expérience propose d’étudier l’adéquation audio-visuelle entre des environnements acoustiques et leurs représentations visuelles en contexte d’immersion multi-modale. Cette étude révèle que la cohérence audio-visuelle est principalement évaluée sur une relation simple entre le temps de réverbération de la salle et le volume représenté visuellement. Ces travaux ouvrent des perspectives concrètes autour de l’amélioration des techniques d’auralisation, la caractérisation perceptive des acoustiques du patrimoine et la synthèse d’espaces acoustiques en contexte d’immersion multi-sensorielle.

This paper presents an online application—called 3D integrator—enabling visual cross-examinations of architectural and acoustic data on web browsers and explains the rationale behind its development. The tool consists of a series of overlays developed over the Potree 3D point cloud renderer. It is used to display visually, in an interactive environment, the 3D point clouds resulting from a survey protocol tailored to the specific needs of the corpus under scrutiny—15 small-scale edifices often referred to as “minor heritage assets”—and to the research’s overall ambition, reasoning on architectural and acoustic features at an interdisciplinary level. One of the tool’s distinctive features is to project abstract information (acoustic descriptors) in a “close to real” 3D space (point clouds), hence merging scientific visualisation and information visualisation practices. The paper first shortly sums up the particularities of the survey protocol and discusses the implementation of the analytical add-ons that have been introduced (visual trace of the survey protocol itself, volume calculation, and exploratory 3D representation of acoustic descriptors). It then focuses on use cases that illustrate what the approach helps to observe concerning the interiors of edifices when capturing and co-examining dimensional and acoustic features.

Xu Yi is the most famous current Chinese composer in France, where she arrived in 1988 to study at the Institute for Acoustic/Music Research and Coordination (IRCAM). After having followed Gérard Grisey's composition lessons at the National Conservatory of Music in Paris, she obtained the "Prix de Rome" which allowed her to stay at the Villa Medici from 1996 to 1998. The artist composed a fifty works, including several commissioned by the French State. In her music, she combined the French technique of composition with Chinese culture. It is cross-cultural integration. The reputation of this composer is strong in France because she was studied in secondary education in France: her work Le Plein du Vide (1997) was on the program for the 2007 music baccalaureate. The spectral French school of composition are well accepted in China, where she regularly teaches, in Wuhan in particular. Some French musicologists have already studied the works of Xu Yi. This state of the art shows its limits: the bibliographical sources found on Xu Yi relate only to the technique of the composition of the work Le Plein du Vide. This is not enough to evaluate a music or an artistic work in its interdisciplinary globality and its complexity, that is to say from a historical, analytical and poetic point of view, taking into account, in particular, Taoism. This study wonders how poetry and the Tao are intertwined in the music of Xu Yi. Several notions are at the heart of this problem such as time, temporality and sound. The spectral school, like traditional Chinese music, emphasizes both the poetics of sound itself and a very singular perception of time. This research therefore explores the intersection between classical Chinese music and contemporary music, the communion between the two Eastern and Western cultures. The purpose of this thesis is not only to offer a monograph of Xu Yi, such a singular composer, but above all to provide an analysis of her language and her musical aesthetics in its relationship with Taoism.; Xu Yi est la compositrice chinoise actuelle la plus connue en France, où elle arrive en 1988 afin d’étudier à l’Institut de Recherche et de Coordination Acoustique/ Musique (IRCAM). Après avoir suivi les cours de composition de Gérard Grisey au Conservatoire National Supérieur de Musique de Paris, elle obtient de le «Prix de Rome »qui lui permet de séjourner à la villa Médicis de 1996 à1998. L’artiste a composé en tout une cinquantaine d’œuvres, dont plusieurs commandées par l’état français. Dans sa musique, elle a combinéla technique française de composition à la culture chinoise. C’est une intégration interculturelle. La réputation de cette compositrice est forte en France car elle a été étudiée dans l’enseignement secondaire en France : son œuvre Le Plein du Vide (1997) était au programme du baccalauréat musique 2007. De même, ses œuvres musicales, d’esthétique post-spectrale, école française de composition sont bien acceptées en Chine, où elle donne régulièrement des enseignements, à Wuhan notamment. Quelques chercheurs français ont déjà fait des études sur les œuvres de Xu Yi. Cet état de l’art montre des limites : les sources trouvées sur Xu Yi ne portent que sur la technique de la composition de l’œuvre Le Plein du Vide. Ce n’est pas suffisant pour évaluer une musique ou une œuvre artistique dans sa globalité interdisciplinaire et sa complexité, c’est- à-dire d’un point de vue tant historique, analytique que poétique, en prenant en compte, tout particulièrement, le Taoïsme. Cette étude se demande comment s’intriquent la poésie et le Tao dans la musique de Xu Yi. Plusieurs notions se trouvent au cœur de cette problématique telles que le temps, la temporalité et le son. L’école spectrale, comme la musique traditionnelle chinoise, met en valeur autant la poétique du son en soi qu’une perception du temps très singulière. Cette recherche explore donc le croisement entre musique chinoise classique et musique contemporaine, la communion entre les deux cultures orientale et occidentale. Le but de cette thèse est non seulement d’offrir une monographie de Xu Yi, compositrice si singulière, mais surtout d’apporter une analyse de son langage et son esthétique musicale dans son rapport avec le Taoïsme.

International audience; Roger Odin, the founder of semio-pragmatics, considers it as a model even if he recognizes in its approach a real work of theorization. But then, is semio-pragmatics a model or a theory? By analyzing different phases of Roger Odin's work, this article tries to consider the progressive progress of the work carried out to take a position vis-à-vis this question.; Roger Odin, le fondateur de la sémio-pragmatique la considère comme un modèle même s'il reconnait dans sa démarche un véritable travail de théorisation. Mais alors, la sémio-pragmatique est-elle un modèle ou une théorie ? En reprenant différentes phases des travaux de Roger Odin, cet article essaye de considérer les avancées progressives du travail réalisé pour prendre position vis-à-vis de cette interrogation.

We show that sleep deprivation in otherwise normal and healthy adults can be detected through machine-learning analysis of vocal recordings. Importantly, we used fully generic acoustic features, derived from auditory models, together with our own machine learning interpretation method, derived from neuroscience. Sleep deprivation impacted two broad types of acoustic features: one related to speech rhythms, the other related to the timbre of the voice. Such features plausibly reflect two independent physiological processes: one explicit, the cognitive control of speech production, and the other implicit, the inflammation of the vocal apparatus. Crucially, the relative balance of the two processes varied widely across individuals, consistent with the known but unexplained variability in responses to sleep deprivation. Overall, our results suggest that the voice may be used as a “sleep stethoscope” to characterize the individual effects of sleep deprivation. Moreover, the method we applied is fully general and could be adapted to any future investigation of vocal biomarkers using machine-learning techniques.Author summarySleep deprivation has an ever-increasing impact on individuals and societies, from accidents to chronic conditions costing billions to health systems. Yet, to date, there is no quick and objective test for sleep deprivation. We show that sleep deprivation can be detected at the individual level with voice recordings, outlining future cost-effective and non-invasive “sleep stethoscopes”. Importantly, we focused on interpretability, which identified two independent physiological effects of sleep deprivation: a change in prosody, related to cognitive control, and a change in timbre, related to inflammation. This also revealed a striking variability in individual reactions to the same deprivation. The neuroscientific framework we developed, combining auditory models and machine learning, is freely available and could be adapted to any vocal biomarker.

International audience; What can sound art do in a time of ecological crisis ? The ‪‪sonidista‪‪ Félix Blume, sound taker and craftsman of listening, ingeniously answers the question. By creating situations of shared listening, he transforms the way we pay attention to our environment and the other beings who inhabit it. He thus makes it possible to think, with Vinciane Despret, that the Anthropocene is also a “phonocene” conducive to the rediscovery of the sounds of the earth, and of the songs of others than humans. ‪; Que peut l’art sonore, à l’ère de la crise écologique ? Le sonidista Félix Blume, preneur de son et artisan de l’écoute, répond ingénieusement à la question. En créant des situation de partage de l’écoute, il transforme nos manières de prêter attention à notre milieu et aux autres êtres qui le peuplent. Il permet ainsi de penser, avec Vinciane Despret, que l’anthropocène est aussi un « phonocène » propice à la redécouverte des sons de la terre et des chants des autres qu’humains.

International audience; Les entretiens qui composent ce texte ont été réalisés entre 2020 et 2021 dans le cadre d’une enquête doctorale menée par Fanny Dujardin sur le documentaire sonore et radiophonique. Neuf praticien·nes sonores ont été interrogé·es sur leur manière d’aborder le moment de l’enregistrement. Le croisement de leurs paroles fait résonner des préoccupations communes tout en préservant la singularité de leurs gestes de fabrication. Comment construit-on une situation d’enregistrement ? Comment travaille-t-on à faire émerger la parole des autres ? Quelle écoute est offerte à celles et ceux qui prêtent leurs voix ?

International audience; Que donnent à entendre les œuvres documentaires ? Comment les écritures sonores contemporaines saisissent-elles le réel ? Si le paysage médiatique accorde une place grandissante au documentaire sonore, en particulier avec le développement du podcast, il en est de même dans le champ artistique : le son – qu’il accompagne ou non l’image filmée, qu’il soit document, témoignage ou matière d’une composition – invite à élargir le champ des représentations documentaires.

International audience; Auditory roughness resulting from fast temporal beatings is often studied by summing two pure tones with close frequencies. Interestingly, the tactile counterpart of auditory roughness can be provided through touch with vibrotactile actua- tors. However, whether auditory roughness could also be perceived through touch and whether it exhibits similar characteris- tics are unclear. Here, auditory roughness perception and its tactile counterpart were evaluated using pairs of pure tone stimuli. Results revealed similar roughness curves in both modalities, suggesting similar sensory processing. This study attests to the relevance of such a paradigm for investigating auditory and tactile roughness in a multisensory fashion.

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International audience; In the middle of the 14th century, the recently constructed Great Clementine Chapel of the Palais des Papes had a flourishing reputation for the composition and interpretation of polyphonic singing in the emerging Ars Nova musical style. In modern times, the space is still employed for musical performances. However, the acoustic conditions between the two periods vary greatly, and as such, can be expected to have an impact on vocal performances. As part of the IMAPI and PHE projects, the impact of the acoustics of the Great Clementine Chapel on the performance of a conducted vocal ensemble specializing in medieval music was examined for these two periods. A numerical simulation of the medieval acoustics was developed, based on a calibrated geometrical acoustics model of the modern-day chapel which was then regressed in time to a historically informed medieval state. Experiments were carried out with singers performing repetitions of several pieces in a Virtual Acoustic Environment (VAE) using close-mics and headphone renderings. Recorded performances were analyzed using various metrics, with objective results paired with questionnaires acquired for each VAE condition. Preliminary analysis of these results is presented in this study.

Soumis aux Annales médico-psychologiques.; International audience; This work starts from the phenomenological observation of the complex and versatile character of conscious experience, at every moment. This flexibility (or versatility) of conscious experience has led psychologists and philosophers to think of it as a flow and not as a state. In this work, a 17-item Conscientious Fluid Assessment Questionnaire (EQFC) was created using experiential phenomenological interviews. It was then evaluated a) in a population of healthy subjects, b) in doctoral students following an internship of explicit conscious experience (introspective method) and c) in some patients at the end of hypnotherapy. The internal validation (symmetry, flattening, Cronbach's alpha coefficient) is very satisfactory. It was possible to highlight 4 dimensions in this test: self and environmental availability, "letting go" itself, relative passivity to the world, and acceptance of change. Moreover, it has been compared to the Five Facets Mindfulness Questionnaire (FFMQ) with which it is partially correlated. The results show that the flexibility of consciousness is not equal in all subjects and that hypnotherapy and introspective methods increase the fluidity of consciousness, as measured by the EQFC test.; Ce travail part de l’observation phénoménologique du caractère complexe et versatile de l’expérience consciente, à chaque instant. Cette flexibilité (ou versatilité) de l’expérience consciente a amené les psychologues et les philosophes à penser celle-ci comme un flux et non comme un état. Dans ce travail, un questionnaire d’évaluation de la fluidité de la conscience (EQFC), comprenant 17 items, a été créé en utilisant des entretiens phénoménologiques expérientiels en groupe. ll a été ensuite puis évalué a) dans une population de sujets sains, b) chez des doctorants à la suite d’un stage d’explicitation de l’expérience consciente (méthode introspective) et c) chez quelques patients à l’issue d’hypnothérapie. La validation interne (symétrie, aplatissement, coefficient alpha de Cronbach) est très satisfaisante. Il a été possible de mettre en évidence 4 dimensions dans ce test : disponibilité à soi et à l’environnement, « lâcher prise » proprement dit, relative passivité face au monde, et acceptation du changement. Par ailleurs, il a été comparé au teste FFMQ (Five Facets Mindfulness Questionnaire) avec lequel il est partiellement corrélé. Les résultats montrent que la flexibilité de la conscience n’est pas égale chez tous les sujets et que l’hypnothérapie et les méthodes introspectives augmentent la fluidité de la conscience, telle que mesurée par le test EQFC.

International audience; As an extension of the audiovisual work carried out for 15 years in the cities of the South of France, the tourist sites are filmed in turn as part of a new documentary series in order to try to better understand, through their narration, the daily life in these easily caricatured territories. While this series “Getting Out of From the Postcard” aimed to bear witness to the tourists who took precedence over these sites, the pandemic reoriented it by (re)presenting daily life in these places, which are both tourists and inhabitants.

En février 2018, Sandrine Musso coordonnait, avec Agnès Martial, Mona Claro et Jean-Baptiste Xambo, pour la deuxième année consécutive, un séminaire de formation à l’enquête collective auprès de ses étudiant·e·s de master 1 à l’EHESS. L’enquête portait sur les pratiques d’information, de prévention et d’éducation auprès des jeunes, en matière de santé sexuelle. Le volet « histoire » consistait plus spécifiquement en une initiation aux méthodes de recherche en archives, mais aussi de productio...

International audience; This paper presents a new guitar dataset made out of richly annotated guitarist improvisations. The annotations include notes, playing techniques, instrument tuning, audio effects configurations as well as transcriptions of post improvisation interviews. The dataset gathers ten hours of improvisations and around five hours of interviews. These accompanying data make this dataset suitable for a variety of research domains : from MIR to musical improvisation analysis and musicology. The recordings that have yielded to this dataset were done in the context of an hexaphonic multieffect practice study. This hexaphonic multieffect is meant to work with an hexaphonic guitar (one pickup per string guitar) and grants the player with independent audio effects configurations for each string. This paper presents the dataset, and the experiment it has been gathered from. It also details, based on the transcriptions of the interviews, a first analysis of the specificities of an hexaphonic multieffect practice.

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International audience; L’adjectif "spéculaire" se rapporte aux minéraux qui peuvent se diviser en feuillets minces et transparents capables de réfléchir la lumière. Des quatre éléments (eau, air, terre et feu), l’eau apparaîtrait comme le plus apte à révéler une spécularité. En effet, ses propriétés ontologiques lui confèrent le pouvoir de refléter les objets qui l’entourent comme le ferait la surface d’un miroir. Le miroir permet de se mettre à distance de soi-même, d’appréhender son image et de la confronter à l’image que l’autre nous renvoie. Or, l’eau est un miroir singulier, dans la mesure où sa surface n’est ni plane, ni inerte : la mobilité et la fragilité du reflet qu’elle renvoie révèlent de manière encore plus explicite les transformations et les métamorphoses auxquelles le sujet est soumis. Chez Plotin, comme chez Ovide, la légende de Narcisse, tout en soulignant l’illusion qui est issue de l’image spéculaire, démontre son pouvoir de fascination. L’élément aquatique (et la symbolique qui lui est associée) redouble cette incoercible attirance, car « voir l’eau c’est vouloir être "en elle" » nous dit Bachelard. Mais cette séduction de l’eau se révèle souvent mortifère, comme le suggère Marie Bonaparte :« Le trou d’eau noir […] était insondable : […] un appel d’eau irrésistible attirait les nageurs au fond, qui y disparaissaient, entraînés on ne savait où, sans que jamais on retrouvât leur corps. » Le désir d’union, voire de fusion, avec l’élément aquatique reposerait ainsi sur un appel mystérieux, cénesthésique et nostalgique qui pourrait, dans une certaine mesure, entrer en résonnance avec l’expérience esthétique elle-même. C’est à partir de trois œuvres singulières de Peter Greenaway que nous nous proposons d’interroger plus spécifiquement cette notion de "spécularité aquatique" : Water Wrackets (1975), Les Morts de la Seine (1988) et Writing on water (2005).

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International audience; Moving a slider to set the music volume or control the air conditioning is a familiar task that requires little attention. However, adjusting a virtual slider on a featureless touchscreen is much more demanding and can be dangerous in situations such as driving. Here, we study how a gradual tactile feedback, provided by a haptic touchscreen, can replace visual cues. As users adjust a setting with their finger, they feel a continuously changing texture, which spatial frequency correlates to the value of the setting. We demonstrate that, after training with visual and auditory feedback, users are able to adjust a setting on a haptic touchscreen without looking at the screen, thereby reducing visual distraction. Every learning strategy yielded similar performance, suggesting an amodal integration. This study shows that surface haptics can provide intuitive and precise tuning possibilities for tangible interfaces on touchscreens.