O trabalho toma como ponto de partida a realização de um conjunto de ações com o nome pausa,. A idéia é pensar a ocupação temporária de espaços, feita pela interação imagem x som. Tem interesse no tipo de ocupação destes espaços, desenvolvendo a noção de vazamento entre um e outro. A eleição destes espaços parte de elementos que oscilam entre dados reconhecíveis e comuns e por isso coletivos , e identificações particulares, num movimento pendular entre ambos. / This work takes as its starting point a set of actions named pausa, [pause,]. The idea is to reflect upon the temporary occupation of spaces, carried out by means of the interaction between images and sound. It has an interest in the type of occupation of these spaces, developing the notion of leakage between one and another. The choice of these spaces is grounded in elements that oscillate between recognizable, common and hence, collective data, and private identifications, in a pendular movement between the two.

O trabalho toma como ponto de partida a realização de um conjunto de ações com o nome pausa,. A idéia é pensar a ocupação temporária de espaços, feita pela interação imagem x som. Tem interesse no tipo de ocupação destes espaços, desenvolvendo a noção de vazamento entre um e outro. A eleição destes espaços parte de elementos que oscilam entre dados reconhecíveis e comuns e por isso coletivos , e identificações particulares, num movimento pendular entre ambos. / This work takes as its starting point a set of actions named pausa, [pause,]. The idea is to reflect upon the temporary occupation of spaces, carried out by means of the interaction between images and sound. It has an interest in the type of occupation of these spaces, developing the notion of leakage between one and another. The choice of these spaces is grounded in elements that oscillate between recognizable, common and hence, collective data, and private identifications, in a pendular movement between the two.

Penser les traitements du son spatialisés en ambisonie permet de mettre en valeur le potentiel musical de la décomposition du champ sonore en harmoniques sphériques, et amène à redéfinir la représentation de l’espace sonore. Cette thèse défend que les représentations abstraites et intermédiaires de l’espace sonore permettent d’élaborer de nouvelles approches originales de la mise en espace du son. Le raisonnement amenant à cette affirmation commence par l’appropriation musicale de l’approche ambisonique. La création de nouveaux traitements de l’espace et du son amène à utiliser de manière originale les signaux associés aux harmoniques sphériques, et à concevoir différemment les relations qui les régissent, ainsi que leur hiérarchisation. La particularité de ces approches expérimentales et les caractéristiques singulières des champs sonores générés, nécessitent de concevoir de nouveaux outils théoriques et pratiques pour leur analyse et leur restitution. Les changements opérés permettent alors de libérer cette approche des enjeux techniques et matériels initiaux en ambisonie. Mais ils permettent surtout de s’émanciper des modèles psychoacoustiques et acoustiques sur lesquels ces techniques reposent originellement. Dans ce contexte, les signaux associés aux harmoniques sphériques ne sont plus nécessairement une représentation rationnelle du champ sonore, mais deviennent une représentation abstraite de l’espace sonore possédant en soi, un potentiel musical. Cette thèse propose alors un nouveau modèle de spatialisation fondé sur une décomposition matricielle de l’espace sonore permettant de valider les hypothèses. / The creation of sound effects in space with Ambisonics highlights the musical potential of sound field decomposition by spherical harmonics, and redefines the representation of the sound space. This thesis defends that the abstract and intermediate representations of the sound space make it possible to develop new original approaches to sound spatialization. The reasoning that leads to this affirmation begins with the musical appropriation of the ambisonic approach. The creation of new space and sound processing patterns in Ambisonics leads to an original way of using signals associated with spherical harmonics, and to a different conception of the relations between them, and their hierarchization. The specificities of these experimental approaches and the singular characteristics of the sound fields generated call for the design of new theoretical and practical tools, for their analysis and restitution. The performed changes make it possible to free this approach from the initial technical and material issues of Ambisonics. But above all, it emancipates this approach from the psychoacoustic and acoustic models on which ambisonic techniques are originally defined. In this context, the signals associated with spherical harmonics are no longer necessarily a rational representation of the sound field but become an abstract representation of the sound space possessing in itself a musical potential. To validate the hypotheses, this thesis then proposes a new spatialization model based on a matrix decomposition of the sound space.

Submitted by GEORGE OLOF DE FREITAS ALVESKOG null (george_alveskog@hotmail.com) on 2016-08-25T15:20:56Z No. of bitstreams: 1 George Alveskog - Escritura do Espaço na Música Eletroacústica (2016).pdf: 6954137 bytes, checksum: 293ed4252bfbd225092d103f4ed94cf7 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-08-29T18:36:40Z (GMT) No. of bitstreams: 1 alveskog_gof_me_ia.pdf: 6954137 bytes, checksum: 293ed4252bfbd225092d103f4ed94cf7 (MD5) / Made available in DSpace on 2016-08-29T18:36:40Z (GMT). No. of bitstreams: 1 alveskog_gof_me_ia.pdf: 6954137 bytes, checksum: 293ed4252bfbd225092d103f4ed94cf7 (MD5) Previous issue date: 2016-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa tem como principal objetivo elucidar como a estruturação espacial dos sons tem sido utilizada como uma importante estratégia de composição em obras eletroacústicas acusmáticas. Para isso, serão analisadas obras e escritos de alguns dos compositores que mais contribuíram para o assunto, apresentando tanto problemáticas gerais decorrentes da inserção do espacialidade na escritura musical, como técnicas de elaboração da espacialidade encontradas durante as análises das obras. / The main purpose of this research is to shed light on how the spatial structuring of sounds has been utilized as an important compositional strategy on electroacoustic acousmatic pieces. For this purpose, compositions and writings from some of the main composers which have contributed to the subject will be analyzed, presenting both the general problematics occasioned by the insertion of spatiality in the musical thinking and elaborative process and the spatial elaborative techniques found during the analyses of the compositions.

Le maintien de la stabilité posturale est généralement décrit comme le résultat de l’intégration de plusieurs modalités sensorielles : vision, proprioception, tactile plantaire et système vestibulaire. Bien qu’étant une source riche d’informations spatiales, l’audition a été très peut étudiée dans ce cadre. Dans cette thèse, nous nous sommes intéressés à l’influence spécifique du son sur la posture.La première partie de ces travaux concerne la mise en place et la caractérisation perceptive d’un système de spatialisation ambisonique d’ordre 5. Ce système permet de générer et de déplacer des sons dans tout l’espace 3D entourant l’auditeur, ainsi que de synthétiser des espaces sonores immersifs et réalistes.Ensuite, ce système a été utilisé comme un outil pour la génération de stimuli adaptés à l’étude de l’influence du son sur la posture. Ainsi, la posture debout statique de sujets jeunes et en bonne santé a été étudiée dans un ensemble de cinq expériences posturales. Les résultats de ces différentes études montrent que l’information auditive spatiale peut être intégrée dans le système de régulation posturale, et permettre aux sujets d’atteindre une meilleure stabilité posturale.Deux pistes sont évoquées pour interpréter cette stabilisation : d’un côté, l’utilisation des indices acoustiques pour construire une carte spatiale de l’espace environnant, représentation par rapport à laquelle les sujets peuvent se stabiliser ; de l’autre, des phénomènes d’intégration multi-sensorielle, où la modalité auditive permettrait de potentialiser l’intégration des différentes informations fournies par les autres modalités impliquées dans le contrôle postural. / Postural control is known to be the result of the integration by the central nervous system of several sensory modalities. In the literature, visual, proprioceptive, plantar touch and vestibular inputs are generally mentioned, and the role of audition is often neglected, even though sound is a rich and broad source of information on the whole surroundind 3D space. In the frame of this PhD, we focused on the specific role of sound on posture. The first part of this work is related to the design, the set-up and the perceptual evaluation of a fifth order ambisonics sound spatialization system. This system makes it possible to generate and move sound sources in the 3D space surrounding the listener and also to synthesize immersive and realistic sound environments. Then, this sound spatialization system was used as a tool to generate sound stimuli used in five different postural tests. In these tests, we studied the static upright stance of young and healthy subjects. The results of these studies show that the spatial auditory information can be integrated in the postural control system, allowing the subjects to reach a better stability.Two complementary trails are proposed to explain these stabilizing effects. Firstly, the spatial acoustic cues can contribute to the building of a mental representation of the surrounding environment; given this representation, the subjects could improve their stability. Secondly, we introduce multisensory integration phenomena: the auditory component could facilitate the integration of the other modalities implied in the postural control system.