Noise has become integral to electroacoustic music aesthetics. In this paper, we define noise as sound that is high in auditory roughness, and examine its effect on cross-modal mapping between sound and visual shape in participants. In order to preserve the ecological validity of contemporary music aesthetics, we developed Rama, a novel interface, for presenting experimentally controlled blocks of electronically generated sounds that varied systematically in roughness, and actively collected data from audience interaction. These sounds were then embedded as musical drones within the overall sound design of a multimedia performance with live musicians, Audience members listened to these sounds, and collectively voted to create the shape of a visual graphic, presented as part of the audio-visual performance. The results of the concert setting were replicated in a controlled laboratory environment to corroborate the findings. Results show a consistent effect of auditory roughness on shape design, with rougher sounds corresponding to spikier shapes. We discuss the implications, as well as evaluate the audience interface.
Keywords: auditory roughness; computer music; cross-modal perception; human–computer interaction; multimedia; noise.