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which the electrophysiological data supplies further information about the way the
user perceives the sound (beyond verbal labels or gestures for instance). In contrast
with the explicit BCI, this con
guration is well adapted to intuitive synthesis
control. Therefore, we suggested a
“
semiotic-based BCI
”
founded on identi
ed
links between the brain activity and invariant signal morphologies re
ecting the
attribution of sense to a sound that may enhance the interactivity and the intui-
tiveness of the system.
4.8
Questions
1. What are the characteristics of the representational-computational paradigm of
perception?
2. What are the characteristics of the enactive paradigm of perception?
3. What is the difference between physical and signal sound synthesis models?
4. What are the main limitations of the use of physical models for sound
synthesis?
5. How can the invariant sound morphologies be determined?
6. Which invariant sound morphologies are related to the perception of material in
an impact sound?
7. Which aspects should be taken into account in the design of a control strategy
based on a representational-computational or an enactive paradigm?
8. What are the characteristics of explicit (or active) BCI?
9. What are the characteristics of implicit (or passive) BCI?
10. What is the purpose of offering intuitive control of sound synthesis processes
using BCI?
References
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—
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Aramaki M, Besson M, Kronland-Martinet R, Ystad S (2011) Controlling the perceived material in
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314
Aramaki M, Gondre C, Kronland-Martinet R, Voinier T, Ystad S (2010a) Imagine the sounds: an
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421
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