72 resultados para PLAYBACK
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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
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Sampling owls in a reliable and standardized way is not easy given their nocturnal habits. Playback is a widely employed technique to survey owls. We assessed the influence of wind speed, temperature, air humidity, and moon phase on the response rate of the Tropical Screech Owl Megascops choliba and the Burrowing Owl Athene cunicularia in southeast Brazil. Tropical Screech Owl occurs in scrubland and wooded habitats, whereas the Burrowing Owl inhabits open grasslands to grassland savannah. Sixteen survey points were systematically distributed in four different landscape types, ranging from open grassland to woodland savannah. Field work was conducted in 2004 from June to December, the reproductive season of the two owl species. Our study design consisted of eight field expeditions of five nights each; four expeditions occurred under full moon and four under new moon conditions. At each survey station, we performed a broadcast/listening sequence involving several calls and vocalizations from each species, starting with Tropical Screech Owl (the smaller species). From 112 sample periods for each species within their respective preferred habitats, we obtained 54 responses from Tropical Screech Owl (48% response rate) and 30 responses (27% response rate) from Burrowing Owl. We found that the response rate of Tropical Screech Owl increased under conditions of higher temperature and air humidity, while the response rate of Burrowing Owl was higher during full moon nights.
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Il lavoro presentato ha avuto l’obiettivo, attraverso lo studio dei più comuni servomotori stepper, di replicare profili di accelerazione registrati o definiti con l’utilizzo di una piattaforma hardware Arduino in grado di salvare ed elaborare dati. Per raggiungere tale risultato è stato realizzato un braccio meccanico in grado di replicare l’accelerazione su un singolo asse di interesse. L’intento del progetto è fungere da base per l’elaborazione di un dispositivo a tre assi utilizzabile in maniera estesa nei diversi campi in cui i fenomeni vibrazionali possono essere di rilievo.
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Humpback whale ‘‘social sounds’’ appear to be used in communication when whales interact but they have received little study in comparison to the song. During experiments as part of the Humpback whale Acoustics Research Collaboration (HARC), whales migrating past the study site on the east coast of Australia produced a wide range of social sounds. Whales were tracked visually using a theodolite and singers were tracked acoustically using an array of five widely spaced hydrophones. Source levels of social sounds were calculated from the received level of the sounds, corrected for measured propagation loss. Playbacks of social sounds were made using a J11 transducer and the consequent reactions were recorded in terms of the change in direction of the migrating whales in relation to the playback position. In one playback, a DTAG was place on a female with calf. Playback of social sounds resulted in significant changes in the course of the migrating whales, in some cases towards the transducer while in others it was away from the transducer. From the estimates of source levels it is possible to assess the effectiveness of the playback and the range of influence of social sounds. [Work supported by ONR and DSTO.]
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In this work, we investigate a new objective measurement for assessing the video playback quality for services delivered in networks that use TCP as a transport layer protocol. We define the new metric as pause intensity to characterize the quality of playback in terms of its continuity since, in the case of TCP, data packets are protected from losses but not from delays. Using packet traces generated from real TCP connections in a lossy environment, we are able to simulate the playback of a video and monitor buffer behaviors in order to calculate pause intensity values. We also run subjective tests to verify the effectiveness of the metric introduced and show that the results of pause intensity and the subjective scores made over the same real video clips are closely correlated.
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Unlike humans, who communicate in frequency bands between 250 Hz and 6 kHz, rats can communicate in frequencies above 18 kHz. Their vocalization types depend on the context and are normally associated to subjective or emotional states. It was reported significant vocal changes due to administration of replacement testosterone in a trained tenor singer with hypogonadism. Speech-Language Pathology clinical practices are being sought by singers who sporadically use anabolic steroids associated with physical exercise. They report difficulties in reaching and keeping high notes, ""breakage"" in the passage of musical notes and post singing vocal fatigue. Those abnormalities could be raised by the association of anabolic steroids and physical exercise. Thus, in order to verify if this association could promote vocal changes, maximum, minimum and fundamental frequencies and call duration in rats treated with anabolic steroids and physically trained (10 weeks duration) were evaluated. The vocalizations were obtained by handling the animals. At the end of that period, rats treated and trained showed significant decrease in call duration, but not in other parameters. The decrease in call duration could be associated to functional alterations in the vocal folds of treated and trained animals due to a synergism between anabolic steroids and physical training. (C) 2010 Acoustical Society of America. [DOI: 10.1121/1.3488350]
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The objectives of this study were to check music and voice message influence on vital signs and facial expressions of patients with disorders of consciousness and to connect the existence of patient`s responses with the Glasgow Coma Scale or with the Ramsay Sedation Scale. The method was a single-blinded randomized controlled clinical trial with 30 patients, from two intensive care units, being divided into two groups (control and experimental). Their relatives recorded a voice message and chose a song according to the patient`s preference. The patients were submitted to three sessions for three consecutive days. Significant statistical alterations of the vital signs were noted during the message playback (oxygen saturation-Day 1 and Day 3; respiratory frequency-Day 3) and with facial expression, on Day 1, during both music and message. The conclusion was that the voice message was a stronger stimulus than the music.
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Mestrado em Engenharia Electrotécnica e de Computadores
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Radio interference drastically affects the performance of sensor-net communications, leading to packet loss and reduced energy-efficiency. As an increasing number of wireless devices operates on the same ISM frequencies, there is a strong need for understanding and debugging the performance of existing sensornet protocols under interference. Doing so requires a low-cost flexible testbed infrastructure that allows the repeatable generation of a wide range of interference patterns. Unfortunately, to date, existing sensornet testbeds lack such capabilities, and do not permit to study easily the coexistence problems between devices sharing the same frequencies. This paper addresses the current lack of such an infrastructure by using off-the-shelf sensor motes to record and playback interference patterns as well as to generate customizable and repeat-able interference in real-time. We propose and develop JamLab: a low-cost infrastructure to augment existing sensornet testbeds with accurate interference generation while limiting the overhead to a simple upload of the appropriate software. We explain how we tackle the hardware limitations and get an accurate measurement and regeneration of interference, and we experimentally evaluate the accuracy of JamLab with respect to time, space, and intensity. We further use JamLab to characterize the impact of interference on sensornet MAC protocols.
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Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro – especialização em Teatro e Comunidade.
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A evolução tecnológica das últimas décadas na área das Tecnologias da Informação e Comunicação (TIC) contribuiu para a proliferação de fontes de informação e de sistemas de partilha de recursos. As diversas redes sociais são um exemplo paradigmático de sistemas de partilha tanto de informação como de recursos (e.g. audiovisuais). Essa abundância crescente de recursos e fontes aumenta a importância de sistemas capazes de recomendar em tempo útil recursos personalizados, tendo por base o perfil e o contexto do utilizador. O objetivo deste projeto é partilhar e recomendar locais, artigos e vídeos em função do contexto do utilizador assim como proporcionar uma experiência mais rica de reprodução dos vídeos partilhados, simulando as condições de gravação dos vídeos. Este sistema teve como inspiração dois projetos anteriormente desenvolvidos de partilha e recomendação de locais, artigos e vídeos turísticos em função da localização do utilizador. O sistema desenvolvido consiste numa aplicação distribuída composta por um módulo cliente Android, que inclui a interface com o utilizador e o consumo direto de serviços externos de suporte, e um módulo servidor que controla o acesso à base de dados central e inclui o serviço de recomendação baseado no contexto do utilizador. A comunicação entre os módulos cliente e servidor utiliza um protocolo do nível de aplicação dedicado. As recomendações geradas pelo sistema têm por base o perfil de utilizador, informação contextual (posição do utilizador, data e hora atual e velocidade atual do utilizador) e podem ser geradas a pedido do utilizador ou automaticamente, caso sejam encontrados pontos de interesse de grande relevância para o utilizador. Os pontos de interesse recomendados são apresentados com recurso ao Google Maps, incluindo o período de funcionamento, artigos complementares e a reprodução imersiva dos vídeos relacionados. Essa imersão tem em consideração as condições meteorológicas, temporais e espaciais aquando da gravação do vídeo.
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Treball de recerca realitzat per un alumne d'ensenyament secundari i guardonat amb un Premi CIRIT per fomentar l'esperit científic del Jovent l'any 2009. L’objectiu d’aquest treball de recerca és la creació d’un dispositiu encarregat de centralitzar totes les necessitats multimèdia de casa nostra i distribuir aquest contingut a tots els terminals de la xarxa local d’una manera senzilla i automatitzada. Aquest dispositiu s’ha dissenyat per estar connectat a una televisió d’alta definició, que permetrà la reproducció i l’organització de tot el nostre multimèdia d’una manera còmoda i fàcil. El media center s’encarrega de gestionar la nostra filmoteca, fototeca, biblioteca musical i sèries de TV de manera transparent i automàtica. A més a més, l’usuari pot accedir a tot el multimèdia emmagatzemat al media center des de qualsevol dispositiu de la xarxa local a través de protocols com CIFS o UPnP, en un intent de replicar el cloud computing a escala local. El dispositiu ha estat dissenyat per a suportar tot tipus de formats i subtítols, assegurant la compatibilitat total amb arxius lliures de DRM. El seu disseny minimalista i silenciós el fa perfecte per a substituir el reproductor de DVD de la sala. Tot això sense oblidar el seu baix consum, de l’ordre d’un 75% inferior al d’un PC convencional.
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Adult animals can eavesdrop on behavioral interactions between potential opponents to assess their competitive ability and motivation to contest resources without interacting directly with them. Surprisingly, eavesdropping is not yet considered as an important factor used to resolve conflicts between family members. In this study, we show that nestling barn owls (Tyto alba) competing for food eavesdrop on nestmates' vocal interactions to assess the dominance status and food needs of opponents. During a first training playback session, we broadcasted to singleton bystander nestlings a simulated vocal interaction between 2 prerecorded individuals, 1 relatively old (i.e., senior) and 1 younger nestling (i.e., junior). One playback individual, the "responder," called systematically just after the "initiator" playback individual, hence displaying a higher hunger level. To test whether nestlings have eavesdropped on this interaction, we broadcasted the same prerecorded individuals separately in a subsequent playback test session. Nestlings vocalized more rapidly after former initiators' than responders' calls and they produced more calls when the broadcasted individual was formerly a junior initiator. They chiefly challenged vocally juniors and initiators against whom the likelihood of winning a vocal contest is higher. Owlets, therefore, identified the age hierarchy between 2 competitors based on their vocalizations. They also memorized the dynamics of competitors' previous vocal interactions, and used this information to optimally adjust signaling level once interacting with only 1 of the competitor. We conclude that siblings eavesdrop on one another to resolve conflicts over parental resources.
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A travelogue to serkamoan theater deals, just like its name implies, with the molding process of one theater opinion. It has been influenced by both Aristotle's poetry and Bertold Brecht's epic theater. Side by side with theater goes dance, whose development the thesis also considers briefly. Of today's theater makers, Päivi Ketonen (playback theater), Juha Hurme and Nigel Charnock (dance theater) have had a definitive impact on the Serkamoan theater view. Their relation to theater and dance is clarified in the interviews conducted by the writer, which can be found in their entirety among the appendices of this thesis. Serkamoan theater has also been influenced by the writer's studies in Portuguese theater school in 2004. In Portugal the writer had a chance to work a theater piece in a new cultural environment where, for example, a novel and paintings were used as inspiration. The strongest legacy from Portugal however was the desire to do theater that can be understood without words. Serkamoan theater considers the combinations of theater and dance in performing arts, agreeing with, among others, Pina Bausch's footsteps. Serkamoan theater ladles its inspiration from theater, dance, human being, human body and movement. It is theater that cannot be understood through intellect but through the heart.
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This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.