The effects of audio cueing and an instructions, feedback and praise package on the distribution of teacher praise to students of differing on-task levels

In an audio cueing system, a teacher is presented with randomly spaced auditory signals via tape recorder or intercom. The teacher is instructed to praise a child who is on-task each time the cue is presented. In this study, a baseline was obtained on the teacher's praise rate and the children's on-task behaviour in a Grade 5 class of 37 students. Children were then divided into high, medium and low on-task groups. Followinq baseline, the teacher's praise rate and the children's on-task behaviour were observed under the following successively implemented conditions: (l) Audio Cueing 1: Audio cueing at a rate of 30 cues per hour was introduced into the classroom and remained in effect during subsequent conditions. A group of consistently low on-task children were delineated. (2) Audio Cueing Plus 'focus praise package': Instructions to direct two-thirds o£ the praise to children identified by the experimenter (consistently low on-task children), feedback and experimenter praise for meeting or surpassing the criterion distribution of praise ('focus praise package') were introduced. (3) Audio Cueing 2: The 'focus praise package' was removed. (4) Audio Cueing Plus 'increase praise package': Instructions to increase the rate of praise, feedback and experimenter praise for improved praise rates ('increase praise package') were introduced. The primary aims of the study were to determine the distribution of praise among hi~h, medium and low on-task children when audio cueinq was first introduced and to investigate the effect of the 'focus praise package' on the distribution of teacher praise. The teacher distributed her praise evenly among the hiqh, medium and low on-task groups during audio cueing 1. The effect of the 'focus praise package' was to increase the percentage of praise received by the consistently low on-task children. Other findings tended to suggest that audio cueing increased the teacher's praise rate. However, the teacher's praise rate unexpectedly decreased to a level considerably below the cued rate during audio cueing 2. The 'increase praise package' appeared to increase the teacher's praise rate above the audio cueing 2 level. The effect of an increased praise rate and two distributions of praise on on-task behaviour were considered. Significant increases in on-task behaviour were found in audio cueing 1 for the low on-task group, in the audio cueing plus 'focus praise package' condition for the entire class and the consistently low on-task group and in audio cueing 2 for the medium on-task group. Except for the high on-task children who did not change, the effects of the experimental manipulations on on-task behaviour were e quivocal. However, there were some indications that directing 67% of the praise to the consistently low on-task children was more effective for increasing this group's on-task behaviour than distributing praise equally among on-task groups.

HomeBank: An Online Repository of Daylong Child-Centered Audio Recordings.

HomeBank is introduced here. It is a public, permanent, extensible, online database of daylong audio recorded in naturalistic environments. HomeBank serves two primary purposes. First, it is a repository for raw audio and associated files: one database requires special permissions, and another redacted database allows unrestricted public access. Associated files include metadata such as participant demographics and clinical diagnostics, automated annotations, and human-generated transcriptions and annotations. Many recordings use the child-perspective LENA recorders (LENA Research Foundation, Boulder, Colorado, United States), but various recordings and metadata can be accommodated. The HomeBank database can have both vetted and unvetted recordings, with different levels of accessibility. Additionally, HomeBank is an open repository for processing and analysis tools for HomeBank or similar data sets. HomeBank is flexible for users and contributors, making primary data available to researchers, especially those in child development, linguistics, and audio engineering. HomeBank facilitates researchers' access to large-scale data and tools, linking the acoustic, auditory, and linguistic characteristics of children's environments with a variety of variables including socioeconomic status, family characteristics, language trajectories, and disorders. Automated processing applied to daylong home audio recordings is now becoming widely used in early intervention initiatives, helping parents to provide richer speech input to at-risk children.

Robust indoor speaker recognition in a network of audio and video sensors

Situational awareness is achieved naturally by the human senses of sight and hearing in combination. Automatic scene understanding aims at replicating this human ability using microphones and cameras in cooperation. In this paper, audio and video signals are fused and integrated at different levels of semantic abstractions. We detect and track a speaker who is relatively unconstrained, i.e., free to move indoors within an area larger than the comparable reported work, which is usually limited to round table meetings. The system is relatively simple: consisting of just 4 microphone pairs and a single camera. Results show that the overall multimodal tracker is more reliable than single modality systems, tolerating large occlusions and cross-talk. System evaluation is performed on both single and multi-modality tracking. The performance improvement given by the audio–video integration and fusion is quantified in terms of tracking precision and accuracy as well as speaker diarisation error rate and precision–recall (recognition). Improvements vs. the closest works are evaluated: 56% sound source localisation computational cost over an audio only system, 8% speaker diarisation error rate over an audio only speaker recognition unit and 36% on the precision–recall metric over an audio–video dominant speaker recognition method.

LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online

SILVA, Alexandre Reche e. LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online. In: ENCONTRO REGIONAL DA ABEM NORDESTE (Associação Brasileira de Educação Musical), 9, Natal, RN, 2010. Anais eletronicos... Natal, RN, 2010.Trabalho Completo. Disponivel em: . Acesso em: 04 out. 2010.

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.