Prenatal augmented auditory stimulation and visual system development: Effects of timing on intersensory organization

This study investigated the effects of augmented prenatal auditory stimulation on postnatal visual responsivity and neural organization in bobwhite quail (Colinus virginianus). I delivered conspecific embryonic vocalizations before, during, or after the development of a multisensory, midbrain audiovisual area, the optic tectum. Postnatal simultaneous choice tests revealed that hatchlings receiving augmented auditory stimulation during optic tectum development as embryos failed to show species-typical visual preferences for a conspecific maternal hen 72 hours after hatching. Auditory simultaneous choice tests showed no hatchlings had deficits in auditory function in any of the groups, indicating deficits were specific to visual function. ZENK protein expression confirmed differences in the amount of neural plasticity in multiple neuroanatomical regions of birds receiving stimulation during optic tecturn development, compared to unmanipulated birds. The results of these experiments support the notion that the timing of augmented prenatal auditory stimulation relative to optic tectum development can impact postnatal perceptual organization in an enduring way.^

Infants' selective attention to faces and prosody of speech: The roles of intersensory redundancy and exploratory time

One of the overarching questions in the field of infant perceptual and cognitive development concerns how selective attention is organized during early development to facilitate learning. The following study examined how infants' selective attention to properties of social events (i.e., prosody of speech and facial identity) changes in real time as a function of intersensory redundancy (redundant audiovisual, nonredundant unimodal visual) and exploratory time. Intersensory redundancy refers to the spatially coordinated and temporally synchronous occurrence of information across multiple senses. Real time macro- and micro-structural change in infants' scanning patterns of dynamic faces was also examined. ^ According to the Intersensory Redundancy Hypothesis, information presented redundantly and in temporal synchrony across two or more senses recruits infants' selective attention and facilitates perceptual learning of highly salient amodal properties (properties that can be perceived across several sensory modalities such as the prosody of speech) at the expense of less salient modality specific properties. Conversely, information presented to only one sense facilitates infants' learning of modality specific properties (properties that are specific to a particular sensory modality such as facial features) at the expense of amodal properties (Bahrick & Lickliter, 2000, 2002). ^ Infants' selective attention and discrimination of prosody of speech and facial configuration was assessed in a modified visual paired comparison paradigm. In redundant audiovisual stimulation, it was predicted infants would show discrimination of prosody of speech in the early phases of exploration and facial configuration in the later phases of exploration. Conversely, in nonredundant unimodal visual stimulation, it was predicted infants would show discrimination of facial identity in the early phases of exploration and prosody of speech in the later phases of exploration. Results provided support for the first prediction and indicated that following redundant audiovisual exposure, infants showed discrimination of prosody of speech earlier in processing time than discrimination of facial identity. Data from the nonredundant unimodal visual condition provided partial support for the second prediction and indicated that infants showed discrimination of facial identity, but not prosody of speech. The dissertation study contributes to the understanding of the nature of infants' selective attention and processing of social events across exploratory time.^

Tests of the Intersensory Redundancy Hypothesis across early postnatal development

The Intersensory Redundancy Hypothesis (IRH; Bahrick & Lickliter, 2000, 2002, 2012) predicts that early in development information presented to a single sense modality will selectively recruit attention to modality-specific properties of stimulation and facilitate learning of those properties at the expense of amodal properties (unimodal facilitation). Vaillant (2010) demonstrated that bobwhite quail chicks prenatally exposed to a maternal call alone (unimodal stimulation) are able to detect a pitch change, a modality-specific property, in subsequent postnatal testing between the familiarized call and the same call with altered pitch. In contrast, chicks prenatally exposed to a maternal call paired with a temporally synchronous light (redundant audiovisual stimulation) were unable to detect a pitch change. According to the IRH (Bahrick & Lickliter, 2012), as development proceeds and the individual's perceptual abilities increase, the individual should detect modality-specific properties in both nonredundant, unimodal and redundant, bimodal conditions. However, when the perceiver is presented with a difficult task, relative to their level of expertise, unimodal facilitation should become evident. The first experiment of the present study exposed bobwhite quail chicks 24 hr after hatching to unimodal auditory, nonredundant audiovisual, or redundant audiovisual presentations of a maternal call for 10min/hr for 24 hours. All chicks were subsequently tested 24 hr after the completion of the stimulation (72 hr following hatching) between the familiarized maternal call and the same call with altered pitch. Chicks from all experimental groups (unimodal, nonredundant audiovisual, and redundant audiovisual exposure) significantly preferred the familiarized call over the pitch-modified call. The second experiment exposed chicks to the same exposure conditions, but created a more difficult task by narrowing the pitch range between the two maternal calls with which they were tested. Chicks in the unimodal and nonredundant audiovisual conditions demonstrated detection of the pitch change, whereas the redundant audiovisual exposure group did not show detection of the pitch change, providing evidence of unimodal facilitation. These results are consistent with predictions of the IRH and provide further support for the effects of unimodal facilitation and the role of task difficulty across early development.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Semeando a cultura audiovisual no Rio Grande do Norte: a experiência das oficinas de vídeos do Coletivo Caminhos, Comunicação & Cultura

The audiovisual media is an instrument of communication that plays an important role in the cultural, social and political understanding of society. This survey was done intenting to identify the contribution of the audiovisual media to the culture in the Rio Grande do Norte and trying to understand the process of producing audiovisual in this state. To reach the aim, a case report was done regard the activities of Caminhos, Comunicação & Cultura – CC&C – a group that conducts cultural activities in the state since 2006 and has 76% of its activities related to audiovisual production, in which 47% of them, are video workshops. The video workshop project "Sowing Culture", held by the group in the city of Venha Ver/RN in January 2013, was observed and analised from its conception to its realization. The research pursued to reveal how the initiatives of independent producers, such as the CC&C group, can promote the access to audiovisual culture in regions where such knowledge is limited or nonexistent, due to the poor state policies related to the culture. Methodologically, the research was structured by performing a historical and descriptive analysis of hypothetical-deductive method through participant observation. For the conceptual and theoretical development, it was addressed the Sociability, Ethnography and media activism. The research proved that the independent audiovisual producers are promoting changes in the RN audiovisual practices. Before the background featured in the research, it is proposed a prognostic from researching to opening the RN Audiovisual Observatory, a communicational tool projected as space of sharing information, thinking, speaking, contacting and promoting the audiovisual productions of the state.

A produção audiovisual do #foramicarla: características da apropriação do vídeo nos movimentos sociais em rede

Este trabalho se debruçou sobre a produção audiovisual das movimentações de protesto ocorridas em Natal, capital do Rio Grande do Norte, entre maio e junho de 2011, denominadas #ForaMicarla. Objetivou-se caracterizar esta produção numa tentativa de responder o porquê e como eles lançaram mão do vídeo em suas ações, sob as hipóteses de que a midiatização e o acesso facilitado a estas tecnologias tinham a ver com suas opções. Lançou-se mão de procedimentos histórico-dialético e teoria fundamentada (Fragoso, Recuero e Amaral), a partir das técnicas de observação não-participante, aplicação de questionário e entrevistas em profundidade. Posicionou-se estas movimentações sociais em redes, na conceituação de Castells, dentro de uma perspectiva da contra-hegemonia como uma Mídia Radical (Downing), sendo um Audiovisual de Combate (Bustos). Esta mídia possui as características do Novo Protesto (Assis), inserido no contexto da midiatização da sociedade de Verón e Sodré. Tentou-se também identificar historicamente as origens do poder hegemônico e a estrutura oligárquica, coronelística e familiar que fundou o poder no Brasil, apropriando-se do conceito de Coronelismo Eletrônico de Lima e Lopes e Assistencialismo Midiático de Guareschi, Dias e Hartmann. Através dos dados obtidos houve a emersão das categorias para análise deste tipo de audiovisual.

A linguagem audiovisual do cinema como elemento integrador da arte e ciência na formação cultural dos professores de ciências e matemática

This work aims to study about the importance of cinema for cultural and professional training of teachers of Natural Sciences and Mathematics. The educational potential of cinema is emphasizing by different authors, which also reveal the teachers' training gap in this issue (media). In this study, we defend the audiovisual language of cinema as an integrating element of Arts and Science for cultural and professional training of teachers. This subject has been developed by different authors, in which the emphasis has been the importance of intelligent dialogue with the world. Specifically, the training of science teachers and mathematics, by the approach of Cinema in its formation, It envisions the possibility of minimizing the dichotomy between humanistic and scientific training, already much discussed by some researchers. Educational products contribute to an effective experience and reflection on the cultural and educational role of the Seventh Art. Considering the Cinema as a possible "bridge" between the two cultures (scientific culture and humanistic culture) and promoting ownership of audiovisual language in teacher training It was accomplished the I Exhibition - Cultural Spring: Cinema and Science Education in UFRN. The production of the booklet "Topics of History, Language and Art of Cinema for Science and Mathematics Teachers," and its application in a short course in the XXI National Symposium on Physics Teaching also aimed to contribute to the approximation of Science and Art in training teachers.

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.

La nube como apoyo a la producción audiovisual

En esta investigación analizaremos las capacidades de la nube, centrándonos en la computación (entendiendo esta como la capacidad de procesamiento) y el almacenamiento de datos geolocalizados (redes de entrega de contenidos). Estas capacidades, unidas al modelo de negocio que implica un coste cero por aprovisionamiento y el pago por uso, además de la reducción de costes mediante sinergias y optimización de los centros de datos, suponen un escenario interesante para las PYMES dedicadas a la producción audiovisual. Utilizando los servicios en la nube, una empresa pequeña puede, en cuestión de minutos, alcanzar la potencia de procesamiento y distribución de gigantes de la producción audiovisual, sin necesidad de ocupar sus instalaciones ni pagar por adelantado el alquiler de los equipos. Describiremos los servicios de AWS (Amazon Web Services) que serían útiles a una empresa, el uso que darían de dichos servicios y su coste, y lo compararemos con el presupuesto por realizar una misma instalación físicamente en dicha empresa, teniendo que comprar e instalar los equipos.

La creación audiovisual infantil como práctica educativa. Estudio de experiencias y discursos en contexto

La presente investigación estudia sistemáticamente prácticas educativas en las que niños y niñas -entre 4 y 12 años de edad- realizan producciones audiovisuales. Las creaciones audiovisuales infantiles se abordan atendiendo a los encuadres institucionales que las promueven, sostienen y otorgan sentidos propios y específicos en cada caso. En los últimos años se ha podido observar -tanto en España como en Argentina y otros países de Europa y América- el surgimiento y desarrollo de numerosas propuestas educativas cuyo fin es que los niños y niñas realicen obras audiovisuales. La expansión de estas prácticas se produce en un entorno social atravesado por la disponibilidad y accesibilidad de dispositivos tecnológicos que permiten la producción audiovisual desde edades muy tempranas. Sin embargo, el componente tecnológico es sólo una parte del fenómeno. En estas prácticas educativas se despliegan diferentes maneras de concebir el cine y lo audiovisual, variados propósitos formativos, numerosas estrategias de enseñanza, dinámicas de trabajo grupal y vínculos con la comunidad. En este contexto, los objetivos del estudio son: - Identificar y describir proyectos y programas educativos en los que niños y niñas entre 4 y 12 años realizan piezas audiovisuales. - Caracterizar los contextos socio-educativos e institucionales en los que se desarrollan proyectos de creación audiovisual con niños y niñas. - Indagar y establecer las concepciones de educación, las concepciones de arte y de lo audiovisual implicadas en cada uno de los proyectos/programas. - Recuperar y analizar los discursos pedagógicos, expresivos/artísticos, sociales y políticos implicados en cada una de las propuestas; establecer sus propósitos, contenidos y estrategias didácticas. - Analizar sistemáticamente las realizaciones de los niños y niñas; identificar preferencias temáticas, estilísticas, sentidos y significados...

Do Social Crises Cause Religious Revivals? What British Church Adherence Rates Show

Funding Some of author A’s research alluded to here was conducted while on a Leverhulme Senior Research Fellowship. Author B’s research is supported by the ESRC Research Centre XXX.

Hacia una metodología activa para el estudio de la narración audiovisual a través del videojuego

El proyecto “Hacia una metodología activa para el estudio de la narración audiovisual a través del videojuego” nace de la necesidad de potenciar la dinámica de las clases tanto dentro como fuera del aula. Por ello, nos hemos servido del gran atractivo que ofrecen los videojuegos, utilizando las mecánicas y dinámicas del juego para ahondar en las materias impartidas en Narrativa Audiovisual y así desempeñar un nuevo sistema de aprendizaje más dinámico y participativo.