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linked to the damping of the sound that is generally frequency-dependent: high
frequency components are damped more heavily than low frequency components.
In addition to the damping, the density of spectral components, which is directly
linked to the perceived roughness, was also shown to be relevant for the distinction
between metal versus glass and wood categories (Aramaki et al.
2009
,
2011
).
Sounds from continuous interactions
: Based on previous works described in
Sect.
4.3
, invariant sound morphologies related to the perception of interactions such
as rubbing, scratching and rolling were investigated (Conan et al.
2013a
,
b
; Thoret
et al.
2013
). An ef
cient synthesis model, initially
proposed by (Gaver
1993a
) and improved by (van den Doel et al.
2001
), consists in
synthesizing the interaction sounds by a series of impacts that simulates the successive
micro-impacts between a plectrum and the asperities of the object
cient synthesis model, init. An ef
'
s surface. There-
fore, it has been highlighted that a relevant sound invariant morphology allowing the
discrimination between rubbing and scratching interactions was the temporal density
of these impacts, i.e., the more (respectively, the less) impacts that occur, the more the
sound is associated to rubbing (respectively, to scratching) (Conan et al.
2012
). For the
rolling interaction, it has been observed, from numerical simulations based on a
physical model, that the temporal structure of the generated impact series follows a
speci
c pattern. In particular, the time intervals between impacts and associated
amplitudes are strongly correlated. Another fundamental aspect supported by physical
considerations is the fact that the contact time of the impact depends on the impact
velocity. This dependency also seems to be an important auditory cue responsible for
the evocation of a rolling interaction (Conan et al.
2013
).
These studies related to such interaction sounds led us to address the perceptual
relation between the sound and the underlying gesture that was made to produce the
sound. Many works highlighted the importance of the velocity pro
le in the pro-
duction of a movement and its processing may be involved at different levels of
perception of a biological movement both in the visual and in the kinaesthetic
system ((Viviani and Stucchi
1992
; Viviani et al.
1997
; Viviani
2002
) for a review).
Based on these
le, in the case of
graphical movements, was also a relevant cue to identify a human gesture (and
beyond the gesture, the drawn shape) from a friction sound. Results from a series of
perceptual experiments revealed that the velocity pro
findings, we investigated whether the velocity pro
le transmits relevant infor-
mation about the gesture and the geometry of the drawn shape to a certain extent.
Results also indicated the relevance of the so-called 1/3-power law, de
ned from
seminal works by Viviani and his colleagues and translating a biomechanics con-
straint between the velocity of a gesture and the local curvature of the drawn shape,
to evoke a
fluid and natural human gesture through a friction sound (cf. Thoret et al.
2013
,
2014
for details and review).
Other environmental sounds
: For other classes of environmental sounds such
as wave or aerodynamic sounds, physical considerations generally involve complex
modelling and signal models are then useful. From a perceptual point of view, these
sounds evoke a wide range of different physical sources, but interestingly, from a
signal point of view, common acoustic morphologies can be highlighted across
these sounds. We analysed several signals representative of the main categories of
