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Saskia Sassen

dblp:68/1165 · DBLP profile ↗
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1ranked-venue papers
1as first author
0since 2021 · last 2012
—ORCID · none

Domains — the database's venue-derived domains; a paper can count in several

Software engineering, systems software and programming languages · 1 · 1 first-author

Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.

Computer graphics and multimedia
1 paper
Audio and music processing · 100%

Topics — the 4 heaviest of 4, each with the papers that count most for it

TopicWeightPapersLastEvidence papers
Audio and music processing › auditory processing
binaural hearing
0.112012
Digital formations of the powerful and the powerless (Keynote) · ICSE 2012
Audio and music processing
spatial audio
0.112012
Digital formations of the powerful and the powerless (Keynote) · ICSE 2012
Audio and music processing
audio reproduction
0.012012
Digital formations of the powerful and the powerless (Keynote) · ICSE 2012
Audio and music processing
room acoustics
0.012012
Digital formations of the powerful and the powerless (Keynote) · ICSE 2012
YearPublicationVenuePosition
2012 Digital formations of the powerful and the powerless (Keynote)
abstract
Summary form only given. This talk is a whirlwind tour through human auditory perception. First, there is a mention of the actual acoustical cues in a performance venue, and then the ear's effects are discussed. In this, some discussion of loudness comes first, along with a bit of the presumed mechanisms. This will be followed by discussion of binaural auditory cues such as ITD, ILD, and HRTF's, and then a bit of discussion on the mechanisms for direct perception vs. diffuse perception follow. A bit of an introduction to the psychology of hearing will be covered as well, in order to explain what happens to the information present on the auditory nerve. Along the way, requirements for reproducing this in a standard acoustic space will be addressed in several fashions. All in all, this talk will summarize many years of work (starting in the late 1800's) on hearing and spatial sensation, as well as a bit of acoustics, and end with some recommendations on where one might improve the presentation of audio in the modern world, either for rooms or “virtualization” applications.
Saskia Sassen
ICSE1