Look, listen and learn; a manual on the use of audio-visual materials in informal education,

Mode of access: Internet.

Bibliographies on nursing; books, pamphlets, articles, audio-visual materials.

A replacement for, rather than an addition to, the bibliographies of the former National Organization for Public Health Nursing, the National League of Nursing Education, 1952, and the National League for Nursing, 1954-55.

Bibliographies on nursing; books, pamphlets, articles, audio-visual aids.

Vol. 5 issued by the National League for Nursing, Division of Nursing Education.

Cataloging and classifying audio-visual materials; a guide to the preparation of films, filmstrips, slides, and records for use in the Materials Center of the School of Library Training and Service, Florida State University.

Mode of access: Internet.

Disaster preparedness : publications, films, and other audio-visual materials from the National Weather Service.

Mode of access: Internet.

Audio-visual catalog.

Description based on: 1985.

Improving instruction, budgeting your audio-visual program.

Mode of access: Internet.

Operator's, organizational, DS, and GS maintenance manual for mobile audio visual unit AN/MSQ-85A.

"February 1971."

Audio-visual products from the Bureau of the Census.

Mode of access: Internet.

A selected guide to audio-visual materials on alcohol and alcoholism /

Cover title.

A Cognitive Science Reasoning in Recognition of Emotions in Audio-Visual Speech

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.

Re-visualising international relations:audio-visual projects and direct encounters with the political in security studies

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.

Comunicación audio visual y creatividad como recurso para producir nuevas formas de periodismo cultural local: estudio de caso, la tradición artesanal en el cantón Cuenca

No existe en Cuenca un proyecto de investigación periodística y de producción audiovisual que indague, recopile y presente información sobre aquellas profesiones tradicionales heredadas a través 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 áreas: comunicación audiovisual y redacción dentro del periodismo. Se involucran por el hecho de presentar información relevante, a través de un producto final, visual y escrito, que enseñe de quéforma estas profesiones son desarrolladas por diferentes actores humanos, sus contextos y sus procesos, con la intención de servir de apoyo investigativo cultural en el ámbito local y nacional.

Audio-Visual Information Processing across different age groups

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.

O Figural no Cinema Contemporâneo: Articulações e Disjunções do Visível e do Dizível

O que significa hoje um pensamento do figural? Qual a sua importância no quadro hegemónico do Arquivo Audiovisual e Multimédia Contemporâneo? Qual a relação que o cinema, enquanto assimilável ao pensamento do figural, tem com o Arquivo, tendo em conta a recente apropriação, interpretação, reconfiguração e interrogação das estruturas arquivísticas e materiais de arquivo, por parte de cineastas que usam o cinema, ele próprio, uma forma de arquivagem e material de arquivo, como ferramenta privilegiada de interpelação do Arquivo? Qual a potencial relevância do cinema, encarado nesta perspectiva, face à necessidade política de conceber um exterior do Arquivo? Estas são algumas das perguntas que estão na origem desta tese e a que ela procura responder, através da proposta de (re)corte de um arquivo de filmes e enunciados teóricos e da sua interpelação mútua. Com efeito, a imagem ou ideia de figural supõe uma reconfiguração das relações entre visível e dizível que não só nos serve de topos inspirador da metodologia da tese, num esforço de procurar inscrever a espacialização exigida pelo pensamento do figural na sua própria estrutura, como, sobretudo, nos fornece o quadro teórico de partida para pensar hoje, na senda de autores como Jean- François Lyotard, Michel Foucault e Gilles Deleuze, a relevância simultaneamente epistemológica e política da assimilação de certos gestos cinematográficos contemporâneos a uma imagem do pensamento com estes contornos. Assim, o cinema, sobretudo na sua forma ensaística, é identificado com a possibilidade de pôr em prática, um pensamento do interstício figural, que contraria a identidade dominante do ver e do falar, que rege o paradigma contemporâneo da comunicação, assente na respectiva conversão mútua - as imagens reduzem-se à sua significação ou conteúdo e as palavras convertem-se em imagens legíveis. Através das possibilidades oferecidas pela montagem cinematográfica, trata-se, então, de reenviar as imagens a uma leitura que só elas podem dar, e as palavras a um novo tipo de escuta e entendimento, o que se traduz, em termos da relação do cinema ao Arquivo contemporâneo, na sugestão de que o cinema é uma ferramenta de requalificação do saber que aquele supõe. A nossa hipótese é, pois, a de que o cinema em geral, e certos filmes em particular, ao permitirem a perscrutação arqueológica do Arquivo, introduzem delay na nossa relação aos “documentos”, sendo que é aí, nesse intervalo entre o registo e a sua retoma, que se joga a possibilidade de resistência face ao poder difuso do Arquivo, tal como se manifesta na internet, na televisão, nas redes que hoje geram a regulação, tratamento e transmissão da informação; porque possui uma dimensão audiovisual que lhe permite articular e desarticular arquivos e corpos, e dado que as relações entre dizível e visível não estão estabilizadas, o cinema torna possível a reescrita das figuras, ou seja, um pensamento que não dispõe de uma forma já feita de verdade para o encontro das frases e das experiências, mas que extrai relações essenciais e verdadeiras dos acontecimentos do nosso presente e da nossa história, precisamente a partir da exploração do intervalo instável entre discurso e figura, e da experimentação ao nível da recolagem entre enunciados e visibilidades.