920 resultados para The Sound and the Fury


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The impact of eliminating extraneous sound and light on students’ achievement was investigated under four conditions: Light and Sound controlled, Sound Only controlled, Light Only controlled and neither Light nor Sound controlled. Group, age and gender were the control variables. Four randomly selected groups of high school freshmen students with different backgrounds were the participants in this study. Academic achievement was the dependent variable measured on a pretest, a posttest and a post-posttest, each separated by an interval of 15 days. ANOVA was used to test the various hypotheses related to the impact of eliminating sound and light on student learning. Independent sample T tests on the effect of gender indicated a significant effect while age was non- significant. Follow up analysis indicated that sound and light are not potential sources of extraneous load when tested individually. However, the combined effect of sound and light seems to be a potential source of extrinsic load. The findings revealed that the performance of the Sound and Light controlled group was greater during the posttest and post-posttest. The overall performance of boys was greater than that of girls. Results indicated a significant interaction effect between group and gender on treatment subjects. However gender alone was non-significant. Performance of group by age had no significant interaction and age alone was non-significant in the posttest and post-posttest. Based on the results obtained sound and light combined seemed to be the potential sources of extraneous load in this type of learning environment. This finding supports previous research on the effect of sound and light on learning. The findings of this study show that extraneous sound and light have an impact on learning. These findings can be used to design better learning environments. Such environments can be achieved with different electric lighting and sound systems that provide optimal color rendering, low glare, low flicker, low noise and reverberation. These environments will help people avoid unwanted distraction, drowsiness, and photosensitive behavior.

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This paper aims to investigate the ways in which context-based sonic art is capable of furthering a knowledge and understanding of place based on the initial perceptual encounter. How might this perceptual encounter operate in terms of a sound work’s affective dimension? To explore these issues I draw upon James J. Gibson’s ecological theory of perception and Gernot Böhme’s concept of an ‘aesthetic of atmospheres’. Within the ecological model of perception an individual can be regarded as a ‘perceptual system’: a mobile organism that seeks information from a coherent environment. I relate this concept to notions of the spatial address of environmental sound work in order to explore (a) how the human perceptual apparatus relates to the sonic environment in its mediated form and (b) how this impacts on individuals’ ability to experience such work as complex sonic ‘environments’. Can the ecological theory of perception aid the understanding of how the listener engages with context-based work? In proposing answers to this question, this paper advances a coherent analytical framework that may lead us to a more systematic grasp of the ways in which individuals engage aesthetically with sonic space and environment. I illustrate this methodology through an examination of some of the recorded work of sound artist Chris Watson.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)