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  • 1.
    Bottomley, Jane
    KTH, School of Industrial Engineering and Management (ITM), Learning.
    Talking movies: Using film as part of language study and academic development2018In: Spark: The Journal of Research and Scholarly Activity at University Campus Oldham, Issue 1, March, ISSN 2516-4295, 2018Conference paper (Refereed)
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  • 2.
    Dahlberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Den sicilianska månen1985In: Filmhäftet, ISSN 0345-3057, no 49, p. 57-61Article in journal (Refereed)
  • 3.
    Dahlberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Inledning: Mot ett transmedialt berättande2008In: Berättande i olika medier / [ed] Leif Dahlberg & Pelle Snickars, Stockholm: Statens ljud- och bildarkiv , 2008, p. 7-34Chapter in book (Refereed)
  • 4. Hillman, Neil
    et al.
    Pauletto, Sandra
    Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post-production2016In: The New Soundtrack, ISSN 2042-8855, Vol. 6, no 1, p. 77-107Article in journal (Refereed)
  • 5. Hillman, Neil
    et al.
    Pauletto, Sandra
    The Craftsman: The use of sound design to elicit emotions2014In: The Soundtrack, ISSN 1751-4193, Vol. 7, no 1, p. 5-23Article in journal (Refereed)
  • 6.
    Idrovo, René
    et al.
    The University of York.
    Pauletto, Sandra
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    Immersive Point-of-Audition: Alfonso Cuarón’s Three-Dimensional Sound Design Approach2019In: Music, Sound, and the Moving Image, ISSN 1753-0768Article in journal (Refereed)
    Abstract [en]

    Technological advances have always had an impact on the development of new audio-visual aesthetics. Recently, exploiting the spatial capabilities of immersive sound technology in the form of Dolby Atmos, Alfonso Cuarón introduced in Gravity (2013) an innovative sound design approach that enhances the illusion of ‘presence’ in the space of the diegesis by always maintaining a coherent, realistic, and immersive representation of a given point-of-audition. Such sonic strategy – which we have termed immersive point-of-audition – provides a three-dimensional representation of the filmic space, localising sound effects, music, and dialogue in accordance to the position of the sources within the diegesis. In this paper, we introduce the definition and main characteristics of this emergent sound design approach, and using Gravity as an illustrative example, we argue that it has the potential of facilitating the processes of transportation and identification in cinema.

  • 7.
    Latupeirissa, Adrian Benigno
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    From Motion Pictures to Robotic Features: Adopting film sound design practices to foster sonic expression in social robotics through interactive sonification2024Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    This dissertation investigates the role of sound design in social robotics, drawing inspiration from robot depictions in science-fiction films. It addresses the limitations of robots’ movements and expressive behavior by integrating principles from film sound design, seeking to improve human-robot interaction through expressive gestures and non-verbal sounds.

    The compiled works are structured into two parts. The first part focuses on perceptual studies, exploring how people perceive non-verbal sounds displayed by a Pepper robot related to its movement. These studies highlighted preferences for more refined sound models, subtle sounds that blend with ambient sounds, and sound characteristics matching the robot’s visual attributes. This part also resulted in a programming interface connecting the Pepper robot with sound production tools.

    The second part focuses on a structured analysis of robot sounds in films, revealing three narrative themes related to robot sounds in films with implications for social robotics. The first theme involves sounds associated with the physical attributes of robots, encompassing sub-themes of sound linked to robot size, exposed mechanisms, build quality, and anthropomorphic traits. The second theme delves into sounds accentuating robots’ internal workings, with sub-themes related to learning and decision-making processes. Lastly, the third theme revolves around sounds utilized in robots’ interactions with other characters within the film scenes.

    Based on these works, the dissertation discusses sound design recommendations for social robotics inspired by practices in film sound design. These recommendations encompass selecting the appropriate sound materials and sonic characteristics such as pitch and timbre, employing movement sound for effective communication and emotional expression, and integrating narrative and context into the interaction.

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  • 8.
    Latupeirissa, Adrian Benigno
    et al.
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    Murdeshwar, Akshata
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    Bresin, Roberto
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    Semiotic analysis of robot sounds in films: implications for sound design in social roboticsManuscript (preprint) (Other academic)
    Abstract [en]

    This paper investigates the sound design of robots in films and their potential influence on the field of social robotics. Cinematic robot portrayals have inspired researchers and practitioners in Human-Robot Interaction (HRI). While the non-verbal sounds of iconic film robots like R2-D2 and Wall-E have been explored, this study takes a more comprehensive approach. We explore a broader selection of 15 films featuring humanoid robots across decades through a semiotic analysis of their non-verbal communication sounds, including those related to movements and internal mechanisms. Our analysis, guided by Bateman and Schmidt’s multimodal film analysis framework following Saussure’s organization of signs through paradigmatic and syntagmatic relations, interprets the paradigmatic axis as the examination of the sound and the syntagmatic axis as the examination of the events surrounding the sound. The findings uncover two primary film robot sound materials: mechanical and synthetic. Additionally, contextual analysis reveals three narrative themes and several sub-themes related to the physical attributes of robots, their internal workings, and their interactions with other characters. The discussion section explores the implications of these findings for social robotics, including the importance of sound materials, the role of movement sounds in communication and emotional expression, and the significance of narrative and context in human-robot interaction. The paper also acknowledges the challenges in translating film sound design into practical applications in social robotics. This study provides valuable insights for HRI researchers, practitioners, and sound designers seeking to enhance non-verbal auditory expressions in social robots.

  • 9. Lopez, Mariana Julieta
    et al.
    Pauletto, Sandra
    The Design of an Audio Film: Portraying Story, Action and Interaction through Sound.2009In: Journal of Music & Meaning, Vol. 8, no 2Article in journal (Refereed)
    Abstract [en]

    Nowadays, audio description is used to enable visually impaired people to access films. It presents an important limitation, however, which consists in the need for visually impaired audiences to rely on a describer, not being able to access the work directly. The aim of this project was to design a format of sonic art called audio film that eliminates the need for visual elements and for a describer, by providing information solely through sound, sound processing and spatialisation, and which might be considered as an alternative to audio description. This project is also of interest for the domains of auditory displays and sonic interaction design, as solutions need to be found for effectively portraying storytelling information and characters' actions through sound (not narration). In order to explore the viability of this format, an example has been designed based on Roald Dahl's Lamb to the Slaughter (1954) using a 6.1 surround sound configuration. Through executing the design of this example, we found that this format can successfully convey a story without the need either of visual elements or of a narrator.

  • 10. Manolas, Christos
    et al.
    Pauletto, Sandra
    Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative2009In: The Soundtrack, Vol. 2, no 1, p. 39-55Article in journal (Refereed)
  • 11. Manolas, Christos
    et al.
    Pauletto, Sandra
    Volume Attenuation and High Frequency Loss as Auditory Depth Cues in Stereoscopic 3D Cinema2014In: 3D Research, ISSN 20926731, Vol. 5, no 3Article in journal (Refereed)
  • 12.
    Pauletto, Sandra
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    Beyond sound objects2024In: Traces of Sound / [ed] Frisk, Henrik & Sanne Krogh Groth, Lund: Lund University Open Access, 2024Chapter in book (Refereed)
    Abstract [en]

    In the mid 20th century Pierre Schaeffer introduced the term objet sonore in his now famous Traité des objets musicaux (1966) and Solfège de l'objet sonore (1967). Since then, the English term object has been used in relation to sound in many contexts. In this essay I argue that while conceptualizing sound as an object has had, and probably continues to have, many benefits for the development of audio technology and for production methods, it also obscures and undermines some fundamental and unique characteristics of sound. To exemplify how and when conceptualizing sound as an object seems to be unhelpful, I will use examples from media production, specifically the creative practice of Foley, and the use of sound in documentaries with examples from works by documentary filmmaker Erik Gandini and others. Overall, this essay aims to contribute to a better understanding of what sound is by highlighting its unique, often contradictory, characteristics - its ability to help us trace what is relevant and truthful in what is in front of us - rather than what it might have in common with other creative materials.

  • 13. Pauletto, Sandra
    Embodied Knowledge in Foley Artistry2017In: The Routledge Companion to Screen Music and Sound, Routledge, 2017, p. 338-Chapter in book (Refereed)
  • 14.
    Pauletto, Sandra
    Department of Theatre, Film and Television, University of York, United Kingdom.
    Film and theatre-based approaches for sonic interaction design2014In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 25, no 1, p. 15-26Article in journal (Refereed)
    Abstract [en]

    Sonic interaction design studies how digital sound can be used in interactive contexts to convey information, meaning, aesthetic and emotional qualities. This area of research is positioned at the intersection of sound and music computing, auditory displays and interaction design. The key issue the designer is asked to tackle is to create meaningful sound for objects and interactions that are often new. To date, there are no set design methodologies, but a variety of approaches available to the designer. Knowledge and understandingofhow humans listen and interpret sound is the first step toward being able to create such sounds.This article discusses two original approaches that borrow techniques from film sound and theatre. Cinematic sound highlights how our interpretation of sounddependson listening modes and context, while theatre settings allow us to explore sonic interactions from the different perspectives of the interacting subject, the observer and the designer.

  • 15.
    Pauletto, Sandra
    Department of Theatre, Film and Television, University of York, York, United Kingdom.
    Speech technology and cinema: Can they learn from each other?2013In: Logopedics, Phoniatrics, Vocology, ISSN 1401-5439, E-ISSN 1651-2022, Vol. 38, no 3, p. 143-150Article in journal (Refereed)
    Abstract [en]

    The voice is the most important sound of a film soundtrack. It represents a character and it carries language. There are different types of cinematic voices: dialogue, internal monologues, and voice-overs. Conventionally, two main characteristics differentiate these voices: lip synchronization and the voice's attributes that make it appropriate for the character (for example, a voice that sounds very close to the audience can be appropriate for a narrator, but not for an onscreen character). What happens, then, if a film character can only speak through an asynchronous machine that produces a 'robot-like' voice? This article discusses the sound-related work and experimentation done by the author for the short film Voice by Choice. It also attempts to discover whether speech technology design can learn from its cinematic representation, and if such uncommon film protagonists can contribute creatively to transform the conventions of cinematic voices.

  • 16. Pauletto, Sandra
    The sound design of cinematic voices2012In: The New Soundtrack, ISSN 2042-8855, E-ISSN 2042-8863, Vol. 2, no 2, p. 127-142Article in journal (Refereed)
  • 17.
    von Heland, Jacob
    et al.
    KTH, School of Architecture and the Built Environment (ABE), Philosophy and History, History of Science, Technology and Environment.
    Adams, BillCambridge University.Armiero, MarcoKTH, School of Architecture and the Built Environment (ABE), Philosophy and History, History of Science, Technology and Environment.Björk, KlaraBoman, KalleChidgasornpongse, SompotChristensen, MiyaseDark, ThomasManchester University Press.El-Kogali, IssraaErnstson, HenrikKTH, School of Architecture and the Built Environment (ABE), Sustainable development, Environmental science and Engineering, Strategic Sustainability Studies.Henao-Castro, AndrésGriffiths, AlisonIsberg, ErikJarmon, MikeKimari, WanguiThe University of Manchester.McPherson, TaraNilsson, JakobOlsson, JanStockholm University.Oxenhandler, DanielTlostanova, MadinaLinköping University.Åhlund, Jannike
    Ruptured Times: Advances in Visual Environmental Humanities2021Collection (editor) (Refereed)
    Abstract [en]

    This first issue of Annals of Crosscuts includes eleven richly textured films that speak from the growing environmental humanities with strong intent and originality. The films speaks to the theme of "Ruptured Times" and forms a testimony to the integrative ambitions of the environmental humanities. The contributors come from a range of disciplines, schools and practices including artistic research, urban and architectural studies, social movements of the urban south, political ecologies of water, studies of mining legacies, decolonial performance aesthetics, science studies and ethnographies of conservation, toxicity and more-than-human relations. Made in ten countries, at four continents, the films are the final outcomes of a collaborative peer-review process that started in the first half of 2019, screened at the Crosscuts festival in late 2019 and published as a film-based special issue at Zenodo, CERN, in 2021 with a reflection from chief editor Jacob von Heland.

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  • 18.
    Walldius, Åke
    Stockholm University.
    Patterns of Recollection: The Documentary Meets Digital Media2001Book (Refereed)
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  • 19.
    Walldius, Åke
    KTH, School of Computer Science and Communication (CSC).
    Visual diaries: Revival of a Documentary Form in Digital Culture2000In: Moving Images: From Edison to the Webcam / [ed] J. Fullerton and A.S. Widding, Sydney: John Libbey , 2000Chapter in book (Refereed)
1 - 19 of 19
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