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Paper Session 6a: Immersive Media & 3D Audio

May 13 @ 11:00 am - 12:30 pm
Three papers will be presented and discussed:

 

Felipe Otondo and Leonardo Santos: “Listening Across Spaces: Perceptual Evaluation of an Ambisonics-Based Sound Installation”

This paper explores how immersive listening to natural soundscapes is shaped by the spaces in which it unfolds. Using second-order Ambisonics field recordings rendered through a third-order Ambisonics decoding scheme, five natural soundscape excerpts were reproduced over calibrated 16-loudspeaker Genelec arrays in two contrasting venues: an acoustically controlled laboratory and an untreated museum gallery. Listener evaluations addressed presence, envelopment, timbral clarity, stability and depth using a perceptual framework grounded in recent immersive audio literature. The results reveal distinct perceptual profiles across venues, where spatial precision emerges in controlled conditions and reverberation contributes to a more diffuse sense of overall immersion in the museum. The study highlights immersion as a situated experience shaped by sound content, room acoustics, and reproduction conditions, with implications for artistic sound installations and exhibition design

Yu Chia Kuo: “Tree Rings: Ecological Memory and Linguistic Traces in an Immersive Dome Composition”
Tree Rings is a site-specific dome composition that weaves ecological recordings, linguistic material, and generative 3D forms into a layered audiovisual environment. Granular and spectral processing emphasize microscopic textures, while VBAP spatialization and text-to-3D diffusion produce concentric structures that expand toward landscape-scale processes. Treating environmental sound and language as parallel acoustic and cultural archives, the work frames ecological memory as an immersive, temporally scaled experience, offering a metaphor-driven approach to spatial sound and generative visual design within research-creation contexts.
Piero Poli: “Dancing Cabiria: An hyper-environment study through corpus-based techniques”

This paper introduces the concept of hyper-environment — an additional spatial layer superimposed on the choreographic space, where physical movement becomes a means of navigating and activating pre-analyzed sound materials. The work examines Dancing Cabiria, a reenactment in four scenes from Giovanni Pastrone’s silent film Cabiria (1914), as a case study to explore performative hyper-environments that employ corpus-based synthesis techniques within a virtual reality framework. Through the use of motion-tracking suits, four choreographies are performed, each one by four dancers whose movements are translated into sound via audio corpora distributed throughout the virtual space surrounding each performer. Each choreography outlines different uses and configurations of this hyper-environment, and allow for the discussion of compositional and instrumental issues such as the scale and density of the corpora, the relationship that emerges between movements width, corpus dimensions, and virtual space volume, and the role of real-time feedback in the design of hybrid instruments for performers.

 

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