940 resultados para Audio-visual image
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Mode of access: Internet.
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"February 1971."
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Mode of access: Internet.
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In this report we summarize the state-of-the-art of speech emotion recognition from the signal processing point of view. On the bases of multi-corporal experiments with machine-learning classifiers, the observation is made that existing approaches for supervised machine learning lead to database dependent classifiers which can not be applied for multi-language speech emotion recognition without additional training because they discriminate the emotion classes following the used training language. As there are experimental results showing that Humans can perform language independent categorisation, we made a parallel between machine recognition and the cognitive process and tried to discover the sources of these divergent results. The analysis suggests that the main difference is that the speech perception allows extraction of language independent features although language dependent features are incorporated in all levels of the speech signal and play as a strong discriminative function in human perception. Based on several results in related domains, we have suggested that in addition, the cognitive process of emotion-recognition is based on categorisation, assisted by some hierarchical structure of the emotional categories, existing in the cognitive space of all humans. We propose a strategy for developing language independent machine emotion recognition, related to the identification of language independent speech features and the use of additional information from visual (expression) features.
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In this paper we discuss how an innovative audio-visual project was adopted to foster active, rather than declarative learning, in critical International Relations (IR). First, we explore the aesthetic turn in IR, to contrast this with forms of representation that have dominated IR scholarship. Second, we describe how students were asked to record short audio or video projects to explore their own insights through aesthetic and non-written formats. Third, we explain how these projects are understood to be deeply embedded in social science methodologies. We cite our inspiration from applying a personal sociological imagination, as a way to counterbalance a marketised slant in higher education, in a global economy where students are often encouraged to consume, rather than produce knowledge. Finally, we draw conclusions in terms of deeper forms of student engagement leading to new ways of thinking and presenting new skills and new connections between theory and practice.
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No existe en Cuenca un proyecto de investigacin periodstica y de produccin audiovisual que indague, recopile y presente informacin sobre aquellas profesiones tradicionales heredadas a travs del tiempo y que poco a poco se van perdiendo con miras a extinguirse completamente. Este proyecto, de cierta manera, puede ser innovador, ya que involucra dos reas: comunicacin audiovisual y redaccin dentro del periodismo. Se involucran por el hecho de presentar informacin relevante, a travs de un producto final, visual y escrito, que ensee de quforma estas profesiones son desarrolladas por diferentes actores humanos, sus contextos y sus procesos, con la intencin de servir de apoyo investigativo cultural en el mbito local y nacional.
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People possess different sensory modalities to detect, interpret, and efficiently act upon various events in a complex and dynamic environment (Fetsch, DeAngelis, & Angelaki, 2013). Much empirical work has been done to understand the interplay of modalities (e.g. audio-visual interactions, see Calvert, Spence, & Stein, 2004). On the one hand, integration of multimodal input as a functional principle of the brain enables the versatile and coherent perception of the environment (Lewkowicz & Ghazanfar, 2009). On the other hand, sensory integration does not necessarily mean that input from modalities is always weighted equally (Ernst, 2008). Rather, when two or more modalities are stimulated concurrently, one often finds one modality dominating over another. Study 1 and 2 of the dissertation addressed the developmental trajectory of sensory dominance. In both studies, 6-year-olds, 9-year-olds, and adults were tested in order to examine sensory (audio-visual) dominance across different age groups. In Study 3, sensory dominance was put into an applied context by examining verbal and visual overshadowing effects among 4- to 6-year olds performing a face recognition task. The results of Study 1 and Study 2 support default auditory dominance in young children as proposed by Napolitano and Sloutsky (2004) that persists up to 6 years of age. For 9-year-olds, results on privileged modality processing were inconsistent. Whereas visual dominance was revealed in Study 1, privileged auditory processing was revealed in Study 2. Among adults, a visual dominance was observed in Study 1, which has also been demonstrated in preceding studies (see Spence, Parise, & Chen, 2012). No sensory dominance was revealed in Study 2 for adults. Potential explanations are discussed. Study 3 referred to verbal and visual overshadowing effects in 4- to 6-year-olds. The aim was to examine whether verbalization (i.e., verbally describing a previously seen face), or visualization (i.e., drawing the seen face) might affect later face recognition. No effect of visualization on recognition accuracy was revealed. As opposed to a verbal overshadowing effect, a verbal facilitation effect occurred. Moreover, verbal intelligence was a significant predictor for recognition accuracy in the verbalization group but not in the control group. This suggests that strengthening verbal intelligence in children can pay off in non-verbal domains as well, which might have educational implications.
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O que significa hoje um pensamento do figural? Qual a sua importncia no quadro hegemnico do Arquivo Audiovisual e Multimdia Contemporneo? Qual a relao que o cinema, enquanto assimilvel ao pensamento do figural, tem com o Arquivo, tendo em conta a recente apropriao, interpretao, reconfigurao e interrogao das estruturas arquivsticas e materiais de arquivo, por parte de cineastas que usam o cinema, ele prprio, uma forma de arquivagem e material de arquivo, como ferramenta privilegiada de interpelao do Arquivo? Qual a potencial relevncia do cinema, encarado nesta perspectiva, face necessidade poltica de conceber um exterior do Arquivo? Estas so algumas das perguntas que esto na origem desta tese e a que ela procura responder, atravs da proposta de (re)corte de um arquivo de filmes e enunciados tericos e da sua interpelao mtua. Com efeito, a imagem ou ideia de figural supe uma reconfigurao das relaes entre visvel e dizvel que no s nos serve de topos inspirador da metodologia da tese, num esforo de procurar inscrever a espacializao exigida pelo pensamento do figural na sua prpria estrutura, como, sobretudo, nos fornece o quadro terico de partida para pensar hoje, na senda de autores como Jean- Franois Lyotard, Michel Foucault e Gilles Deleuze, a relevncia simultaneamente epistemolgica e poltica da assimilao de certos gestos cinematogrficos contemporneos a uma imagem do pensamento com estes contornos. Assim, o cinema, sobretudo na sua forma ensastica, identificado com a possibilidade de pr em prtica, um pensamento do interstcio figural, que contraria a identidade dominante do ver e do falar, que rege o paradigma contemporneo da comunicao, assente na respectiva converso mtua - as imagens reduzem-se sua significao ou contedo e as palavras convertem-se em imagens legveis. Atravs das possibilidades oferecidas pela montagem cinematogrfica, trata-se, ento, de reenviar as imagens a uma leitura que s elas podem dar, e as palavras a um novo tipo de escuta e entendimento, o que se traduz, em termos da relao do cinema ao Arquivo contemporneo, na sugesto de que o cinema uma ferramenta de requalificao do saber que aquele supe. A nossa hiptese , pois, a de que o cinema em geral, e certos filmes em particular, ao permitirem a perscrutao arqueolgica do Arquivo, introduzem delay na nossa relao aos documentos, sendo que a, nesse intervalo entre o registo e a sua retoma, que se joga a possibilidade de resistncia face ao poder difuso do Arquivo, tal como se manifesta na internet, na televiso, nas redes que hoje geram a regulao, tratamento e transmisso da informao; porque possui uma dimenso audiovisual que lhe permite articular e desarticular arquivos e corpos, e dado que as relaes entre dizvel e visvel no esto estabilizadas, o cinema torna possvel a reescrita das figuras, ou seja, um pensamento que no dispe de uma forma j feita de verdade para o encontro das frases e das experincias, mas que extrai relaes essenciais e verdadeiras dos acontecimentos do nosso presente e da nossa histria, precisamente a partir da explorao do intervalo instvel entre discurso e figura, e da experimentao ao nvel da recolagem entre enunciados e visibilidades.
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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 asynchronisms 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.
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OBJECTIVE: The aim of this article was to apply psychometric theory to develop and validate a visual grading scale for assessing the visual perception of digital image quality anteroposterior (AP) pelvis. METHODS: Psychometric theory was used to guide scale development. Seven phantom and seven cadaver images of visually and objectively predetermined quality were used to help assess scale reliability and validity. 151 volunteers scored phantom images, and 184 volunteers scored cadaver images. Factor analysis and Cronbach's alpha were used to assess scale validity and reliability. RESULTS: A 24-item scale was produced. Aggregated mean volunteer scores for each image correlated with the rank order of the visually and objectively predetermined image qualities. Scale items had good interitem correlation (≥0.2) and high factor loadings (≥0.3). Cronbach's alpha (reliability) revealed that the scale has acceptable levels of internal reliability for both phantom and cadaver images (α = 0.8 and 0.9, respectively). Factor analysis suggested that the scale is multidimensional (assessing multiple quality themes). CONCLUSION: This study represents the first full development and validation of a visual image quality scale using psychometric theory. It is likely that this scale will have clinical, training and research applications. ADVANCES IN KNOWLEDGE: This article presents data to create and validate visual grading scales for radiographic examinations. The visual grading scale, for AP pelvis examinations, can act as a validated tool for future research, teaching and clinical evaluations of image quality.
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Scientific background: Marine mammals use sound for communication, navigation and prey detection. Acoustic sensors therefore allow the detection of marine mammals, even during polar winter months, when restricted visibility prohibits visual sightings. The animals are surrounded by a permanent natural soundscape, which, in polar waters, is mainly dominated by the movement of ice. In addition to the detection of marine mammals, acoustic long-term recordings provide information on intensity and temporal variability of characteristic natural and anthropogenic background sounds, as well as their influence on the vocalization of marine mammals Scientific objectives: The PerenniAL Acoustic Observatory in the Antarctic Ocean (PALAOA, Hawaiian "whale") near Neumayer Station is intended to record the underwater soundscape in the vicinity of the shelf ice edge over the duration of several years. These long-term recordings will allow studying the acoustic repertoire of whales and seals continuously in an environment almost undisturbed by humans. The data will be analyzed to (1) register species specific vocalizations, (2) infer the approximate number of animals inside the measuring range, (3) calculate their movements relative to the observatory, and (4) examine possible effects of the sporadic shipping traffic on the acoustic and locomotive behaviour of marine mammals. The data, which are largely free of anthropogenic noise, provide also a base to set up passive acoustic mitigation systems used on research vessels. Noise-free bioacoustic data thereby represent the foundation for the development of automatic pattern recognition procedures in the presence of interfering sounds, e.g. propeller noise.
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Notre mmoire prend en charge de re-conceptualiser notre nouvel environnement audio-visuel et lexprience que nous en faisons. lre du numrique et de la dissmination gnralise des images animes, nous circonscrivons une catgorie dimages que nous concevons comme la plus mme davoir un impact sur le dveloppement humain. Nous les appelons des images-sons synchrono-photo-temporalises. Plus spcifiquement, nous cherchons mettre en lumire leur puissance daffection et de contrle en dmontrant quelles ont une influence certaine sur le processus dindividuation, influence qui est grandement facilite par lisotopie structurelle qui existe entre le flux de conscience et leur flux dcoulement. Par le biais des recherches de Bernard Stiegler, nous remarquons galement limportant rle que jouent lattention et la mmoire dans le processus dindividuation. Lensemble de notre rflexion nous fait raliser quel point le systme dducation actuel qubcois manque sa tche de formation citoyenne en ne dispensant pas un enseignement adquat des images animes.
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Notre mmoire prend en charge de re-conceptualiser notre nouvel environnement audio-visuel et lexprience que nous en faisons. lre du numrique et de la dissmination gnralise des images animes, nous circonscrivons une catgorie dimages que nous concevons comme la plus mme davoir un impact sur le dveloppement humain. Nous les appelons des images-sons synchrono-photo-temporalises. Plus spcifiquement, nous cherchons mettre en lumire leur puissance daffection et de contrle en dmontrant quelles ont une influence certaine sur le processus dindividuation, influence qui est grandement facilite par lisotopie structurelle qui existe entre le flux de conscience et leur flux dcoulement. Par le biais des recherches de Bernard Stiegler, nous remarquons galement limportant rle que jouent lattention et la mmoire dans le processus dindividuation. Lensemble de notre rflexion nous fait raliser quel point le systme dducation actuel qubcois manque sa tche de formation citoyenne en ne dispensant pas un enseignement adquat des images animes.
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Objectives: Children have a greater risk from radiation, per unit dose, due to increased radiosensitivity and longer life expectancies. It is of paramount importance to reduce the radiation dose received by children. This research concerns chest CT examinations on paediatric patients. The purpose of this study was to compare the image quality and the dose received from imaging with images reconstructed with filtered back projection (FBP) and five strengths of Sinogram-Affirmed Iterative Reconstruction (SAFIRE). Methods: Using a multi-slice CT scanner, six series of images were taken of a paediatric phantom. Two kVp values (80 and 110), 3 mAs values (25, 50 and 100) and 2 slice thicknesses (1 mm and 3 mm) were used. All images were reconstructed with FBP and five strengths of SAFIRE. Ten observers evaluated visual image quality. Dose was measured using CT-Expo. Results: FBP required a higher dose than all SAFIRE strengths to obtain the same image quality for sharpness and noise. For sharpness and contrast image quality ratings of 4, FBP required doses of 6.4 and 6.8 mSv respectively. SAFIRE 5 required doses of 3.4 and 4.3 mSv respectively. Clinical acceptance rate was improved by the higher voltage (110 kV) for all images in comparison to 80 kV, which required a higher dose for acceptable image quality. 3 mm images were typically better quality than 1 mm images. Conclusion: SAFIRE 5 was optimal for dose reduction and image quality.
