Irrelevant sound effects amongst younger and older adults: objective findings and subjective insights

Two experiments examine the effects of extraneous speech and nonspeech noise on a visual short-term memory task administered to younger and older adults. Experiment 1 confirms an earlier report that playing task-irrelevant speech is no more distracting for older adults than for younger adults (Rouleau T Belleville, 1996), indicating that "irrelevant sound effects" in short-term memory operate in a different manner to recalling targets in the presence of competing speech (Tun, O'Kane, T Wingfield, 2002). Experiment 2 extends this result to nonspeech noise and demonstrates that the result cannot be ascribed to hearing difficulties amongst the older age group, although the data also show that older adults rated the noise as less annoying and uncomfortable than younger adults. Implications for theories of the irrelevant sound effect, and for cognitive ageing, are discussed.

A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.

From dichotic listening to the irrelevant sound effect: a behavioural and neuroimaging analysis of the processing of unattended speech

The assumption that ignoring irrelevant sound in a serial recall situation is identical to ignoring a non-target channel in dichotic listening is challenged. Dichotic listening is open to moderating effects of working memory capacity (Conway et al., 2001) whereas irrelevant sound effects (ISE) are not (Beaman, 2004). A right ear processing bias is apparent in dichotic listening, whereas the bias is to the left ear in the ISE (Hadlington et al., 2004). Positron emission tomography (PET) imaging data (Scott et al., 2004, submitted) show bilateral activation of the superior temporal gyrus (STG) in the presence of intelligible, but ignored, background speech and right hemisphere activation of the STG in the presence of unintelligible background speech. It is suggested that the right STG may be involved in the ISE and a particularly strong left ear effect might occur because of the contralateral connections in audition. It is further suggested that left STG activity is associated with dichotic listening effects and may be influenced by working memory span capacity. The relationship of this functional and neuroanatomical model to known neural correlates of working memory is considered.

Non-alcoholic fatty liver disease : can ultrasound assist in early diagnosis of prediabetes and delay progression to type2 diabetes mellitus

Non Alcoholic Fatty Liver Disease (NAFLD) is a condition that is frequently seen but seldom investigated. Until recently, NAFLD was considered benign, self-limiting and unworthy of further investigation. This opinion is based on retrospective studies with relatively small numbers and scant follow-up of histology data. (1) The prevalence for adults, in the USA is, 30%, and NAFLD is recognized as a common and increasing form of liver disease in the paediatric population (1). Australian data, from New South Wales, suggests the prevalence of NAFLD in “healthy” 15 year olds as being 10%.(2) Non-alcoholic fatty liver disease is a condition where fat progressively invades the liver parenchyma. The degree of infiltration ranges from simple steatosis (fat only) to steatohepatitis (fat and inflammation) steatohepatitis plus fibrosis (fat, inflammation and fibrosis) to cirrhosis (replacement of liver texture by scarred, fibrotic and non functioning tissue).Non-alcoholic fatty liver is diagnosed by exclusion rather than inclusion. None of the currently available diagnostic techniques -liver biopsy, liver function tests (LFT) or Imaging; ultrasound, Computerised tomography (CT) or Magnetic Resonance Imaging (MRI) are specific for non-alcoholic fatty liver. An association exists between NAFLD, Non Alcoholic Steatosis Hepatitis (NASH) and irreversible liver damage, cirrhosis and hepatoma. However, a more pervasive aspect of NAFLD is the association with Metabolic Syndrome. This Syndrome is categorised by increased insulin resistance (IR) and NAFLD is thought to be the hepatic representation. Those with NAFLD have an increased risk of death (3) and it is an independent predictor of atherosclerosis and cardiovascular disease (1). Liver biopsy is considered the gold standard for diagnosis, (4), and grading and staging, of non-alcoholic fatty liver disease. Fatty-liver is diagnosed when there is macrovesicular steatosis with displacement of the nucleus to the edge of the cell and at least 5% of the hepatocytes are seen to contain fat (4).Steatosis represents fat accumulation in liver tissue without inflammation. However, it is only called non-alcoholic fatty liver disease when alcohol - >20gms-30gms per day (5), has been excluded from the diet. Both non-alcoholic and alcoholic fatty liver are identical on histology. (4).LFT’s are indicative, not diagnostic. They indicate that a condition may be present but they are unable to diagnosis what the condition is. When a patient presents with raised fasting blood glucose, low HDL (high density lipoprotein), and elevated fasting triacylglycerols they are likely to have NAFLD. (6) Of the imaging techniques MRI is the least variable and the most reproducible. With CT scanning liver fat content can be semi quantitatively estimated. With increasing hepatic steatosis, liver attenuation values decrease by 1.6 Hounsfield units for every milligram of triglyceride deposited per gram of liver tissue (7). Ultrasound permits early detection of fatty liver, often in the preclinical stages before symptoms are present and serum alterations occur. Earlier, accurate reporting of this condition will allow appropriate intervention resulting in better patient health outcomes. References 1. Chalasami N. Does fat alone cause significant liver disease: It remains unclear whether simple steatosis is truly benign. American Gastroenterological Association Perspectives, February/March 2008 www.gastro.org/wmspage.cfm?parm1=5097 Viewed 20th October, 2008 2. Booth, M. George, J.Denney-Wilson, E: The population prevalence of adverse concentrations with adiposity of liver tests among Australian adolescents. Journal of Paediatrics and Child Health.2008 November 3. Catalano, D, Trovato, GM, Martines, GF, Randazzo, M, Tonzuso, A. Bright liver, body composition and insulin resistance changes with nutritional intervention: a follow-up study .Liver Int.2008; February 1280-9 4. Choudhury, J, Sanysl, A. Clinical aspects of Fatty Liver Disease. Semin in Liver Dis. 2004:24 (4):349-62 5. Dionysus Study Group. Drinking factors as cofactors of risk for alcohol induced liver change. Gut. 1997; 41 845-50 6. Preiss, D, Sattar, N. Non-alcoholic fatty liver disease: an overview of prevalence, diagnosis, pathogenesis and treatment considerations. Clin Sci.2008; 115 141-50 7. American Gastroenterological Association. Technical review on nonalcoholic fatty liver disease. Gastroenterology.2002; 123: 1705-25

The ZomPoc Project. A Large Scale Public ARG Event

An experiment in large scale, live, game design and public performance, bringing together participants from across the creative arts to design, deliver and document a project that was both a cooperative learning experience and an experimental public performance. The four month project, funded by the Edge Digital Centre, culminated into a 24 hour ARG event involving over 100 participants in December 2012. Using the premise of a viral outbreak, young enthusiasts auditioned for the roles of Survivor, Zombie, Medic and Military. The main objective was for the Survivors to complete a series of challenges over 24 hours, while the other characters fulfilled their opposing objectives of interference and sabotage supported by both scripted and free-form scenarios staged in constructed scenes throughout the venues. The event was set in the State Library of Queensland and the Edge Digital Centre who granted the project full access, night and day to all areas including public, office and underground areas. These venues were transformed into cinematic settings full of interactive props and various audio-visual effects. The ZomPoc Project was an innovative experiment in writing and directing a large scale, live, public performance, bringing together participants from across the creative industries. In order to design such an event a number of innovative resources were developed exploiting techniques of game design, theatre, film, television and tangible media production. A series of workshops invited local artists, scientists, technicians and engineers to find new ways of collaborating to create networked artifacts, experimental digital works, robotic props, modular set designs, sound effects and unique costuming guided by an innovative multi-platform script developed by Deb Polson. The result of this collaboration was the creation of innovative game and set props, both atmospheric and interactive. Such works animated the space, presented story clues and facilitated interactions between strangers who found themselves sharing a unique experience in unexpected places.

Media arts section, arts Pop : arts packages of practice

This Media Arts-POP implements Media Arts curriculum in a Year 4 classroom at Waterford West State School, Queensland. While media arts form was the lead area for this package, students developed knowledge of and skills in English, visual arts and some elements of music. In the media arts elements, students learned to use media production equipment (in this case iPads, although other tablets could be used), and to use techniques such as composition and lighting to capture digital images and to record voice and sound effects. The package demonstrates that a number of curriculum areas can be combined to ensure that various curriculum areas are covered without losing the specificity of any one area.

The relevance of composing: Children’s spaces for social agency

This chapter addresses the relevance of composing for young children in creating spaces for social agency. It begins with a working definition of agency, outlines forms of agency and what might constrain it. Referring to case studies of particular children, it then goes on to discuss key themes, which illuminate what is possible and what is at stake when children compose. These overlapping themes include identity (sense of self, belonging), positioning (helping, initiating, befriending, “being bright”), voices (made through sound effects, singing, language style, and appropriating from popular culture and digital worlds), play (appropriating, imagining, designing, and creating), and resistance (not participating, staying silent, moving). Two main cases are drawn upon, those of Ta’Von and Gareth, who demonstrate agency in terms of finding spaces of belonging and meaning-making occasions in the classroom and playground. Vignettes from other children are referred to in order to illustrate common themes.

Multimodal lexicography: The representation of meaning in electronic dictionaries

One finding of user studies is that information on meaning tends to be what diction¬ary users want most from their dictionaries. This is consistent with the traditional image of the dictionary as a repository of meanings of words, and this is also borne out in definitions of the item DICTIONARY itself as given in dictionaries. While this popular view has not changed much, the growing role of electronic dictionaries can change the lexicographers' approach to meaning repre¬sentation. Traditionally, paper dictionaries have explained words with words, using either a defi¬nition or an equivalent, and occasionally a line-drawn picture. However, a prominent feature of the electronic medium is its multimodality, and this offers potential for the description of meaning. While it is much easier to include pictorial content, electronic dictionaries can also hold media objects which paper cannot carry, such as audio, animation or video. Publishers are drawn by the attraction of these new options, but are they always functionally useful for the dictionary users? In this article, the existing evidence is examined, and informed guesses are offered where evidence is not yet available.

Les végétaux comme éléments du paysage sonore : relations qualitatives entre conditions environnementales, morphologie et organisation dans la production d’ambiances sonores

Le paysage sonore est une forme de perception de notre environnement qui nous permet d’identifier les composantes sonores de notre quotidien. Ce projet de recherche porte sur une thématique particulière, les sons produits par les végétaux et leurs rôles dans les ambiances sonores paysagères. C’est la perspective que nous avons explorée in situ, en comparant les différentes espèces végétales; cette collection d’informations nous permet de proposer une typologie d’ambiances sonores des végétaux. Dans la première partie, des notions rattachées au « monde sonore » telles que l’objet sonore, le paysage sonore et les effets sonores justifient d’établir, dans la méthodologie, une grille d’analyse comportant différentes échelles d’écoute. Une lecture multidisciplinaire propose, d’une part, de réunir de l’information sur le son et les végétaux, la morphologie de ces derniers, l’aménagement au site, les conditions climatiques et, d’autre part, de retrouver ce qui a trait au son dans l’histoire des jardins, dont les jardins sensoriels, thérapeutiques, technologiques, et des sentiers d’interprétation sonore, sous l’angle du son comme projet. De plus, une liste de végétaux recevant les chants et cris de la faune vient introduire la notion de biodiversité sonore. Une enquête sociale de terrain, par la méthode des parcours commentés, et une enquête « experte » ont été réalisées au Jardin botanique de Montréal. Ces deux enquêtes nous ont permis de constituer une grille d’analyse croisée comprenant plusieurs échelles d’écoute : textures, actions sonores, effets sonores... De là, des générateurs d’ambiance (morphologie, organisation, climat) ont été relevés pour déterminer les aspects de récurrences et de différenciations d’un type d’ambiance sonore à l’autre. Des associations se sont formées en fonction de onze types de végétaux, chacun comprenant plusieurs sous-catégories. Celles-ci proposent des ambiances sonores spécifiques, des échelles d’écoute à considérer pour chaque type d’ambiance et l’énumération d’espèces à utiliser. Cette recherche ouvre la voie à un autre type de lecture sonore, par thématique d’ambiance (les sons du végétal dans notre cas), afin d’offrir de nouveaux outils de conception pour les professionnels, en profonde relation avec les perceptions sonores d’usagers sur le terrain et l’agencement spécifique d’un site.

Système de superposition arborescente et aspect soliste (le vibraphone et le bending tone) : éléments de détermination d’un langage musical personnel

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).

Poderes de la narrativa oral quechua: Layqas, suq’as y “condenados” (Estudios)

La autora analiza tres ejemplos de la actual narrativa oral quechua del distrito de Chinchero, en Perú. En ellos muestra cómo la incorporación del simbolismo culinario es una herramienta para inculcar y reforzar ciertas costumbres o la historia sociocultural del ayllu. En esta narrativa, la presencia de personajes que violan la etiqueta culinaria de la comunidad presagia, con frecuencia, eventos funestos, anticiparían la llegada de la muerte o de un personaje malévolo (el “condenado”, la layqa, la suq’a), o la desintegración de relaciones familiares. Por otro lado, si en la trama algún personaje ofrece comida bajo circunstancias inusuales o misteriosas, esta llega a causar daño o es, incluso, mortal. Para aumentar la tensión, los narradores quechuas utilizan la mímica, los efectos sonoros, las alusiones culinarias a comidas adulteradas, la creación de la estructura paralela y la repetición de los conceptos e ideas clave. La autora concluye que los relatos de advertencia cumplen dos funciones: entretener y enseñar, fortaleciendo en ambos casos la cohesión social en el ayllu.

Developing social skills in autistic children through ‘Relaxed Performances’

Families living with autism often feel unable to attend social and cultural events largely due to the fear of their child attracting negative or even aggressive reactions from others. The ‘joint attention’ that is part of the theatre experience however may be a powerful factor in the development of social and communication skills for such children. ‘Relaxed performances’ offer an opportunity for them to access and engage with theatre by making special arrangements designed to reduce tensions associated with visits to public places. Aspects of the production such as the use of lighting and sound effects which may trigger adverse reactions are also adjusted. This paper reports on how one local theatre drew on the findings of a national project to mount a ‘relaxed performance’ of their annual pantomime. It discusses the theatre’s preparations and presents evidence of the impact the event had on local children with autism and their families. The success of both the national and this local project marks a new beginning for improved access to the theatre for an audience that has hitherto felt largely excluded.

Perfil comunicativo de indivíduos com a síndrome de Williams-Beuren

OBJETIVO: Descrever o perfil comunicativo de indivíduos com a síndrome de Williams-Beuren. MÉTODOS: A casuística foi composta por 12 indivíduos com a síndrome com idade cronológica entre 6;6 a 23;6 (Grupo 1) que foram comparados a outros 12 sem a síndrome e com idade mental semelhante e sem dificuldades de linguagem/aprendizagem (Grupo 2). Os indivíduos foram avaliados em situação de conversação para classificação dos comportamentos verbais e não-verbais, segundo critérios pragmáticos, levantamento do número de turnos por minuto, enunciados por turno, Extensão Média de Enunciados, levantamento quanto à freqüência e tipologia de disfluências da fala e classificação quanto ao tipo de pausas plenas do discurso. RESULTADOS: O perfil comunicativo do Grupo 1 mostrou facilidade para interagirem em situação de comunicação com a presença de limitações lingüísticas estruturais e funcionais variáveis, quando comparados aos indivíduos do Grupo 2. Os indivíduos do Grupo 1 freqüentemente utilizaram estratégias comunicativas, na tentativa de preencherem o espaço comunicativo, como o uso de clichês, efeitos sonoros, recursos entonacionais e as pausas plenas que mostraram ser favoráveis do ponto de vista sócio-comunicativo, enquanto que os comportamentos verbais ecolálicos e perseverativos prejudicam o desempenho comunicativo desses indivíduos. CONCLUSÃO: O desempenho comunicativo mais prejudicado do Grupo 1 permitiu especular que comprometimentos lingüísticos nesta condição podem estar presentes, independente da diferença entre idade cronológica e mental. Estudos mais abrangentes poderão responder ao questionamento da dissociação de habilidades cognitivas e lingüísticas nesta síndrome e também no que diz respeito à complexa esta correlação em meio aos distúrbios da comunicação humana.

Expressando-se: uma interface do ensino de artes visuais com a musicalidade

Pós-graduação em Artes - IA