A comparison of sound localisation techniques using cross-correlation and spiking neural networks for mobile robotics

This paper outlines the development of a crosscorrelation algorithm and a spiking neural network (SNN) for sound localisation based on real sound recorded in a noisy and dynamic environment by a mobile robot. The SNN architecture aims to simulate the sound localisation ability of the mammalian auditory pathways by exploiting the binaural cue of interaural time difference (ITD). The medial superior olive was the inspiration for the SNN architecture which required the integration of an encoding layer which produced biologically realistic spike trains, a model of the bushy cells found in the cochlear nucleus and a supervised learning algorithm. The experimental results demonstrate that biologically inspired sound localisation achieved using a SNN can compare favourably to the more classical technique of cross-correlation.

The Undersea World of the Sound Department: the Construction of Sonic Conventions in Sub-aqua Screen Environments

The availability of new underwater cameras and sub-aqua diving gear in the immediate post-war era opened up exciting possibilities for both narrative and documentary filmmakers. While the visual elements of this new world could now be more easily captured on film, the sound elements of the sub-aqua environment remained more elusive. What did, or should, this undersea world sound like? This article examines the use of sound in the sub-aqua scenes of both fictional and documentary films in the 1950s and asks questions about the methods used in the sonification of these worlds. Comparing the operation of underwater sound and human hearing with the production and post-production strategies used by filmmakers, I seek to identify the emergence of a sound convention and its implications for issues of cinematic realism. Central to this convention is the manipulation of sonic frequencies. The sound strategies adopted also raise questions about the malleability of viewer perspective and sound-image relationship in terms of a realist mode of address. Linked to this is the use of sound to enhance audience experience on an affective level. As well as underpinning cinematic realism, these new sound environments offered fresh experiences to audiences seeking new reasons to visit the cinema in an era of widening forms of entertainment.