Dissertations / Theses: 'An audio file'

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Buonviri, Nathan. "Audio-OnlyTest [Digital File]." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254227.

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Music Education Ph.D. The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students. Temple University--Theses

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Buonviri, Nathan. "Audio-VisualTest [Digital File]." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254228.

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Music Education Ph.D. The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students. Temple University--Theses

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Wang, Edward M. 1976. "Supreme Court audio file search engine." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/17997.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2004. Includes bibliographical references (leaves 73-74). Search engines have evolved from simple text indexing to indexing other forms of media, such as audio and video. I have designed and implemented a web-based system that permits people to search the transcripts of selected Supreme Court cases, and retrieve audio file clips relevant to the search terms. The system development compared two implementation approaches, one based on transcript aligning technologies developed by Hewlett-Packard, the other is a servlet-based search system designed to return pre-parsed audio file clips. While the first approach has the potential to revolutionize audio content search, it could not consistently deliver successively parsed audio file clips with the same user friendly content and speed as the simpler second approach. This web service, implemented with the second approach, is currently deployed and publicly available at www.supremecourtaudio.net . by Edward M. Wang. M.Eng.

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Vidiksis, Adam. "Vidiksis-Transfigurations [Digital File]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/253842.

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Music Composition D.M.A. Transfigurations is a symphonic work in one movement for orchestra and live computer processing utilizing the graphical audio programming language Pure Data. The score and patch for this piece are accompanied by an essay describing the audio processing techniques and the compositional processes employed in this work. Programming methods discussed include strategies for data capture, patch structure, user interface, and processor management. All audio processing in the work is realized in realtime. These sounds are derived directly from the orchestra in performance, except for the last. The processes involved in Transfigurations include pitch and amplitude tracking, pitch-shifting, filtering, frequency and amplitude modulation, granular synthesis, delay, and convolution. The final sounds from the computer employ stochastic processes for synthesis which are derived from the germinal materials of the piece. The essay also discusses the aesthetic philosophy and formal structure of the work, principle themes and motives, and formative pitch materials, as well as the compositional processes in each section. The final discourse of the essay considers microphone and loudspeaker setups, patch preparation and leveling, and strategies for rehearsal and performance. Temple University--Theses

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Sibanda, Phathisile. "Connection management applications for high-speed audio networking." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1006532.

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Traditionally, connection management applications (referred to as patchbays) for high-speed audio networking, are predominantly developed using third-generation languages such as C, C# and C++. Due to the rapid increase in distributed audio/video network usage in the world today, connection management applications that control signal routing over these networks have also evolved in complexity to accommodate more functionality. As the result, high-speed audio networking application developers require a tool that will enable them to develop complex connection management applications easily and within the shortest possible time. In addition, this tool should provide them with the reliability and flexibility required to develop applications controlling signal routing in networks carrying real-time data. High-speed audio networks are used for various purposes that include audio/video production and broadcasting. This investigation evaluates the possibility of using Adobe Flash Professional 8, using ActionScript 2.0, for developing connection management applications. Three patchbays, namely the Broadcast patchbay, the Project studio patchbay, and the Hospitality/Convention Centre patchbay were developed and tested for connection management in three sound installation networks, namely the Broadcast network, the Project studio network, and the Hospitality/Convention Centre network. Findings indicate that complex connection management applications can effectively be implemented using the Adobe Flash IDE and ActionScript 2.0.

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Андрейко, Лариса Володимирівна, Лариса Владимировна Андрейко та Larysa Volodymyrivna Andreiko. "Використання подкастів при викладанні англійської мови у вищій школі". Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/67066.

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На сучасному етапі розвитку технологій викладання англійської мови як іноземної стає ще більш захоплюючим процесом. В арсеналі викладачів є безліч потужних інтернет ресурсів, які мають величезний навчальний потенціал. Одним з таких інструментів є подкаст.

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Антипин, А. Ф. "Схема интервализации звуковых файлов на основе интервально-логических регуляторов". Thesis, Сумский государственный университет, 2014. http://essuir.sumdu.edu.ua/handle/123456789/39118.

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Звук в цифровом виде – есть совокупность байтов, которую можно анализировать, используя методы математического анализа.Чтобы получить данные из файлов предлагается использовать методы интервально-логических регуляторов

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Morimoto, Norishige. "Techniques for data hiding in audio files." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/11422.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1995. Includes bibliographical references (leaves 75-76). by Norishige Morimoto. M.S.

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Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.

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Thesis (M.Mus.)--University of Stellenbosch, 2006. ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application. AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.

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Scovell, Adam. "The audio-visuality of transcendental style in film." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/24281/.

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Transcendental style in film is an expression of spiritual, ineffable and even holy subjects, often conveyed via a reduction of cinematic aesthetics and further aided by narratives of hardship. In audio-visual studies, the concept of the transcendental has been a consistent presence, especially in descriptive language concerned with the use of music in film, due in part to music’s abstract, ineffable form. Film studies, on the other hand, have been more concerned with the notion of the transcendental as a reception effect, linked to an aesthetic style rather than simply a formal outcome. In this thesis, the various aspects of a transcendental style will be addressed within a cinematic context with two aims: • To highlight a neglect of aural analysis within the cinematic realm of transcendental studies. • To critique the etymological and philosophical assumptions regarding the transcendental elements found in the language of audio-visual scholarship. The labelling of something as transcendental is simultaneously distinctive and vague. This duality allows writers to identify aspects of audio-visual work that are ultimately beyond the reach of language-based communication. The word has complex connotations within a variety of different philosophical and theological movements, and the use within cinematic academia - as a descriptor of an aesthetic style - is equally as complex. In his 1972 work, Transcendental Style in Film, Paul Schrader suggested a transcendental potential within cinema through discussing a number of temporal means and aesthetics. Music is mostly absent from his analysis, however. Film supposedly needs to move from "abundance" to "stasis" and this is often suggested by the reduction of the general cinematic style and the removal of music due to its editorial intonation. I argue, on the contrary, that music and sound used in specific ways can inform the viewer of transcendental qualities and create both old and new ways of expressing transcendence. What my thesis will show is how this is achieved by a number of different filmmakers with emphasis on their aural character as well as the aural potential already found within previous theorisations of the style.

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Phillips, Nicola Jane. "Audio-visual scene analysis : attending to music in film." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251745.

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Watson, Mark Lee. "A multiple-film magnetoresistive replay head, for audio applications." Thesis, University of Plymouth, 1986. http://hdl.handle.net/10026.1/2548.

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Sensors have been fabricated, which are able to read the information stored on magnetic tape using the anisotropic magnetoresistance effect. These have major advantages over conventional replay heads in that they are multi-track devices, with very small trackwidths. To overcome the signal limitation imposed by the reduced trackwidth the sensor consists of two long magnetoresistive elements which are folded together. By differentially sensing the magnetoresistive signal in each of the elements second harmonic distortion can be removed. To improve the linearity of the magnetoresistive response, the sensors are arranged in such a way that the sensor signal current in each of the elements provides the field necessary to correctly bias the head. A theoretical evaluation of the bias field for all configurations of element has been performed, and was found to fit experimental data. Sixteen tracks are provided across the width of a compact cassette tape, and the design specifically allows the finished sensors to be packaged using standard components. Several performance related features have been considered, and various other fabrication aids included on the photomasks used to build the sensors. These photomasks are provided by the S.E.R.C. from an original computer program written in a graphics language, which defines the size and shape of the various elements making up the device. The heads are fabricated using photolithographic methods, from thin films of several materials all of which are R.F. sputtered. To improve the performance of the sensors, various electro-magnetic properties of the magnetoresistive layers have been measured using apparatus built especially for the purpose. These properties have been optimised by varying the bias potential used in the sputtering process. The finished heads have been tested, and have been found to compare well with the theory derived to describe their performance.

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Joost, Gesche. "Bild-Sprache die audio-visuelle Rhetorik des Films." Bielefeld Transcript, 2007. http://d-nb.info/988718162/04.

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Roffler, Mario. "Professionalität in Schweizer Audit Committees." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/04607396001/$FILE/04607396001.pdf.

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Matter, Sandro. "Internes Audit bei den Kantonalbanken - Eine empirische Untersuchung." St. Gallen, 2004. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/01652361001/$FILE/01652361001.pdf.

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Weber, Thomas. "Marketing Audit Ein kritischer Vergleich unterschiedlicher Vorgehensweisen in der Praxis /." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03607892001/$FILE/03607892001.pdf.

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Swenberg, Thorbjörn. "Framing the Gaze : (Audio-) Visual Design Intentions and Perceptual Considerations in Film Editing." Doctoral thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-35769.

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The theme for this doctoral thesis focuses on how a film editor strives actively to perceptually frame and direct the film viewer’s gaze across film edits. The editor’s (audio-)visual intentions concerning the film viewing correspond to perceptual considerations that the editor makes during film editing. Film editing in this thesis is considered as a kind of design work, foremost motivated by the possibilities of many new approaches, questions, and answers that a design perspective brings, stretching well beyond what previously adopted perspectives have done. The research questions asked, as well as the presented results, are discussed with regard to design theory, established film production field knowledge, and perception research. Apart from considering audiovisual perception in a film editing context, film editing is also discussed as audiovisual design, and tentative implications for the role of perception in other kinds of design work are pointed out. The results of my analyses are that there is reason to consider parts of film production as design work; that properties of an audiovisual material affect the creative space; that perceptual considerations are a significant part of the film editor’s treatment of the audiovisual material; that film viewers’ response to film edits varies with the shape of the edits; and that this variation is possible to link with the film editor’s intention regarding the edits, as well as to the degree of fulfillment of the intention. I conclude that perceptual precision at the edit point is decisive for attaining a desired film-viewing decoding of a film sequence, and that when the perceptual precision is low, it is likely that the perceived continuity of the film fails. The contribution of this doctoral thesis is that it drives the investigation of actual appliance of perception as audiovisual knowledge in film editing. Hence, it also adds to the more general discussion on perception as part of audiovisual thinking, and how audiovisual knowledge is formed. The thesis contributes to the area of Innovation and Design through its mix of methods, since the main study considers the creation of new artefacts, the thinking going on during that process, as well as human responses to the artefacts. Conclusively, the thesis provides a thorough example of how a design research perspective can add to the understanding of film production, and its trades and activities. Temat för denna doktorsavhandling är hur det går till när en filmklippare aktivt strävar emot att perceptuellt fånga in och styra sin filmtittares blick över filmklipp. Klipparens (audio-)visuella intentioner med filmtittandet motsvaras av perceptuella överväganden som klipparen gör under klipparbetet. Klipparbetet motiveras i denna avhandling som ett designarbete, främst för att ett designperspektiv på filmproduktion har möjligheter att bidra med många nya infallsvinklar, frågeställningar och svar, som sträcker sig bortom vad tidigare tillämpade perspektiv gör. De forskningsfrågor som ställs, och de svar som presenteras, diskuteras sedan gentemot designteori, etablerad filmproduktionskunskap och perceptionsforskning. Utöver att audiovisuell perception beaktas inom filmklippningskontexten, diskuteras även filmklippning som audiovisuell design, och kopplingar görs till annat designarbete och möjliga implikationer för perceptionens roll i dessa sammanhang. Data om klipparbetet har skapats via videoinspelade deltagande observation där även fortlöpande skärminspelningar skett, medan en filmklippare färdigställde en dokumentärfilmsekvens. Utifrån dessa inspelningar har sedan en elicitering med filmklipparen skett. På så vis har klipparens intentioner och möjliga beaktande av perceptuella faktorer fångats in. Klipparens intentioner avseende filmtittare har sedan testats via ögonrörelsestudier där tittarnas ögondata samlats in medan de tittat på den skapade filmsekvensen. Resultaten av mina analyser är att det finns skäl att betrakta delar av filmproduktion som designarbete, att audiovisuella materialegenskaper påverkar det kreativa utrymmet, att perceptuella hänsyn ingår som en väsentlig del av filmklipparens bearbetning av det audiovisuella materialet, att filmtittares respons på filmklipp varierar med hur klippen är utformade, samt att man kan koppla denna variation till filmklipparens intention med klippen, och graden av intentionens uppfyllelse. Jag drar slutsatserna att perceptuell precision i klippunkten är avgörande för att uppnå en önskad avkodning av en filmsekvens för tittarens del, samt att när den perceptuella precisionen är låg är det troligt att den upplevda kontinuiteten hos filmen fallerar. Doktorsavhandlingens bidrag är att den hjälper till att reda ut den faktiska tillämpningen av perceptionen som audiovisuell kunskap i filmklippning. Men den bidrar därmed även till en mera generell diskussion om perception som en del av audiovisuellt tänkande och formerandet av audiovisuell kunskap. Avhandlingen bidrar till området Innovation och Design genom sin blandning av metoder, eftersom huvudstudien rör skapandet av nya artefakter och tänkande som pågår inom denna process, liksom mänsklig respons på dessa artefakter. Slutligen bidrar avhandlingen med ett genomgripande exempel på hur ett designforskningsperspektiv kan bidra till att förstå delar av filmproduktion, och de yrken och aktiviteter som sker där.

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Gouws, Eugene. "Audio Signal Processing in Ironman A development of film music analysis from a perspective of music technology." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63617.

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The advances in music technology and cinematography in recent years has granted a higher level of importance to the film music. There exists a gap in the academic study of film music as it relates to music technology, as no appropriate methodology exists that can accurately measure the contribution that music technology makes towards the music as it exists in film. This study aims to contribute towards existing methodologies for analysing film music, but from the perspective of music technology, and more specifically how audio processing in the domains of dynamic, spectral, spatial and temporal processing contribute towards the music in the film. This is achieved by building on the proposed methodologies of the study of film music as proposed by Kassabian (2009) and Altman (2000). This new method can be utilized to create a reference list of contributions that audio processing can make towards the soundtrack of a film by isolating the particular contribution that every moment of music is contributing to the film, and then finding how audio processing adds to this. Mini Dissertation (MMus)--University of Pretoria, 2017. Music MMus Unrestricted

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Hayes, Martin. "The degradation of poly(ethylene terephthalate) cinematograph film and audio-visual magnetic recording media." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385892.

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Prykhodko, S. B. "Application of Nonlinear Stochastic Differential Systems for Data Protection in Audio and Graphics Files." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/41209.

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Data protection in audio and graphics files is one of the significant problems in information security area. This problem is usually solved with cryptographic methods in computer systems, but new solutions are still being searched for. Application of nonlinear stochastic differential systems (SDSs) is one of such new methods [1].

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Wilkie, Sonia. "The effect of audio cues and sound source stimuli on looming perception." Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8974.

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Objects that move in depth (looming) are ubiquitous in the real and virtual worlds. How humans interact and respond to these approaching objects may affect their continued survival in both the real and virtual words, and is dependent on the individual's capacity to accurately interpret depth and movement cues. In computer-generated environments, including hyper and virtual reality,film, and gaming, these cues are often complex sounds with multiple audio cues that are creatively designed for maximum effect. To accurately generate a dynamic and rich perception of looming objects, the design of such complex stimuli should be based on a firm scientific foundation that encompasses what we know about how people visually and aurally perceive events and interactions. Conversely, many psychological studies investigating auditory looming depict the object's movement using simple audio cues, such as an increase in the amplitude, which are applied to tones that are not regularly encountered in the natural world, such as sine, triangle, or square waves. Whilst the results from these studies have provided important information on human perception and responses, technological advances now allow us to present complex audiovisual stimuli and to collect measurements on human perception and responses to real and hyper-real stimuli. The research in this thesis begins to address the gap that exists between the research corpus and industry usage. This is initially accomplished by conducting a feature analysis of the audio cues and complex sounds constructed by sound designers for film scenes presenting objects moving in depth. This is followed by a perceptual study measuring human responses, both physical and emotional, to the complex audio cues designed for the film scenes. Using physical models, we then select a number of audio cues for closer inspection and introduce the parameter of `room reflections' as an audio cue. We investigate whether or not human responses to various audio cues differ when they are presented individually or in combination, or when they are applied to an artificial (square wave) sound source or a real world sound source. Finally, we test the capacity of these audio cues to bias multimodal auditory-visual perception of an approaching object.

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Kleiderman, Valeska. "Funktionen und Rollen von Ausschüssen mit besonderer Berücksichtigung von Audit Committees eine Vergleichsstudie Deutscher und Schweizer börsenkotierter Grossunternehmen /." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/04608253002/$FILE/04608253002.pdf.

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Bubalovic, Mato. "Auswirkungen der Corporate Governance auf die Verantwortlichkeit des Verwaltungsrates Am Beispiel des Audit Committee /." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/04606307004/$FILE/04606307004.pdf.

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Johansson, Fredrik, and Johan Herzelius. "Utvärdering av mikrofoner för hörselhjälpmedel." Thesis, Karlstads universitet, Fakulteten för teknik- och naturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31646.

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Syftet med detta examensarbete var att undersöka MEMS och elektretmikrofoner för att finna vilken typ som lämpar sig bäst för företaget Comfort Audio AB och deras hörselhjälpmedelsprodukter. Utöver detta undersöktes möjligheter att kontrollera upptagningskarakteristik med hjälp av en teknik vid namn end-fire. Resultaten har erhållits genom att undersöka ett antal elektroakustiska egenskaper hos olika mikrofoner, som sedan har jämförts med respektive tillverkares tekniska specifikationer. Upptagningskarakteristiken har undersökts genom konstruktion av en mikrofonuppsättning där den summerade signalen undersökts. Analys av signalstyrka och frekvensinnehåll har sedan resulterat i polärdiagram, där upptagningskarakteristik visas. Specifikationer samt egna beräkningar och mätningar visar att MEMS kan vara ett alternativ till elektretmikrofoner. Riktad upptagning kunde påvisas i end-fire konstruktionen. The purpose of this study was to investigate MEMS and electret microphones to find the best suited microphone type for the company Comfort Audio AB and their hearing aid products. The study also investigated the possibilities to control microphone polar pattern by using a method called end-fire. The results have been obtained by examining a number of electro-acoustic properties of different microphones, which have been compared with the manufacturer's specifications. Polar patterns have been studied by construct an end fire array. Analysis of the signal content has resulted in polar diagrams, where characteristics are displayed. The specifications of the manufacturer’s, our own calculations and measurements shows that MEMS could be an alternative to electret microphones. Difference in polar characteristics was proved in the end-fire array.

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Moraitis, Catherine. "The art of David Lean : a textual analysis of audio-visual structure /." [Milton Keynes] : Authorhouse, 2004. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781420899504.

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Nilsson, Louise, and David Andersson. "The Power of Audio narrative : Ljudberättelse som belyser nätmobbning." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19951.

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I det här kandidatarbetet har vi genom enbart ljudberättande försökt ta reda på hur vi kan belysa det viktiga ämnet nätmobbning. Vi har genom ett antal källor om ljudberättande med och utan visuellt stöd, tagit med allt viktigt i berättande för att sedan skapa en egen historia som ska beröra. Viktigt att ljuden är igenkänningsbara, att lyssnaren vet vad som händer och att det inte får upplevas otydligt i sammanhanget. Vi vill genom den här undersökningen beröra människor till att våga prata om psykisk ohälsa. Vi valde därför att använda oss utav X for Change, ett designperspektiv som grundar sig inom spelvärlden, men dess tankar och riktlinjer går att anpassa inom ljud likaväl genom vår tolkning. För att genomföra kandidatarbetet har vi använt mindmapping och brainstorming för att ta fram ett manus och innehåll. Vi har genom intervjuer tagit del av människors egna upplevelser kring psykisk ohälsa och applicerat de känslor som återkom, nämligen ensamhet, rädsla och svartsjukan att ‘varför just jag, varför ingen annan’. Vikten för oss har varit att få med känslan, genom de ljudeffekter och ambienser vi spelat in genom med Foley. För att strukturera upp det här arbetet har vi använt agila projektmetoder. Designprocessen delas upp i fyra delar, design phase I-III samt färdig gestaltning, där vi går från idé till färdig gestaltning. Vi presenterar de val vi gjort, tekniker vi använt, specifika delar från forskningen som speglar det vi gjort samt varför vissa förändringar gav positivt resultat. Resultatet i sin tur presenterar åsikter om vi anser vi lyckats, vad vi mer fått fram från undersökningen samt relationen mellan gestaltningen och frågeställning samt syfte. Vi avslutar med diskussion där vi kritiskt granskar arbetet och diskuterar problematiken genom valda frågor. In this Bachelor Thesis we have used sound narrative only, to investigate how to illuminate the important topic, cyber bullying. We have gone through several sources of Audio storytelling with and without anything visual to support. The sources included everything we find important in storytelling, to create our own history and hopefully affect people. It’s important that the listener will recognize the sounds, so they do know what is happening. The story will not be unclear in the context for the listeners. Through this study, we want to affect people, to dare to talk about mental illness, so we have chosen X for Change as our design perspective. X for Change is based in the gaming world, but its thoughts and guidelines can be adapted within sound, as well as in according to our interpretation. We´ve accomplished this Bachelor Thesis, by creating a script and content through mind mapping and brainstorming. We collect information about mental illness by interviewing people about their experiences. The results of most of the interviews applied the feeling that kept coming back, which was loneliness, fear and jealousy like ‘why me, why not someone else’. For us it has been important to get the feelings right, through the sound effects and ambiences we have recorded, are the most important in this project, thanks to the techniques of Foley. We have used agile project methods to structure our work process in this Bachelor Thesis. The design process we used is divided into four parts, design phase I-III and the finished design. We will go from idea to the finished design. We will also present the choices we faced and the techniques we decided to use, specific parts of research that reflect what we have done, and why some changes made a positive result in the end. The result will be presented and our opinions on whatever we succeed or do not succeed in the relationship between the design, our question and our purpose. At the end of this essay we will discuss our critical review on this work by asking selected questions that we have made ourselves.

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Erik, Rosshagen. "Sync Event : The Ethnographic Allegory of Unsere Afrikareise." Thesis, Stockholms universitet, Institutionen för mediestudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131291.

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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.

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Savary, Eric. "Conception et intégration d'une électronique de conditionnement pour un capteur audio à base de nano-fils de silicium." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM4716.

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Les microphones sont des capteurs qui permettent à nos systèmes électroniques de prendre connaissance de notre environnement acoustique en fournissant un signal électrique représentatif des vibrations de l’air. Ils sont employés dans la plupart des systèmes multimédia, mais aussi dans les appareils auditifs. Dans l’implant auditif, le microphone se substitue à l’oreille humaine capable de détecter des pressions acoustiques variants de quelque μPa à quelques Pa. Les microphones, sont en général accompagnés d’un circuit électronique spécifique qui permet leur exploitation au coeur d’un système hétérogène. Depuis les toutes premières transductions acoustique-électriques, le microphone a été perfectionné avec la mise en oeuvre de nouveau principes de transduction et l’élaboration de circuit de conditionnement plus performants. Dernièrement, l’introduction de la technologie MEMS (Micro Electro Mechanical Systems) a permis de réaliser des microphones extrêmement compacts et peu couteux. Ces travaux de recherches concernent la réalisation d’un circuit électronique dédié à l’exploitation d’un transducteur M&NEMS (Micro & Nano Electro Mechanical Systems) survenant comme une évolution du MEMS. Pour commencer l’étude, le principe de transduction et l’application du microphone sont étudiés. Les circuits existants sont examinés en détail et adaptés au transducteur M&NEMS. Les résultats potentiels sont discutés et situés dans l’application. Dans un second temps, un circuit de conditionnement spécifique est proposé. Les résultats sont présentés puis le circuit électronique dédié est intégré sur silicium. Les performances des blocs fonctionnels intégrés sont mesurées et présentées Microphones are sensors which allow gauging acoustic environment through an electric representation of vibrations in the air. They can be found in most multimedia equipment and in hearing aids. In this particular application, microphone substitutes a human ear which is able to sense pressure level of sound ranging from a μPa to few Pa. The read-out circuit of microphones converts physical signal from transducer into electronic signals that can be used in any heterogeneous system involving audio processing. Transducers of microphones have known successive generation of improvement. The latest refinement is related to the emergence of MEMS (Micro Electro Mechanical Systems) technology which is suitable to build compact sensor. This thesis explores the design of a readout-circuit using an innovative M&NEMS (Micro & Nano Electro Mechanical Systems) technology derived from MEMS. The thesis is structured beginning with review of existing circuits for M&NEMS microphone. A comparative study is reported considering the proposed technical specifications using simulations and a prototype was realized using discrete components. In the second phase, an innovative circuit was proposed as an ASIC solution targeting M&NEMS technology developed at CEA-LETI. The performance evaluation and the physical measurements of the proposed ASIC are detailed

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Nyqvist, Simon J. "What Audio Quality Attributes Affect the Viewer's Preference, Comparing Overhead and Underneath Boom Microphone Techniques." Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68789.

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The boom microphone has been used to record dialogue on a film set for decades. As a boom operator it can be difficult in certain situations to acquire an ideal placement for the boom microphone. It depends on the frame and the lighting on the set. There are situations where the boom operator is forced to place the microphone underneath the actors instead of the standard overhead position. To investigate the difference between these techniques, and what audio quality attributes that affect the viewers’ choice of preference, a listening test has been constructed. The subjects were instructed to choose preferences in four trials of stimuli that had been recorded with both microphone techniques. To collect further data the subjects were also instructed to describe the differences they perceived between the stimuli. A statistically significant result was not found, except for one of the trials, the trained listeners preferred the underneath microphone technique for the second female stimuli. A difference between the techniques was difficult to determine from the answers given by the subjects. The conclusion was made that there is not a clear preference between the microphone techniques. Even though one of the trials was significant a clear difference could not be found in the analysis of the qualitative data.

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Kachtík, Petr. "Audiovizuální instalace." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232389.

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This thesis is concerned with the relationship between sound and image, their manipulation in real time. The main topic of this work is the permeation of these two elements into a single composition. I work with documentary footage witch I try compose according to the principles of VJing.

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31

Stutzman, Krista. "The effects of digital audio files and online discussions on student proficiency in a foreign language." [Ames, Iowa : Iowa State University], 2007.

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Constantinou, Odysseas Symeon. "Sound-to-picture : the role of sound in the audio-visual semiosis of non-fiction film." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/54109/.

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Zingg, Lea. "Das Audit Committee als Schnittstelle zwischen externer und interner Revision Ein Beitrag zur Stärkung der Corporate Governance? /." St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03600475001/$FILE/03600475001.pdf.

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Joumessi, Demeffo Steve. "Dispositif communicant par optique sans fil pour les transmissions audio à l’intérieur du cockpit d’un avion." Thesis, Limoges, 2020. http://www.theses.fr/2020LIMO0065.

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Le travail de cette thèse s’inscrit dans le cadre du projet européen H2020 Clean Sky 2 intitulé ALC (« Aircraft Light Communication ») qui a pour objectif d’apporter une preuve de concept de l’intégration de la technologie optique sans fil dans le cockpit d’un avion en alternative des solutions radiofréquences et filaires qui présentent plusieurs limites telles que la sécurité et le confort. Les travaux menés concernent le développement d’un casque audio communiquant en infrarouge dans un réseau bidirectionnel constitué d’un point d’accès situé au plafond du cockpit et de quatre casques portés par les membres de l’équipage. Nous avons commencé par présenter les techniques de communication numérique applicables au contexte afin de motiver le choix pour les formats de modulations OOK (« on-off keying »), PPM (« pulse-position modulation ») et de la méthode d’accès au canal DCF (« distributed coordination function ») avec RTS/CTS (« request to send/clear to send »). Ensuite, nous avons décrit les émetteurs-récepteurs et modélisé le canal optique à partir du logiciel de simulation RaPSor, basé sur la méthode de lancer de rayon associé à une technique de Monte-Carlo, développé à XLIM/SYCOMOR. Cette modélisation réalisée à partir d’un modèle 3D du cockpit et des corps des membres de l’équipage, a permis de déterminer les angles à mi-puissance optimaux des sources situées sur le point d’accès et sur les casques en tenant compte de la robustesse face aux mouvements aléatoires que peuvent effectuer les membres d’équipage durant le vol. Les gains statiques issus de la modélisation du canal ont servi ensuite dans l’étude conjointe des performances des couches physiques et liaison de données. Cette étude a permis de mettre en lumière le compromis entre le niveau de puissance émis et la latence pour une qualité de service visée. Nous avons montré qu’il était possible de concevoir un réseau en optique sans fil dans un cockpit AIRBUS A350 compatible au standard IEEE802.11 avec : le format de modulation 4-PPM, la méthode d’accès au canal DCF avec RTS/CTS, un taux de perte de paquets de 10-4 et un délai de communication avec succès de 2,5 ms. Cela est possible à condition d’adapter la fenêtre de contention du standard IEEE802.11 en fonction de la probabilité de collision, de la taille des paquets et du débit binaire du réseau. Nous avons enfin conçu un banc de test modulaire en radio logicielle. Notre choix s’est porté sur l’environnement GNU Radio associé aux périphériques USRP (« universal software radio peripheral »). Des front-ends optiques ont été spécifiquement développés pour les USRP. Nous avons pu montrer expérimentalement l’influence des paramètres des sources sur le taux de perte des paquets. Le travail effectué dans cette thèse ouvre plusieurs perspectives sur le plan de la simulation et de l’expérimentation The work developed in this thesis is part of the European project H2020 Clean Sky 2 entitled ALC (« Aircraft Light Communication ») which aims to provide a proof of concept of the integration of optical wireless technology in the aircraft cockpit, as an alternative to radio frequency and wired solutions, having several limitations like safety and comfort. The work carried out in this thesis concerns the development of a headset communicating in infrared in a bidirectional network made of an access point located at the cockpit ceiling and four helmets worn by the crewmembers. We started by presenting the digital communication techniques that can be used in the context to motivate the choice of the study of OOK (« on-off keying»), PPM (« pulse-position modulation») modulations and DCF («distributed coordination function») with RTS/CTS (« request to send/clear to send »). Then, the transceiver main characteristics have been identified and the optical channel was modeled using the RaPSor simulation software, developed at XLIM/SYCOMOR and based on raytracing method associated with a Monte-Carlo technique. This modelling, based on a 3D model of the cockpit and the bodies of the crewmembers, allowed determining the optimal half-power angles of the sources located on the access point and on the headsets, taking into account the robustness against the random movements of the crew members during the flight. The static gains from the channel modelling were then used in a joint study of the performance of the physical and data link layers. This study highlighted the trade-off between the emitted power level and latency for a targeted quality of service. We have shown that it is possible to design an optical wireless network in an AIRBUS A350 cockpit compliant with the IEEE802.11 standard with: 4-PPM modulation, DCF with RTS/CTS channel access method, a packet error rate of 10-4 and a successful communication delay of 2.5ms. This is possible if the contention window parameter defined in the IEEE802.11 standard specifications is adapted according to the network probability collision, packets size and the data rate. Finally, we designed a modular test bench based on software defined radio. We chose the GNU Radio environment associated with USRP (« universal software radio peripheral »). Specific optical front-ends have been developed for this aim. We have experimentally shown the influence of the source parameters on the packet error rate. The work carried out in this thesis opens several perspectives in terms of simulation and experimentation

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Germa, Elisabeth. "L' odyssée kubrickienne : esthétique de la réception film et déconstruction des conventions audio-visuelles du cinéma classique hollywoodien dans 2001 : A Space Odyssey." Toulouse 2, 2001. http://www.theses.fr/2001TOU20014.

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Dans l'éclectisme des genres cinématographiques abordés par Stanley Kubrick (1928-1999) 2001 : A Space Odyssey (1968) est considérée comme une des oeuvres majeures de ce réalisateur américain. Il constitue, en outre, une référence incontournable du cinéma de science fiction et une véritable odyssée en soi. Ce travail explore les caractéristiques sonores et visuelles du film à la lumière d'une étude de l'esthétique de la réception filmique. Avec l'analyse syntagmatique de séquences, il apparaît que 2001 : A Space Odyssey relève par certains aspects d'une déconstruction des conventions cinématographiques classiques. Cette esthétique déconstructionniste, propre au discours post-moderniste qui allait voir le jour dix ans plus tard, est confirmée par l'étude d'autres réalisations de Stanley Kubrick, et notamment par A Clockwork Orange (1971) et The Shining (1980), pour lesquelles nous avons voulu étudier ce que d'aucuns appellent le "regard kubrickien". Si, 2001 : A Space Odyssey, aux dire de tous, se présente comme une oeuvre énigmatique, pourtant, la manifestation symbolique du monolithe, objet de toutes les interrogations, a ceci de particulier qu'elle transforme le spectateur en interprète. L'ensemble de l'étude élaborée dans ce travail cherche à montrer comment ce film fondé sur l'expérience sensorielle, élabore un contenu narratif et une représentation filmique s'ouvrant sur une pluralité de sens Within the eclecticism of the film genres approached by Stanley Kubrick (1928-1999), 2001 : A Space Odyssey (1968) is considered as one of the major pieces of the American director. And even beyond kubrick's oeuvre, the film stands as a main reference in the science fiction cinema and constitues an odyssey in itself. Our work explores the visual and sound characteristics of this movie in the light of a study of the aesthetics of the cinematic reception. With the syntagmatic analysis of sequences, it appears that in some respect 2001 : A Space Odyssey displays a deconstruction of the classic conventions of cinema. This aesthetics of deconstruction, inherent to the postmodernist discourse which appeared ten years later, is confirmed by the study of other films by Stanley Kubrick, most particularly A Clockwork Orange (1971) and The Shining (1980) for which we wanted to explore what some call "the kubrickian look". If 2001 : A Space Odyssey, according to all, is an enigmatic piece, the manifestation of the monolith, object of many inquiries, is particular in that it requires an interpretation from the audience. The totality of our study tries to demonstrate how a film based on sensorial experience constructs a narrative content and a cinematic representation expanding on a plurality of meanings

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Forsberg, Marcus. "Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5358.

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I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.

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Mikšík, Jan. "Vývoj a způsoby použití audiovizuální techniky z pohledu ekonomiky a socioekonomických trendů společnosti." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-192823.

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The aim of this work is to describe history of audio-visual technology and to analyse the influence of digitalization. The text describes the history of cinematography, television and also the introduction of audio-visual technology to people's homes. It contains information on present situation as well as new trends and the influence of the Internet on audio-visual making. There is a comparison of past and present technologies. The new technologies are accessible even for amateur creators which helps them to open new possibilities. This work is also focused on the influence of audio-visual technologies on the final look of the film. In practical part of this paper, author recommends specific technology suitable for certain target groups accordingly to their budget.

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Wilken, Nicola-Mari. "Die impak van mise-en-shot op die interpretasie van oudiobeskryfde film / N. Wilken." Thesis, North-West University, 2012. http://hdl.handle.net/10394/10110.

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Audio description is considered a relatively new research field, and in South Africa it is not yet being used extensively to make visual channels accessible to blind audiences. Therefore research in this field is necessary. The literature review of this study shows that very little empirical research has been done where real audiences were tested. This study set out to test the impact of audio described film on the transportation, identification and comprehension of real audiences. The focus was on mise-en-shot elements specifically and the impact they have on the transportation, identification and comprehension of audiences. A thorough analysis of the two scenes and their audio descriptions showed that in the audio description the emphasis tends to be on the visual elements and not on the way these elements are presented (which forms part of mise-en-shot elements). The way the film is showed to the audience contributes to the film‟s meaning and the director often shows the film to the audience in a specific way to reach a certain effect or feeling in the film. If these mise-en-shot elements are not presented in the audio description of the film it, the blind audience cannot be expected to experience an equivalent effect to that of the sighted audience. In order to test the impact of mise-en-shot elements a methodology based on Bortolussi and Dixon‟s (2010) Psyconarratology was used. Immersion and transportation studies (Green and Brock, 2000 and Tal-Or & Cohen, 2010) were used to develop an experiment for the study. Two groups of respondents were tested by exposing one group to all the available channels of the film and another to only the audio description and soundtrack. The initial hypothesis of this study was that the audience exposed to the audio description and soundtrack of the film would experience less transportation, identification and comprehension due to the loss of mise-en-shot elements in the film. By using T-tests and qualitative comparisons of the responses it was found that the lack of mise-en-shot elements in the film had no statistically significant impact on the transportation of the audience. Furthermore it was found that the lack of mise-en-shot elements has an impact on the identification of the audience. The group that had access to all the channels were more able to identify with the characters. In terms of comprehension it was discovered that there were bigger differences between the two groups in the scenes were the director relied on the visual elements of the film. Thus there are opportunities for further research pertaining to the identification of the audience. Furthermore it is recommended that further research be done to include other film genres as well as alternative ways of doing audio description. South Africa as well as other countries can gain tremendously from the use of audio description to make visual channels accessible to blind audiences. To reach such a goal further research is needed in the field, not only to master the art of audio describing but to also create awareness for this aid. Thesis (MA (Language Practice))--North-West University, Vaal Triangle Campus, 2013

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Poos, Francoise. "The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.

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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.

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El, Rimawi Nidal. "Development of an Audio Visual Tool for Medical Training at Kennedy Space Center." Wright State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=wright1165419934.

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Li, Yufang. "Energy Audit and Renovation Proposal for a joint Ventilation System of Five Commercial Premises." Thesis, Högskolan i Gävle, Avdelningen för bygg- energi- och miljöteknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-17284.

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Energy saving is a highly concerned topic in the developing countries. To achieve a desirable living and working condition for inhabitants while consuming minimum amount of energy, more and more efforts, new technologies are developed and invested in the different industries by countries. It has been discussed that energy use in the building sectors is intensive and has the largest share in the total energy supply. Therefore, a growing number of companies and institutions are either required or voluntary to take energy efficiency measures once a year or more to identify current energy use, as well as the opportunities for energy efficiency improvement. One of the energy efficiency measures is energy audit. This report is aiming at pinpointing the current energy consumption for a joint ventilation system used by five premises in downtown Gävle, Sweden. The building company is planning a renovation for the ventilation system, including a cut down of energy supply while improving thermal comfort by providing adequate ventilation. The main object area is a restaurant, which consumes most energy supply. During the measurements, three sets of equipment (TSI VelociCalc plus, SWEMA FLOW 230 and TSI-AccuBALANCE) were used to collect air flow and temperature data. The results indicate that the current energy use for the joint ventilation system during a year is around 50438 kWh, using recommended ventilation rates; while it can be reduced to 34737 kWh. For the restaurant, the required ventilation rate is 1204 l/s to provide fresh air constantly if it is over 150 people and give ventilation according the standard: 7 l/s p 0.35 l/s m2. The current ventilation rate is only 312 l/s, thus clearly failing to comply with the standard. One viable method for providing enough ventilation rate and at the same time without wasting energy is to install CO2 detector, which regulates the ventilation rate according to the level of CO2 concentration. The studied shops have instead very high ventilation rates in the current system; though this provides good air quality, the energy is wasted unnecessarily.

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Werely, Volene Joy. "An audit of discharged patient files at hospitals specialising in the management of tuberculosis." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6502.

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Thesis (MCur)--University of Stellenbosch, 2011. ENGLISH ABSTRACT: Background: In her clinical practice as nursing manager the researcher was concerned about incomplete and inaccurate documentation of patients diagnosed with tuberculosis (TB) which were compromising the management of these patients. The primary care nurses endorsed these concerns. Goals and Objective: The goal of this study was to audit nursing documentation according to the phases of the nursing process and the discharge planning of patients diagnosed with TB discharged from TB hospitals in the Western Cape. The objectives for the study were to determine whether the patients were adequately assessed and diagnosed, whether nursing care plans were formulated based on the assessment and whether they were implemented and evaluated according to the nursing process - including the discharged planning. Ethics approval was obtained from the Committee of Human Research Science at Stellenbosch University and permission was also obtained from the respective institutions. Methodology: A descriptive design with a quantitative approach was applied for the purpose of this study. The total population for the study was N=1768. A systematic random sample of 12% from each hospital was drawn: n=214, hospital A (n=142) and hospital B (n=72). Criteria included:  all adult patients older than 18 years  patients who were discharged between 01 January 2007 and 31st December 2007  all discharged patients from the two hospitals specializing in patients diagnosed with TB. Instrumentation: An audit instrument based on the objectives of the study was approved as the data collection tool. Guided by the proposed study a 10% (n=21) of the number of discharged patient files were drawn for the purpose of a pilot study. Reliability and validity was ensured through the use of experts in the field of nursing, research methodology and statistics. A pilot study was also conducted to support the reliability and validity of the study. Data collection: The researcher collected the data personally with the support of five trained field workers who only assisted at hospital B and was reluctant to assist at the second hospital. Data analysis: Data was analysed with the support of a statistician and expressed in frequencies and tables. Results: All phases of the nursing process showed a low compliance. Results showed that only n=90(42%) of the registered professional nurses checked and signed the initial assessment, furthermore only n=53(34%) showed that a recording was made of all referral documentation to the patient’s follow-up clinic. Recommendations: Recommendations based on the scientific evidence obtained from the study include the implementation of a quality assurance programme namely standardisation, auditing, case management of patients, education and training, rewarding of staff and further research. Conclusion: In conclusion guided by the research question “Are the audited discharged patient files at hospitals specialising in the management of patients with TB in the WCDoH compliant?” The researcher concludes that the discharged patient files are not compliant. AFRIKAANSE OPSOMMING: Agtergrond: In haar kliniese praktyk as verpleegbestuurder is die navorser besorgd oor die onvolledige en onakkurate dokumentasie van pasiënte wat met tuberkulose (TB) gediagnoseer is en wat dus die versorging van hierdie pasiënte in gevaar stel. Hierdie besorgdhede is deur die primêre sorg verpleegsters bevestig. Doel en Doelwitte: Die doel van die studie is om die verpleegdokumente te ouditeer volgens die fases van die vepleegproses, asook die ontslagbeplanning van die pasiënte gediagnoseer met TB van die hospitale in die Wes-Kaap. Die doelwitte is om te bepaal of die pasiënte korrek geassesseer en gediagnoseer is en of verpleegsorgplanne opgestel is, wat gebaseer is op die assessering en versorgingsplanne wat geïmplementeer en geëvalueer is volgens die verpleegproses, insluitende die ontslagbeplanning. Etiese goedgekeuring is toegestaan deur die Komitee vir Menslike Navorsingswetenskap van die Universiteit van Stellenbosch en toestemming is ook ontvang van die onderskeie instansies. Metodologie: ’n Beskrywende ontwerp met ’n kwantitatiewe benadering is toegepas vir die doel van die studie. Die totale bevolking vir die studie is N=1786. ’n Sistematiese ewekansige geselekteerde steekproef van 12% van elke hospitaal is geneem: n=214, hospitaal A (n=142) en hospitaal B (n=72). Die kriteria sluit in:  alle volwasse pasiënte ouer as 18 jaar  pasiënte wat gedurende die periode 01 Januarie 2007 tot 31 Desember 2007 ontslaan is  alle ontslag pasiënte van die twee hospitale wat spesialiseer in pasiënte wat gediagnoseer is met TB. Instrumentasie: ‘n Ouditinstrument gebaseer op die doelwitte is goedgekeur as die dataversamelingsinstrument. Na aanleiding van die voorgestelde studie is 10% (n=21) van die aantal ontslag pasiëntlêers getrek vir die doel van die loodsondersoek. Betroubaarheid en geldigheid is verseker deur gebruik te maak van deskundiges in die verplegingsveld, die navorsingsmetodologie en statistiek. Die loodsondersoek is ook uitgevoer om die betroubaarhied en geldigheid van die studie te rugsteun. Dataversameling: Die navorser het die data persoonlik gekollekteer met die bystand van vyf opgeleide veldwerkers wat slegs hulp verleen het by hospital B en wat teësinnig was om hulp te verleen by die tweede hospitaal. Data-analise: Data is geanaliseer met die hulp van ’n statistikus en is uitgedruk in frekwensies en tabelle. Resultate: Alle fases van die verpleegproses het nie voldoen aan die vereistes nie. Resultate dui daarop dat slegs n=90 (42%) van die geregistreerde professionele verpleegsters die aanvanklike assessering nagegaan en onderteken het, vervolgens het slegs n=53 (34%) getoon dat ’n opname gemaak was van alle verwysde dokumentasie van die pasiënt se opvolgbesoek aan die kliniek. Aanbevelings: Aanbevelings is gebaseer op die wetenskaplike bewys wat verkry is van die studie vir die implementering van ’n gehalte versekeringsprogram, naamlik standardisering, ouditering, gevallebestuur van pasiente, opvoeding en opleiding, erkenning aan die personeel, en voortgesette navorsing. Samevatting: Ter afsluiting gelei deur die navorsering’s vraag nl. “Is die geouditeerde verpleegdokumente in hospitale wat spesialiseer in die bestuur van pasiente gediagnoseer met TB in die Weskaap se Department van Gesondheid bygehou?” Die navorser bevestig dat die verpleegdokumente nie bygehou was nie.

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Axeborg, David, Simon Back, and Roger Lidén. "Sambandsstudie mellan studenters alkoholvanor och personlighet : En studie om universitetsstudenters alkoholvanor och personlighetsdrag utifrån femfaktormodellen." Thesis, Linnéuniversitetet, Institutionen för psykologi (PSY), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48991.

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Syftet med denna studie var att undersöka om det fanns ett samband mellan alkoholkonsumtion och personlighetsdimensionerna som beskrivits utifrån Femfaktorteorin samt mellan variablerna kön, ålder, civilstatus och antal barn. Vidare var studiens syfte att undersöka om dessa variabler kan predicera alkoholkonsumtion. Deltagarna (N=140) studerade vid ett medelstort universitet i södra Sverige. Korrelationsanalysen påvisade samband mellan alkoholkonsumtion, extraversion, agreeableness, kön, civilstatus och antal barn deltagarna hade. I en multipel regressionsanalys försvann sambandet med agreeableness och civilstatus. The purpose of this study was to examine associations between alcohol consumption and the personality dimensions specified in the Five factor theory as well as between the variables sex, age, civil status and number of children. Furthermore was an aim to examine if these variables could predict alcohol consumption. The participants (N=140) were students from a midsized university in southern Sweden. Correlation analysis demonstrated a connection between alcohol consumption, extraversion, agreeableness, sex, civil status, and the number of children the participants had. The connection between agreeableness and alcohol consumption as well as between alcohol consumption and civil status disappeared in the follow up multiple regression analysis.

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Lundberg, Elena. "Musikens gestaltande och funktion i film : En kvalitativ studie om musikens gestaltande och funktion i musikalfilmen Les Misérables." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28867.

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A film can attract all kinds of emotions and moods of the audience through its audiovisual communications and cinematic expression, in which music plays a significant role in both understanding and interpretation of film content. It is interesting to explore the musical significance and the emotional aspect of the film out of a media and communications perspective and visual communications perspective because it’s a subject that belongs to the communications of scientific discipline as film is a media text which is working both as communicative and as audio-visual medium with its expressive aspects. The purpose of this bachelor’s paper is to increase and deepen the understanding of music's function and significant role in context with its reinforcing sense of visual expression in film. More specifically, it aims to explore the musical value of the expressive aspect of the media text in form of film musical Les Misérables (2012), which has been transmedialised from the novel of the same name, referring to the sound, music and song in relation to the film's visual expression. The research questions are at the core of the essay study: "how is music used to reinforce the cinematic visual expression?" and "how can music signify the narrative and highlight the emotional aspect of the film?" The theoretical framework is based on some of the key scholars assumptions such as Michel Chion (1994) and Claudia Gorbman (1987), who share the same theoretical views that the soundtrack seems powerful when it expresses its participation in a scene’s emotional moods as the music follows the scene’s rhythm, the image’s flow and contributes emotional and musical codes of emotions and expressions. According to Chion sound and image interact together to tell a story where sound enrich the image with expressive and informative values. Other important researchers in the field and their theoretical frameworks are included in the theory chapter. As in whole, aspects of musical communication and sound emotionalisation are seen by the previous research as a form of expression, where visual communication in the film is considered as important as the aural and musical for the narrative storytelling, and where the musical aspect with the interaction of the cinematic visual expression highlights the characters emotions and moods. The results of the empirical work is presented in about twenty pages qualitative content analysis together with its analytical perspectives that focus on the close reading of the narrative, visual and musical elements and their abstract narratives (emotional moods) in the media text’s seven selected film–song sequences. In performing of the analysis and interpretation of the media text content, the regard was taken to these before mentioned elements to answer the research questions and emphasize the purpose of the study as relevant as possible. The conclusion is based on the empirical work analysis and results, and the scholars previous theoretical assumptions in connection with my observations. Keywords: musical film les miserables soundtrack emotions moods narrative audio visual expression communication musicology En film kan locka fram alla slags känslor och stämningar hos publiken genom sin audiovisuella kommunikation och filmiska uttryck, där musiken har en betydande roll i både förståelsen och tolkningen av filmmediet. Det är intressant att utforska den musikaliska gestaltningen och den känslomässiga aspekten i film utifrån ett medie- och kommunikationsperspektiv samt visuell kommunikationsperspektiv därför att det är ett ämne som hör till den kommunikationsvetenskapliga disciplinen eftersom film är en medietext, som fungerar både som ett kommunikativt och ett audiovisuellt medium med uttrycksmässiga aspekter. Syftet med den här uppsatsen är att är att öka och fördjupa förståelsen för musikens funktion och gestaltning i sammanhang med dess förstärkande känsla i visuell gestaltning i film. Mer konkret är syftet att utforska det musikaliska värdet i den uttrycksmässiga aspekten i medietexten i form av musikalfilmen Les Misérables (2012), som har transmedialiserats från roman med samma namn, berörande ljud, musik och sång i relation till filmens visuella uttryck. Dem frågeställningar som utgör kärnan för uppsatsens ämne är: ”hur används musik för att förstärka det filmiska visuella uttrycket?” samt ”hur kan musiken gestalta det narrativa och belysa den känslomässiga aspekten i film?” Det teoretiska ramverket baseras på några av framstående forskares antaganden så som Michel Chion (1994), och Claudia Gorbman (1987) som delar likadana teoretiska uppfattningar och anser att filmmusiken verkar kraftfullt genom att den uttrycker sitt deltagande i en scens känslostämning eftersom musiken följer scenens rytm, bildernas flöde och bidrar med emotionella och musikaliska koder för känslor och uttryck. Enligt Chion verkar ljud och bild i samspel för att tillsammans berätta en historia där ljud berikar bilden med uttrycksfulla och informativa värden. Även andra viktiga forskare inom området och deras teoretiska ramverk tas upp i teori-kapitlet. I sin helhet ses aspekter av musikalisk kommunikation och ljudets emotionalisering av den tidigare forskningen som en form av uttryck, där den visuella kommunikationen i film anses lika viktig som den ljudmässiga och musikaliska för det narrativa historieberättandet och där den musikaliska aspekten i samspel med det filmiska visuella uttrycket belyser rollkaraktärers känslo- och sinnesstämningar. Resultatet av det empiriska arbetet presenterar cirka tjugo sidors kvalitativ innehållsanalys tillsammans med dess textanalytiska perspektiv som fokuserar på närläsningen av dem narrativa, visuella och musikaliska elementen samt dem abstrakta narrativerna (känslomässiga sinnesstämningar) i medietextens sju utvalda film-sångsekvenser. I utförandet av analysen och tolkningen av medietextens innehåll, togs hänsyn till dessa omnämnda element för att kunna besvara frågeställningarna och understryka syftet så relevant som möjligt. Slutsatsen baseras på det empiriska arbetets dataanalys och närläsning samt resultat och forskarnas tidigare teoretiska antaganden i koppling till mina observationer. Nyckelord: musikalfilm les miserables filmmusik ljudspår känslor stämningar narrativ audio visuell uttryck kommunikation musikologi

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Stoller, Roger. "Zusammensetzung und Transparenz von Verwaltungsräten von Schweizer Grossunternehmen." St. Gallen, 2005. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02604718001/$FILE/02604718001.pdf.

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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop? Ph.D. Department of English Arts and Humanities Texts and Technology PhD

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Drápelová, Zuzana. "Marketingový audit IMI Hydronic Engineering pro český trh." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-202053.

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The main objective of this thesis is to execute a marketing audit of IMI Hydronic Engineering at the Czech market in order to identify problem areas and opportunities, define key performance indicators (KPI) and follow recommended procedures to improve marketing performance of this company and increase the efficiency of the company as a whole. Marketing audit is a comprehensive analysis of the company and its surroundings, which does not contain only simple analysis of the current situation of the company but also the draft measure. Marketing audit in this thesis is carried out based on the methodology described in the theoretical part and consists of the analyses of six interrelated parts. The first part of the audit (audit of marketing environment) analyzes the external environment of IMI Hydronic Engineering realized through PESTLE analysis and Porter's five forces analysis. The following five sections are focusing on internal environmental audit of this company. These parts of the audit are: audit of marketing strategy, audit of marketing, audit of marketing systems, audit of marketing productivity and audit of marketing functions. The results are summarized in complex SWOT analysis. Recommendations, proposals for amendments, strategies, objectives and KPIs are listed in the conclusion.

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Silva, Isabel Anderson Ferreira da 1984. "Conceitos, estilos e procedimentos audiovisuais em documentários de arquivo antinazistas." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284603.

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Orientador: Marcius Cesar Soares Freire Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-28T08:42:32Z (GMT). No. of bitstreams: 1 Silva_IsabelAndersonFerreirada_D.pdf: 2443528 bytes, checksum: da3f0d83f8a03b8b910bbfd027bd7f26 (MD5) Previous issue date: 2014 Resumo: Este trabalho se dedica a explorar os diferentes conceitos, estilos e procedimentos audiovisuais envolvidos na realização de documentários que se constroem a partir de material de arquivo. Para tanto, são apresentadas sete obras que resultam da compilação de imagens e sons produzidos nos tempos da Segunda Guerra e cuja postura ideológica é antinazista. Apesar de similaridades temáticas e formais, tais filmes se utilizam de estratégias narrativas e de recursos narrativos de maneiras tão diversificadas que se prestam a apresentar contribuições singulares para a linguagem do filme de não ficção. O trabalho dispõe de três grandes capítulos. O primeiro, bastante conceitual, aposta em uma vasta contextualização do material abordado, tanto do ponto de vista formal ¿ o fato de os documentários se definirem como compilações de produtos audiovisuais ¿ quanto do narrativo ¿ seu tema geral (documentário de guerra) e específico (antinazista). Nele, cotejamos conceitos, como "filme de arquivo" e "filme de compilação"; mencionamos diferentes pontos de vista de autores que se dedicam a analisar esta forma de prática documental e apresentamos alguns aspectos relacionados a este tipo de material, como o seu valor historiográfico, sua presença na televisão ou a sua relação com as vanguardas audiovisuais. Mais adiante, já no segundo capítulo, chegamos às análises fílmicas de fato. Observamos no que consiste cada filme, como se deu a sua realização e o que ele representou para a sociedade na qual estava inserido bem como aquilo que, para nós, representa ainda hoje. Também explicitamos as suas particularidades enquanto produtos midiáticos a fim de estabelecermos os diferentes estilos de seus discursos. Por último, no capítulo seguinte, nos atemos aos procedimentos audiovisuais tal como eles aparecem nas construções narrativas dos documentários abordados. Esse capítulo surgiu da necessidade que sentimos de abordar características dos filmes de maneira mais entrosada e, de até certo ponto, comparativa. Englobamos recursos como o som, o narrador e a utilização de fotografias em meio às imagens em movimento. O que nos fica é uma sensação de que a pluralidade, o que nos leva a inferir que uma realização audiovisual é sempre muito individual, mesmo se for feita, em grande parte, a partir do mesmo material de arquivo e a fim de atingir um objetivo ideológico Abstract: This work is dedicated to the exploration of the different concepts, styles and audiovisual procedures documentaries that are constructed with found footage. For this, we presented seven non-fiction films compiled through images and sounds of the times of World War II and whose ideological stance is anti-Nazi. Although formal and thematic similarities, such films uses narrative strategies and narrative features as diverse ways that lend themselves to provide unique contributions to the language of nonfiction film. The text has three main chapters. The first, very conceptual, makes a wide contextualization of the material covered in both the formal point of view - the fact documentaries define themselves as collections of audiovisual products - as the narrative - his general subject (war documentary) and specific (anti-Nazi). In this chapter, we compare concepts like "found footage" and "compilation film"; mentioned different points of view of authors who are dedicated to analyzing this form of documentary practice and presents some aspects related to this kind of material, as its historiographical value, its presence on television and its relationship with the audiovisual vanguards. Later, in the second chapter, we present the filmic analysis. We observe what is each movie, how was your realization and what he represented to the society in which was inserted as well as what, for us, is today. We also comment their particularities as a media product in order to establish their different styles of communication. Finally, in the next chapter, we focus on audiovisual procedures as applied in narrative constructions of documentaries. This chapter arose from the need we have to address characteristics of the films in a comparative way. We included features like sound, the narrator and the use of photographs together with moving images. What we realize is a sense that the plurality, which leads us to infer that an audiovisual product is always very individual, even if made, in large part, from the same archival material and to achieve the same ideological goal Doutorado Multimeios Doutora em Multimeios

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Bélteky, Markus. "Emotion in video game audio : Can sound effects be perceived to contain positive emotional content?" Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74148.

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Sound is an important part of almost all media. In games, sounds are used to evoke intense emotions in players. Studies has showed that music on its own can induce emotions. Soundeffects is another type of sounds that appear in games. However, do they contribute to the emotional experience? Understanding this will help sound designers enhance scenes in future video games. In this study, 23 participants were asked to conduct a test divided into two part. In the first part they were tasked to listen to four sound effects of fire and choose attributes from a predetermined list that they thought suited. Among these physical attributes were two emotional attributes. In the second part, the subjects were tasked with choosing one of the fours sound effects for a scenario with a positive emotion and motivate their choice. The results show that no sound had neither positive nor negative as an emotional attribute. Of the four sounds, two showed significance that emotion alone was an attribute for the sound. The results from the second part showed that the subjects were divided in what motivated them to choose a sound. More than a third of the subjects based their choice only on if the sound matched the emotion of the scenario presented while slightly less than a third based it only on to fit the location. The last third based it on both emotion and location.

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Rosshagen, Erik. "Sync Event : The Ethnographic Allegory of Unsere Afrikareise." Thesis, Stockholms universitet, Filmvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183273.

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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audiovision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly.Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.

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Dissertations / Theses on the topic 'An audio file'

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