AUDIOVISUAL: DO BROADCAST À BROADBAND

A sociedade digital nos abraça em todos os aspectos do cotidiano e uma parte significativa da população vive conectada em multiplataformas. Com a instantaneidade dos fluxos de comunicação, vivemos uma rotina onde muitos acessos estão a um “clique” ou toque. A televisão como mídia preponderante durante várias décadas, na sua transição digital comporta uma função além da TV que conhecíamos, como display interativo que se conecta e absorve conteúdos provenientes de várias fontes. Os consagrados modelos mundiais de distribuição de audiovisual, especialmente pelo Broadcast, sofrem as consequências da mudança do comportamento do seu público pelas novas oportunidades de acesso aos conteúdos, agora interativos e sob demanda. Neste contexto, os modelos das SmartTVs (TVs conectadas) em Broadband (Banda Larga) apresentam opções diferenciadas e requerem um espaço cada vez maior na conexão com todos os outros displays. Com este cenário, o presente estudo busca descrever e analisar as novas ofertas de conteúdos, aplicativos, possibilidades e tendências do hibridismo das fontes para a futura TV.

Accounting for microsaccadic artifacts in the EEG using independent component analysis and beamforming

© 2015 Society for Psychophysiological Research. The authors would like to thank Renate Zahn and Karolin Meiß for their assistance conducting the recordings. This work was funded by the Deutsche Forschungsgemeinschaft (German Research Foundation; DFG), grant number MU 972/16-1.

Criaturas hipermediales: la posfotografía en Pinterest

Pinterest, la comunidad en línea donde sitúo mi objeto de estudio, permite a sus miembros crear colecciones audio - visuales a partir de imágenes (fijas o dinámicas), vídeos, audios, gráficos e incluso textos encontrados en el universo de internet. El estudio del <> (la unidad audio - visual básica con que se crean estas colecciones y que es confundida con una fotografía digital) es una pequeña red hipermedial conformada por contenidos en formatos de diversa naturaleza con gran potencial para la educación artística y el desarrollo de competencias digitales. El pin, y por extensión, Pinterest, pueden convertirse en herramientas significativas para artistas y educadores, propiciando la utilización de las TIC en los procesos de enseñanza y aprendizaje.

Relational work in synchronous text-based CMC of virtual teams

Based on close examinations of instant message (IM) interactions, this chapter argues that an interactional sociolinguistic approach to computer-mediated language use could provide explanations for phenomena that previously could not be accounted for in computer-mediated discourse analysis (CMDA). Drawing on the theoretical framework of relational work (Locher, 2006), the analysis focuses on non-task oriented talk and its function in forming and establishing communication norms in the team, as well as micro-level phenomena, such as hesitation, backchannel signals and emoticons. The conclusions of this preliminary research suggest that the linguistic strategies used for substituting audio-visual signals are strategically used in discursive functions and have an important role in relational work

Realism and national identity in 'Y Tu Mamá También': an audience perspective

When referring to cinema and its emancipatory potential, realism, like Plato’s pharmakon, has signified both illness and cure, poison and medicine. On the one hand, realism is regarded as the main feature of so-called classical cinema, inherently conservative and thoroughly ideological, its main raison d’être being to reify and make a particular version of the status quo believable and to pass it out as ‘reality’ (Burch, 1990; MacCabe, 1974). On the other, realism has also been interpreted as a quest for truth and social justice, as in the positivist ethos that informs documentary (Zavattini, 1953). Even in the latter sense, however, the extent to which realism has served colonizing ends when used to investigate the ‘truth’ of the Other has also been noted, rendering the form profoundly suspicious (Chow, 2007, p. 150). For realism has been a Western form of representation, one that can be traced back to the invention of perspective in painting and that peaked with the secular worldview brought about by the Enlightenment. And like realism, the nation state too is a product of the Enlightenment, nationalism being, as it were, a secular replacement for the religious - that is enchanted or fantastic - worldview. In this way, realism, cinema and nation are inextricably linked, and equally strained under the current decline of the Enlightenment paradigm. This chapter looks at Y tu Mamá También by Alfonso Cuarón (2001), a highly successful road movie with documentary features, to explore the ways in which realism, cinema and nation interact with each other in the present conditions of ‘globalization’ as experienced in Mexico. The chapter compares and contrasts various interpretations of the role of realism in this film put forward by critics and scholars and other discourses about it circulating in the media with actual ways of audience engagement with it.

Ice observations in the Southern Ocean between 1878 and 1928

During the period in question, large ice drifts transported incalculable numbers of icebergs, ice fields and ice floes from the Antarctica into the South Atlantic, confronting long-journeying sailing ships on the Cape Horn route with considerable danger. As is still the case today, the ice drifts generally tended in a northeasterly direction. Thus it can be assumed that the ice masses occuring near Cape Horn and in the South Atlantic originated in Graham Land and the South Shetland Islands, while those found in the Pacific will have come from Victoria Land. The masses drifting to Cape Horn, Isla de los Estados, the Falkland Islands and occasionally as far as the Tristan da Cunha Group are transported by the West Wind Drift and Falkland Current, diverted by the Brazil Current. The Bouvet and Agulhas Currents have little influence here. The great ice masses repeatedly reached points beyond the "outermost drift ice boundery" calculated in the course of the years, to continue on in the direction of the equator. The number of sailing ships which fell victim to the ice drifts while rounding Cape Horn can only be surmised; they simply disappeared without a trace in the expanses of the South Atlantic. Until the end of the 1900s the dangers presented by ice were less serious for westward-bound ships than for the "homeward-bounders" travelling from West to East. Following the turn of the century, however, the risk for "onwardbounders" increased significantly. Whether the ice drifts actually grew in might or whether the more frequent and more detailed reports led to this impression, could never be ascertained by the German Hydrographie Office. In the forty-one years between 1868 and 1908, ten light, ten medium and nine heavy ice years were counted, and only twelve years in which no reports of ice were submitted to the German Hydrographie Office. "One of the most terrible dangers threatening ships on their return from the Pacific Ocean," the pilot book for the Atlantic Ocean warns, "is the encounter with ice, to be expected south of the 50th parallel (approx.) in the Pacific and south of the 40th parallel (approx.) in the South Atlantic." Following the ice drift of 1854-55, thought to be the first ever recorded, the increasing numbers of sailing ships rounding Cape Horn were frequently confronted with drifts of varying sizes or with single icebergs. Then from 1892-94, a colossal ice drift crossed the path of the sailships in three stages. Several sailing ships collided with the icebergs and could be counted lucky if they survived with heavy damage to the bow and the fo regear. The reports on those which vanished for ever in the ice masses are hardly of investigative value. The English suffered particularly badly in the ice-plagued waters; their captains apparently sailed courses that led more freqently through drifts than did the sailing instructions of the German Hydrographic Office. Thus, among others, Capt. Jarvis' DUNTRUNE, also the STANMORE, ARTHURSTONE and LORD RANOCH as well as the French GALATHEE and CASHMERE all collided with icebergs. The crew of the AETHELBERTH panicked after a collision and took to their lifeboats. It was only after the ship detached itself from the iceberg it had rammed that the men returned to it and continued their journey. The TEMPLEMORE, on the other hand, had to be abandoned for good. Of the German sailing ships, the FLOTOW is to be mentioned here, and in the third phase of the drift the American SAN JOAQUIN lost a large proportion of its rigging. In the 20th century ice drifts continued to cross the courses of the Cape Horn ships. 1906 and 1908 were recorded as particularly heavy ice years. In 1908-09 both the FALKLANDBANK and the TOXTETH fell prey to ice, or so it was assumed during the subsequent Maritime Board proceedings. For the most part the German sailing ships were spared greater damages by sea. Their captains sent detailed ice reports to the German Hydrographic Office, which gratefully welcomed the information and partially incorporated it in the third and final edition of the "Pilot Book for the Atlantic Ocean." From the end of 1926 until the beginning of 1928, the last of the large sailing ships were once again confronted with "tremendous masses of icebergs and ice drifts." Reports of this period originated above all on the P-Liners PADUA, PAMIR, PASSAT, PEKING, PINNAS, PRIWALL and the ships of Gustav Erikson's fleet. The fate of the training sailship ADMIRAL KARPFANGER in connection with the ice in early 1938 was never clearly determined by the Maritime Board proceedings. Collision with an iceberg, however, is thought to be the most likely cause of accident. Today freight sailing ships no longer cross the oceans. The Cape Horn route is relatively insignificant for engine-powered ships and icebergs can be spotted in plenty of time by modern navigation technology ... The large ice drifts are no longer a menace, but only a marginal note in the final chapter of the history of transoceanic sailing.

Telephones, Voice Recorders, Microphones, Phonographs: A Media Archaeology of Sonic Technologies in Twin Peaks

This article argues that sonic technologies, such as telephones, voice recorders and phonographs, alongside more (audio)visual ones such as flickering fluorescent lights, videos, and the television sets are crucial to the world of Twin Peaks, and constitute this world as both a communications network with portals to the unknown, and an accumulation of recordings of ghosted voices and entities, perhaps finding its ultimate expression in the backwards reprocessed speech in the Black Lodge. This lodge can be understood as a space in which there are nothing but recordings, albeit now on a cosmic, spiritual and demonic level. Using a media archaeological approach to these devices in the series, this paper will argue that they were already operating by a media archaeological logic, generating the world of Twin Peaks as a haunted archive of sonic and other mediations.

Organizaciones regionales y diversidad cultural: la diplomacia de la Unión Europea con el Mercosur entre la sombra de Hollywood y la acción intergubernamental

El objetivo de este artículo es doble: por un lado explorar la habilidad de la Unión Europea para llevar a cabo una política audiovisual dirigida al Mercosur y promover las normas de la Convención sobre la diversidad de las expresiones culturales; por otro, analizar el impacto del modelo de política audiovisual de la UE en el desarrollo de la cooperación audiovisual con el Mercosur y centrarse en los principales vectores que configuran el paisaje audiovisual del Mercosur. El texto pretende destacar cómo y por qué la UE persigue una política audiovisual con esa región, cuáles son los propósitos y los límites de actuación. En este sentido, se preocupa por entender cómo la diplomacia audiovisual de la UE interactúa con otros actores, como las acciones gubernamentales llevadas a cabo desde la propia UE y el Mercosur, así como las prácticas del sector privado (Hollywwod y los grandes conglomerados de medios).

Del pictograma a la imagen: herramientas de comunicación y lenguaje en personas con síndrome de Asperger a través de recursos visuales para la inclusión social

Se presenta en este texto, una introducción al Síndrome de Asperger y aquellas características que lo distinguen, con el fin de conocer un poco más, en qué consiste este Trastorno Generalizado del Desarrollo (TGD). Además, se pretende facilitar cuales son las herramientas de comunicación y lenguaje más aptas para la enseñanza y aprendizaje del sujeto, haciendo hincapié en los recursos visuales, audiovisuales y artísticos como herramientas de aprendizaje para su inclusión social en cualquier ámbito de la sociedad (colegios, institutos, asociaciones, universidades o administraciones).

A comparative study of approaches to audiovisual translation

For those who are not new to the world of Japanese animation, known mainly as anime, the debate of "dub vs. sub" is by no means anything out of the ordinary, but rather a very heated argument amongst fans. The study will focus on the differences in the US English version between the two approaches of translating audio-visual media, namely subtitling (official subtitles and fanmade subtitles) and dubbing, in a qualitative context. More precisely, which of the two approaches can store the most information from the same audiovisual segment, in order to satisfy the needs of the anime audience. In order to draw substantial conclusions, the analysis will be conducted on a corpus of 1 episode from the first season of the popular mid-nineties TV animated series, Sailor Moon. The main objective of this research is to analyze the three versions and compare the findings to what anime fans expect each of them to provide, in terms of how culture specific terms are handled, how accurate the translation is, localization, censorship, and omission. As for the fans’ opinions, the study will include a survey regarding the personal preference of fans when it comes to choosing between the official subtitled version, the fanmade subtitles and the dubbed version.

Optimização dos consumos de água na irrigação de campos golfe

A presente dissertação propõe o desenvolvimento de um sistema de Irrigação de baixo custo para campos de Golfe. Este sistema é capaz de recolher a previsão meteorológica e ainda medir um conjunto de valores (temperatura, humidade, velocidade do vento) que determina quando e quanto regar. Os campos de Golfe consumem diariamente elevadas quantidades de água, sendo esta a principal crítica feita pelas organizações ambientais. Esta dissertação incorpora uma comunicação sem fios de baixo custo, que dispensa a cablagem que é necessária para haver comunicação entre os diversos equipamentos, que estão distribuídos pelo campo de Golfe. O sistema desenvolvido pretende reduzir os desperdícios dos recursos hídricos na rega, pois é um sistema inteligente que poderá ser adquirido não só por gestores de campos de Golfe, mas também por jardins residenciais e municipais. Com o objetivo de criar um sistema de baixo custo foi elaborado um algoritmo de reencaminhamento de mensagens, que permite utilizar equipamentos de comunicação sem fios de baixo custo. Todo o sistema de Irrigação é controlado e monitorizado através de uma interface, desenvolvida em Microsoft Visual Basic.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

Sonic Movie Memories: Sound, Childhood, and American Cinema

Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience. The second half of the dissertation pivots into more experimental children’s cartoons like Gerald McBoing-Boing (1951) - cartoons that embrace audio-visual dissonance in ways that soothe even as they create tension through a phenomenon I call “comfortable discord.” In the final chapter, director Wes Anderson reveals that these sonic tensions have just as much appeal to adults. In films like The Royal Tenenbaums (2001), Anderson demonstrates that comfortable discord can simultaneously provide a balm for anxiety and create an open-ended space that makes empathetic connections between characters possible. The dissertation closes with a call to rethink nostalgia, not as a romanticization of the past, but rather as a reconnection with forgotten affective channels.

Didáctica do francês : Perigueux-Vienne

Formação - Professores

Irakurketa zailtasunei aurrea hartzeko software didaktiko baten diseinua eta ebaluazioa.

369 p.