Multisensory integration and the concert experience: An overview of how visual stimuli can affect what we hear
Identifieur interne : 000554 ( PascalFrancis/Checkpoint ); précédent : 000553; suivant : 000555Multisensory integration and the concert experience: An overview of how visual stimuli can affect what we hear
Auteurs : Jerald R. Hyde [États-Unis]Source :
- The Journal of the Acoustical Society of America [ 0001-4966 ] ; 2001-05-04.
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- Pascal (Inist)
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Abstract
It is clear to those who listen'' to concert halls and evaluate their degree of acoustical success that it is quite difficult to separate the acoustical response at a given seat from the multi-modal perception of the whole event. Objective concert hall data have been collected for the purpose of finding a link with their related subjective evaluation and ultimately with the architectural correlates which produce the sound field. This exercise, while important, tends to miss the point that a concert or opera event utilizes all the senses of which the sound field and visual stimuli are both major contributors to the experience. Objective acoustical factors point to visual input as being significant in the perception of acoustical intimacy'' and with the perception of loudness versus distance in large halls. This paper will review the evidence of visual input as a factor in what we hear'' and introduce concepts of perceptual constancy, distance perception, static and dynamic visual stimuli, and the general process of the psychology of the integrated experience. A survey of acousticians on their opinions about the auditory-visual aspects of the concert hall experience will be presented. [Work supported in part from the Veneklasen Research Foundation and Veneklasen Associates.]
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Pascal:04-0182456Le document en format XML
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This exercise, while important, tends to miss the point that a concert or opera event utilizes all the senses of which the sound field and visual stimuli are both major contributors to the experience. Objective acoustical factors point to visual input as being significant in the perception of acoustical intimacy'' and with the perception of loudness versus distance in large halls. This paper will review the evidence of visual input as a factor in what we hear'' and introduce concepts of perceptual constancy, distance perception, static and dynamic visual stimuli, and the general process of the psychology of the integrated experience. A survey of acousticians on their opinions about the auditory-visual aspects of the concert hall experience will be presented. 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