Dissertations / Theses: 'Audit history. audit history'

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Miskos, Jan. "Audit pohledávek." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2014. http://www.nusl.cz/ntk/nusl-224781.

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The purpose of the thesis is to propose audit procedures to verify trade receivables at chosen business subject, draw a conclusion and to propose a solution for a given issue. The first part will be dedicated to general audit description including audit history, goal assessment, and clarification of the purpose of audit of financial statements. The second part will focus on practical execution of audit with emphasize on receivables, and provision on receivables. The results of audit procedures will be commented at the end of the thesis including a solution proposal.

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Fišera, Martin. "Audit IS - teorie a praxe." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-162499.

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The thesis covers the issue of IS audit in all its breadth. On the basis that this is a very complex area, it was necessary to divide the work into several logical and subsequent chapters. Quality and audit are the key words for this job. Therefore is them given the whole first chapter that chronologically describes the evolution of these concepts. Interpretation of quality is widely described since the Greece and Rome ancient, through Total Quality Management approach to the current understanding of the normative frameworks issued by ISO. There is the term audit continuously followed in the chapter of the concept of quality, whose development is also described in detail in chronological order starting from the reading public accounts to the current form of IS audit. Especially, we focus on development of the definition of audit and the relationship between the financial audits and IS. The second - last - part of the chapter is devoted to a detailed description of the reasons for the application of IS audit in practice. Because of the large specifications of the IS audit is this characteristic position in practice given the second chapter. This chapter contains not only description of the characteristics but also a brief outline of the issue of outsourcing and CloudComputing in relation to the audit of IS. The third chapter is devoted to a normative base of IS audit. Due to a large number of normative frameworks there are analysed only selected representatives in the chapter. These include the ISO / IEC 20000, COBIT, ITIL and others. They are thoroughly described, evaluated and compared to other possibly relevant for the definition of relations and benefit evaluation. The last chapter deals with design process of IS audit at a conceptual level. The aim is to freely continue on the normative base discussed in the previous chapter and a simple, versatile, easily applicable and adaptable IS audit process regarding defined limits.

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Rahnert, Katharina. "The evolution of the Swedish auditor's report." Doctoral thesis, Karlstads universitet, Handelshögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-63720.

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The auditor’s report has been criticised for being uninformative at least since the late nineteenth century. Despite persistent requests for detailed information in order to facilitate users’ decision-making processes, auditors have only recently started to provide entity-specific information in their reports. Against this background, two research questions are raised: (1) What were the driving forces behind the evolution of the auditor’s report? (2) How can dissatisfaction with and misperceptions of audit reporting be reduced in order to support financial statement users’ decision-making processes? As the object of study, the Swedish auditor’s report is chosen since it has, up to the present day, deviated from reports in other jurisdictions and thus enables an extension of knowledge in the field of audit reporting. The first part of this dissertation contributes to previous auditing history and auditing profession research by answering the first research question through an analysis of approximately 1,800 historical Swedish auditor’s reports and numerous related documents. Applying a critical-theory perspective, the research findings suggest that during the course of history, auditors were able to adopt an auditor’s rather than a user’s perspective despite arguing in the interest of users. The second part of the dissertation contributes to previous audit reporting and expectation gap research by answering the second research question through a vignette experiment with Swedish financial statement users. The research findings indicate that dissatisfaction with the current auditor’s report can be reduced through additional entity-specific information concerning the auditor’s independence, the audit process and the audit findings, and less general information about the auditor’s responsibilities. Overall, this dissertation connects past events concerning the auditor’s report to current challenges and indicates possible future developments. The auditor’s report is the financial auditor’s primary means of communication with users of financial statements. It has been criticised for being an uninformative document at least since the late nineteenth century. Persistent requests for change in order to facilitate users’ decision-making processes include detailed information about the audited financial statements, the conducted audits and the auditors. Despite these requests, auditors have only recently started to provide some entity-specific information in their reports. This dissertation contributes to the topical issue of audit reporting in relation to users’ needs through two studies. The first study retraces the historical evolution of the auditor’s report in order to explain the driving forces behind this evolution and the reasons why users have had to accept uninformative reports for such a long time. The second study examines ways to reduce dissatisfaction with and misperceptions of audit reporting and evaluates the current auditor’s report with regard to financial statement users’ decision-making processes. Overall, the findings of this dissertation cast doubt on the past and current willingness of auditors to deliver reports that are aligned with users’ needs to make informed decisions.

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Keeley, Catherine Louise. "Teachers in their Time A life history study of public school activist teachers in NSW." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17126.

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This research project began as an analysis of mentoring and induction for new teachers in the NSW State secondary school system, under a new accreditation regime. The project later came to focus on the lives and work of a specific group of older teacher activists, who were themselves mentors, and their experience in the second half of the twentieth century and early part of the twenty-first century. There were eighteen experienced teacher participants. A qualitative method using semi-structured interviews was used with the average length of interview three hours. The interviews covered their family background and class origins, teacher training, induction, mentoring across their careers, roles undertaken outside the classroom, later careers, and their experiences in and reflections on the current neoliberal turn in education. A case study approach using life history method and informed by labour process theory allowed insights into the lives and work of these activist teachers and provided a longitudinal view of their careers and the society in which they lived and taught. The participants mostly come from working class backgrounds and the thesis argues that these teachers form a distinct group of working class intellectuals. They are activist teachers, working extensively with disadvantaged student groups; they develop in others, including their colleagues, the capacity for social practice. I argue that this group form part of larger counter-hegemonic forces in play within a period of time when there was significant social change in Australia. The longitudinal aspect of this project provided insights into mentoring practices over time, and thus provided a counterpoint to current accountability and audit cultures in schools. Most importantly it gave a voice to teachers who made a difference throughout their careers

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Rodgers, Tara. "Synthesizing sound: metaphor in audio-technical discourse and synthesis history." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97090.

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Synthesized sound is ubiquitous in contemporary music and aural environments around the world. Yet, relatively little has been written on its cultural origins and meanings. This dissertation constructs a long history of synthesized sound that examines the century before synthesizers were mass-produced in the 1970s, and attends to ancient and mythic themes that circulate in contemporary audio-technical discourse. Research draws upon archival materials including late-nineteenth and early-twentieth century acoustics texts, and inventors' publications, correspondence, and synthesizer product manuals from the 1940s through the 1970s. As a feminist history of synthesized sound, this project investigates how metaphors in audio-technical discourse are invested with notions of identity and difference. Through analyses of key concepts in the history of synthesized sound, I argue that audio-technical language and representation, which typically stands as neutral, in fact privileges the perspective of an archetypal Western, white, and male subject. I identify two primary metaphors for conceiving electronic sounds that were in use by the early-twentieth century and continue to inform sonic epistemologies: electronic sounds as waves, and electronic sounds as individuals. The wave metaphor, in circulation since ancient times, produces an affective orientation to audio technologies based on a masculinist and colonizing subject position, whereby the generation and control of electronic sound entails the pleasure and danger of navigating and taming unruly waves. The second metaphor took shape over the nineteenth century as sounds, like modern bodies and subjects, came to be understood as individual entities with varying properties to be analyzed and controlled. Notions of sonic individuation and variability emerged in the contexts of Darwinian thought and a cultural fascination with electricity as a kind of animating force. Practices of classifying sounds as individuals, sorted by desirable and undesirable aesthetic variations, were deeply entwined with epistemologies of gender and racial difference in Western philosophy and modern science. Synthesized sound also inherits other histories, including applications of the terms synthesis and synthetic in diverse cultural fields; designs of earlier mechanical and electronic devices; and developments in musical modernism and electronics hobbyist cultures. The long-term and broad perspective on synthesis history adopted in this study aims to challenge received truths in audio-technical discourse and resist the linear and coherent progress narratives often found in histories of technology and new media. This dissertation aims to make important contributions to fields of sound and media studies, which can benefit from feminist contributions generally and elaboration on forms and meanings of synthesis technologies specifically. Also, feminist scholars have extensively theorized visual cultures and technologies, with few extended investigations of sound and audio technologies. This project also aims to open up new directions in a field of feminist sound studies by historicizing notions of identity and difference in audio-technical discourse, and claiming the usefulness of sound to feminist thought. Le son synthétique est omniprésent dans la musique contemporaine et dans l'environnement sonore à l'échelle mondiale. Cependant, on a relativement peu écrit sur sa signification ou sur ses origines culturelles. Cette thèse construit une longue histoire du son synthétique au cours du siècle avant que ne soit massivement introduit le synthétiseur dans les années 1970; et s'attache aux thèmes anciens et mythiques qui émanent dans le discours contemporain de la technique audio. Cette recherche s'appuie sur des documents d'archives, y compris ceux de la fin du xixe siècle et du début du xxe siècle, comprenant des textes acoustiques, des publications d'inventeurs, de la correspondance ou des manuels d'utilisation des synthétiseurs à partir des années 1940 jusqu'aux années 1970.En tant que récit féministe du son synthétique, ce projet étudie comment les métaphores dans le discours de la technique audio sont porteuses de notions d'identité et de différence. À travers l'analyse de concepts clés de l'histoire du son synthétique, j'affirme que le langage de la technique audio et sa représentation, qui passe habituellement pour neutre, privilégie en fait la perspective masculine, archétypale du sujet blanc occidental. J'identifie deux métaphores primaires pour la conception des sons électroniques qui ont été utilisés à l'aube du xxe siècle et qui contribuent sans cesse à une épistémologie du son: des sons électroniques comme des vagues et les sons électroniques en tant qu'individus. La métaphore des vagues, en circulation depuis l'aube des temps, est productrice d'un affect aux technologies audio, typiquement basé sur un point de vue masculin et colonisateur; où la création et le contrôle du son électronique entraîne le plaisir et le danger propre à la navigation sur une mer houleuse. La seconde métaphore a pris forme au cours du xixe siècle au moment où les sons, comme des organismes vivants modernes, sujets, se sont vus interprétés comme de véritables entités individuelles aux propriétés variables pouvant faire l'objet d'analyse et de contrôle. Les notions d'individuation et de variabilité sonore émergèrent dans le contexte d'une pensée Darwinienne, alors qu'une fascination culturelle pour l'électricité vue comme une sorte de puissance immuable, se forgeait. Les méthodes de classification des sons en tant qu'individus, triés en fonction de variations esthétiques désirables ou indésirables, ont été intimement liées aux épistémologies du sexe et de la différence raciale dans la philosophie occidentale et dans les sciences modernes. Le son électronique est aussi l'héritier d'autres histoires, incluant les usages de notions telles que synthèse ou synthétique dans divers champs culturels; le design des premiers dispositifs mécaniques et électroniques, ou encore l'évolution de la modernité musicale et le développement d'un public amateur de culture électronique. La perspective à long terme et le large spectre sur l'histoire de la synthèse musicale adoptée dans cette étude vise à contester les vérités reçues dans le discours ambiant de la technique audio et à résister à la progression d'histoires linéaires et cohérentes qu'on trouve encore trop souvent dans l'histoire de la technologie et des nouveaux médias. Cette thèse contribue d'une façon importante au domaine des études en son et médias, qui pourraient à leur tour bénéficier d'un apport féministe en général et plus spécifiquement de l'élaboration des formes et des significations des technologies de la synthèse musicale. En outre, si les universitaires féministes ont largement théorisé les nouvelles cultures technologiques ou visuelles, peu d'entre elles ont exploré le son et les techniques audio. Ce projet veut ouvrir de nouvelles voies dans un domaine d'études féministes du son dans une perspective historienne avec des notions d'identité et de différence dans le discours de la technique audio, tout en clamant l'utilité du son à une pensée féministe.

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COSTA, LARISSA MAGALHÃES. "AUDIO DESCRIPTION IN FILMS: HISTORY, CONCEPTUAL DISCUSSION, AND RECEPTION RESEARCH." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29932@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO A presente pesquisa aborda a audiodescrição (AD) e situa-se no campo da tradução audiovisual (TAV), mais especificamente na área de tradução intersemiótica. A AD é a transformação de imagem em texto verbal, isto é, de código visual em código auditivo, e é realizada em produtos culturais, tendo como propósito torná-los acessíveis às pessoas com deficiência visual, noção que inclui cegueira congênita, cegueira adquirida e baixa visão. Embora a AD possa ocorrer em diferentes produtos, aqui ela é trabalhada somente em filmes, a partir de duas dimensões — uma fundamentalmente teórica e outra, prática — que se relacionam e se interalimentam. Na primeira dimensão, desenvolve-se uma reflexão sobre interpretar e descrever, a partir da exigência de se limitar a um mínimo a interpretação. As normas em geral estabelecem a busca pela objetividade para impedir manipulações ou atitudes paternalistas, evitando-se, por conseguinte, escolhas subjetivas, normalmente relacionadas ao uso de qualificativos. Leigos e especialistas com frequência ainda concebem descrever e interpretar dicotomicamente, e priorizam a descrição, tida como objetiva, em detrimento da interpretação, considerada subjetiva, valorativa. Pretende-se desconstruir essa dicotomia por meio de uma lógica de gradação que assume a necessidade empírica dos termos descrição e interpretação, mas que critica sentidos absolutizantes, excludentes, que lhes são atribuídos. Na segunda dimensão, isto é, num campo mais propriamente empírico, analisam-se, em uma pesquisa de recepção, as audiodescrições de gestos — entendidos como mímicas e estados emocionais — das personagens, por serem elementos pouco ou nada estudados, muito propícios à reflexão sobre as recomendações de não interpretar ou de limitar a um mínimo a interpretação. A pesquisa visa testar se audiodescrições mais interpretativas podem ser necessárias, ou mesmo indispensáveis, para a fruição da obra cinematográfica, e também se, de acordo com o tipo de deficiência visual, há diferentes preferências por ADs menos ou mais descritivas ou interpretativas. A pesquisa contou com dois grupos, um composto por alunos do Instituto Benjamin Constant (IBC) e outro composto por integrantes da Associação dos Deficientes Visuais do Estado do Rio de Janeiro (ADVERJ). Em conjunto, os alunos do IBC assistiram ao filme O palhaço e os integrantes da ADVERJ, ao filme Menos que nada; em seguida, em entrevistas individuais, responderam um questionário com perguntas referentes à compreensão do filme e aspectos específicos relativos a gestos. Além disso, assistiram novamente a quatro trechos do filme, um para cada tipo de gesto (substitutivos, divergentes, emotivos simples e complexos); cada trecho contou com duas versões de AD, uma mais descritiva e outra mais interpretativa, havendo neste caso maior uso de adjetivos e de advérbios, para que escolhessem a versão de sua preferência. Desse modo, procurou-se testar as conclusões teóricas em um contexto empírico de informações estritamente visuais e refletiu-se sobre características da AD que podem ser mais adequadas aos nossos públicos, principalmente a AD de gestos. Em sua parte inicial, a tese faz uma historiografia da AD como atividade e como objeto de estudo, de sua inserção nas esferas da mídia e da academia na Europa, nos Estados Unidos e no Brasil. This dissertation is about audio description (AD), a subject included in the field of audiovisual translation (AVT), more specifically in the area of intersemiotic translation. AD is the transformation of image into verbal text, i.e., of visual code into auditory code, and is performed on cultural products in order to make them accessible to visually impaired people, a spectrum that includes congenital blindness, acquired blindness and low vision. Even though AD can occur in different products, this study will be limited to motion pictures, in two different dimensions — one fundamentally theoretical and the other practical — that are interrelated and influence each other. In the first dimension, a discussion about interpreting and describing is triggered by the requirement of limiting interpretation to a minimum. Norms in general establish the search for objectivity in order to prevent manipulation or paternalistic attitudes, thus avoiding subjective choices, usually related to the use of qualifiers. Frequently, both lay people and specialists still conceive describing and interpreting as a dichotomy, and prioritize description, seen as objective, over interpretation, considered as subjective and valuational. The study aims at deconstructing this dichotomy by means of a many-valued logic that acknowledges the empirical need for the terms description and interpretation, but criticizes the absolutizing and excluding senses attributed to them. In the second, more empirical dimension, audio descriptions of characters gestures — understood as mimicry and emotional states — were subjected to reception analysis. Gestures were chosen because there has been little or no study at all about them and because they are quite convenient when it comes to reflecting upon the recommendations of not interpreting or of limiting interpretation to a minimum. The research aimed at determining whether more interpretive audio descriptions may be necessary, or even indispensable, to the enjoyment of motion pictures, and also whether, according to the type of visual impairment, there are different preferences for less or more descriptive or interpretive ADs. The study included two groups, one made up of students from the Benjamin Constant Institute (IBC) and another of members of the Associação dos Deficientes Visuais do Estado do Rio de Janeiro (Association of the Visually Impaired of Rio de Janeiro) (ADVERJ). The group of IBC students watched the film O palhaço (The clown), and the members of ADVERJ watched the film Menos que nada (Less than nothing); after that they were individually interviewed and answered a questionnaire with questions pertaining to the comprehension of the film itself and aspects specific to gestures. They also watched four passages of the movies again, one for each type of gesture (substitutive, divergent, simple and complex affect displays); each passage had two AD versions — one more descriptive and another more interpretive, with more adjectives and adverbs —, so that they could choose the version they preferred. The proposal, then, was to test theoretical conclusions in an empirical context of strictly visual information and to reflect upon AD characteristics that may be more adequate to Brazilian audiences in Rio de Janeiro, specially gesture AD. In its initial part, the dissertation presents a historiography of AD both as an activity and as an object of investigation. It also shows how AD came to be present in the different spheres of the media and the academy in Europe, the United States and Brazil.

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Young, Susan Heather. "Project Think: Transforming history into new knowledge." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3224.

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Project THINK was designed as a classroom project that combined the use of instructional multimedia technology, linked to the California History/Social Science standards, which engaged gifted middle school students in the design of these standards-based video materials.

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Lima, Pinel Maria de Fátima de, José Paulo Cosenza, and Macarulla Fernando Llena. "La auditoría social como mecanismo de control de la responsabilidad social de las empresas: la metodología de Theodore J. Kreps." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/114883.

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The objective of this paper is to develop an analysis that shows the divergent perspectives arising from the differences between the treatment established under the concept of Social Responsibility and the concept of Social Audit in the measurement, recognition and disclosure of social and environmental elements in business practices.Thus, the main differences that arise from the application of both approaches, noting the need for the firm should report on their social responsibility in such a way that is broader and more transparent to the society where they operateand interact in financial, social and environmental terms.Hence, this article reviews the work of Kreps to be a comprehensive overview of the usefulness of their methodology asa control mechanism of social responsibility of companies.For this purpose, this paper shows the study of Theodore J. Kreps that was the first academic research that applied the social audit methodology. Hence, this article develops a review of the Kreps’ research was developed to be a comprehen- sive overview of the usefulness of his approach as a mechanism for control of firm’s Social Responsibility.The results show that the contribution of Kreps is to propose a methodology that represents a structured communica- tion process by independent agents that are outside the area of influence of business. This means a contribution to the literature because the model proposed by Kreps, unlike traditional Social Responsibility reports (made internal from the inner sphere of companies), is developing from the external environment, promoting collaboration with other firmsand economic agents sharing resources and thus providing social benefits for the entire community. Este trabajo de investigación tiene como objetivo principal realizar un análisis que muestre las divergentes perspectivas originadas por las diferencias existentes entre el tratamiento establecido bajo el concepto de responsabilidad social y el concepto de auditoría social en la medición, reconocimiento y publicación de los elementos sociales y medioambientales en las prácticas empresariales.De este modo, se identificarán las principales diferencias que se originan de la aplicación de ambos abordajes, señalando la necesidad de la empresa de informar sobre su responsabilidad social de forma más amplia y transparente para la socie- dad donde actúa e interacciona, en términos financieros, sociales y medioambientales.Para tal efecto, vamos a efectuar un análisis del estudio desarrollado por Theodore J. Kreps, que fue la primera investigación académica donde se aplicó efectivamente una metodología de auditoría social. De ahí que el presente artículo realiza una revisión del trabajo de Kreps para tenerse una visión integral de la utilidad de su metodología como un mecanismo de control de la responsabilidad social de las empresas.Los resultados muestran que la contribución de Kreps se hace por proponer una metodología que representa un proceso de informe estructurado por agentes independientes que están fuera del área de influencia de las empresas. Esto signi- fica un aporte a la literatura porque el modelo propuesto por Kreps, diferentemente de los tradicionales informes de responsabilidad social (elaborados desde el ámbito interno de las empresas), se desarrolla a partir del entorno externo, promoviendo interrelaciones con otras empresas y agentes que comparten recursos y ofrecen beneficios sociales paratoda la comunidad. Este artigo tem como principal objetivo efetuar uma análise que evidencia as perspectivas divergentes decorrentes dasdiferenças entre o tratamento instituído no âmbito do conceito de Responsabilidade Social e o conceito de Auditoria Social na mensuração, reconhecimento e divulgação dos aspectos sociais e ambientais nas atividades empresariais.Neste sentido, serão identificadas as principais diferenças que surgem a partir da aplicação de ambas as abordagens, apontando para a necessidade de a empresa informar sobre a sua responsabilidade social, em termos financeiros, social e ambiental, de forma mais ampla e transparente para a sociedade onde desenvolve suas atividades.Nessa perspectiva, realizaremos uma análise do estudo de Theodore J. Kreps, que foi a primeira pesquisa acadêmica onde, efetivamente, foi aplicada uma metodologia de auditoria social. Assim, este artigo apresenta uma revisão da obra de Kreps, visando obter uma abordagem abrangente sobre a utilidade de sua metodologia como mecanismo de controle da responsabilidade social das empresas.Os resultados mostram que a contribuição de Kreps residiu em propor uma metodologia que representa um processo de comunicação estruturado por agentes independentes, fora da área de influência das empresas.Isto significa uma contribuição para a literatura, pois o modelo proposto por Kreps, ao contrário dos tradicionais rela- tórios de responsabilidade social (elaborados no contexto interno das empresas), é desenvolvido a partir do ambiente externo, promovendo relações com outras empresas e agentes que compartilham recursos e propiciam benefícios sociaispara a comunidade como um todo.

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Snyder, Joel. "Audio Description: Seeing With the Mind’s Eye— A Comprehensive Training Manual and Guide to the History and Applications Of Audio Description." Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/126520.

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La audiodescripción (AD) hace que las imágenes visuales del teatro, medios de comunicación y el arte visual sean accesibles para las personas ciegas o con baja visión. Con el uso de palabras que sean sucintas, vivas, e imaginativas (a través de la utilización de símiles o comparaciones), los descriptores transmiten la imagen visual que es inaccesible o sólo parcialmente accesible a una parte significativa de la población. En cierto modo, dicha técnica de acceso / forma de traducción audiovisual que tiene más de 30 años como práctica formal o área de investigación, ha hecho un gran progreso. El caso más notable es el del Reino Unido, donde existe una regulación (aunque relativamente modesta) para la descripción de la televisión abierta y donde además se han realizado importantes avances en el desarrollo del estado de la técnica, para los medios de comunicación, en varios eventos (incluyendo eventos deportivos), y para exposiciones. Pero en cuanto a la práctica real de la audiodescripción, otros países están dejados atrás, entre ellos mí propio país, los Estados Unidos, el lugar de nacimiento de la técnica. Es de destacar también que prácticamente toda la investigación en este campo se origina en Europa, donde la descripción está considerada como una forma de traducción y aparte se estudia como tal. Una encuesta informal de los programas de posgrado estadounidenses revela que no hay instituciones para estudios avanzados sobre la audiodescripción. Actualmente no hay ningún manual de formación integral, públicamente disponible para la práctica de la audiodescripción en el rango de géneros o formatos para los cuales puede ser eficaz, tampoco una guía para la formación de formadores. Esto se relaciona directamente con la investigación que he estado realizando en normas de descripción en su estado actual (lo que constituye la descripción de la calidad y cómo puede ser mejor enseñada). Además, existe poca precisión cuando se "describa" la historia del desarrollo de la audiodescripción. Además, tengo un interés especial en determinados ámbitos: ¿como la descripción puede afectar la alfabetización?, ¿qué tiene en común la audiodescripción para el funcionamiento de la danza con el análisis del movimiento? Además, la imagen visual con frecuencia no se realiza plenamente por las personas que ven, sino también por las que no pueden observar. La descripción también puede beneficiar a las personas que prefieren adquirir la información principalmente a través del canal auditivo y ellas que están limitadas, por ejemplo por la proximidad o la tecnología, para acceder al audio de un evento o de una producción. Mientras la descripción fue desarrollada para las personas ciegas o con discapacidad visual, muchas otras también pueden beneficiarse de la naturaleza concisa de la descripción y la "traducción" objetiva que ella ofrece de los componentes visuales que son claves de diversos géneros artísticos y entornos sociales. Esta tesis y el libro se basan en mi aplicación práctica de técnicas de descripción de audio que he desarrollado durante los últimos 32 años de trabajo profesional en el campo y en casi todos los formatos en los que se practica la audiodescripción: artes escénicas (teatro, danza, ópera), los medios de comunicación (televisión, cine, DVD, web streaming), los museos / centros de visitantes, y en otras actividades culturales o recreativas (desfiles, eventos deportivos, visitas personales, comerciales, cruceros y concursos de karaoke). Por lo tanto, esta tesis está redactada con el fin de transmitir mi experiencia en todos los formatos y mecanismos de la audiodescripción y permite una revisión de cómo la descripción se aplica a la observación y el análisis del movimiento y su aplicación en el desarrollo de la alfabetización. Su corpus es un manual de formación integral y guía a la historia y aplicaciones de la Audio Descripción. Una característica especial es el "sitio web asociado" de la tesis: www.thevisualmadeverbal.com que está disponible para todos los lectores de esta tesis y ofrece practica para los estudiantes de descripción. El corpus se publicará por acuerdo previo con el Consejo Americano de Ciegos de Arlington, Virginia en los Estados Unidos de América. Audio Description (AD) makes the visual images of theater, media and visual art accessible for people who are blind or have low vision. Using words that are succinct, vivid, and imaginative (via the use of similes or comparisons), describers convey the visual image that is either inaccessible or only partially accessible to a significant segment of the population. In some ways, for an access technique/form of audiovisual translation that is over 30 years old as a formal practice or area of inquiry, a great deal of progress has been made. Most notably in the U.K., where a mandate exists (albeit relatively modest) for description on broadcast television, significant strides have been made in developing the state of this art, for media, in performance (including sporting engagements), and for exhibitions. But as far as the actual practice of audio description, other countries fall far behind, including my own United States, the birthplace of the technique. It is noteworthy too that practically all research in this field originates in Europe where description is considered a form of translation and studied as such. An informal survey of American graduate programs reveals no “homes” for advance study of audio description. There is currently no comprehensive, publically-available training manual for the practice of audio description in the range of genres or formats for which description can be effective--or a guide for the training of trainers. This relates directly to research I have been conducting on description standards as they currently exist (what constitutes quality description and how can it best be taught). In addition, little exists that accurately “describes” the history of audio description’s development. Further, I have a special interest in certain areas: can description affect literacy?; what does audio description for dance performance have in common with movement analysis? In addition, the visual image is often not fully realized by people who see, but who may not observe. Description may also benefit people who prefer to acquire information primarily by auditory means and those who are limited—by proximity or technology, for instance—to accessing audio of an event or production. While description was developed for people who are blind or visually impaired, many others may also benefit from description’s concise, objective ‘translation’ of the key visual components of various art genres and social settings. This dissertation and book is grounded in my practical application of audio description techniques which I developed over the last 32 years of professional work in the field and in virtually all formats in which audio description is practiced: performing arts (theater, dance, opera), media (television, film, DVDs, web streaming), museums/visitor centers, and in other cultural or recreational endeavors (parades, sporting events, personal tours, shopping, on cruise ships—and karaoke competitions). Thus, this dissertation is structured so as to convey my experience in all audio description formats and mechanisms and a review how description applies to the observation and analysis of movement and its application to the development of literacy. Its corpus is a comprehensive training manual and guide to the history and applications of Audio Description. A special feature is the dissertation’s “associated web site”: www.thevisualmadeverbal.com which is available to all readers of this dissertation and provides practica for students of description. The corpus will be published by prior arrangement with the American Council of the Blind based in Arlington, VA in the United States of America.

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Obert, Robert. "Droit comptable, comptabilite financiere, audit : analyse et evolution." Paris, CNAM, 2000. http://www.theses.fr/2001CNAM0364.

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Depuis plus de vingt ans, l'auteur s'est interesse aux themes associant le droit et la comptabilite, a la comptabilite financiere, a l'audit, au droit comptable. Il a notamment publie trois ouvrages fondamentaux qui ont fait l'objet de nombreuses reeditions, plusieurs articles et tout recemment une volumineuse etude synthetique a caractere historique. Pour presenter son travail, l'auteur a selectionne vingt chapitres ou articles. L'ensemble de ces travaux est d'abord analyse en fonction de l'evolution concomitante de la comptabilite financiere et du droit comptable. Sont examines notamment les sources, sur un plan national et international, l'autonomie et les specificites du droit comptable, les liens entre droit comptable et comptabilite financiere. Cette analyse permet de distinguer trois stades dans la comptabilite : la technique, la norme et l'obligation juridique. Il est demontre ensuite que si la comptabilite financiere et le droit comptable sont interconnectes, des liaisons existent egalement avec d'autres disciplines, avec l'audit d'abord, mais aussi avec toutes les autres disciplines juridiques. Puis, il est souligne que l'etude historique de la construction du droit comptable permet de comprendre plus facilement la specificite du droit comptable contemporain. Est d'abord evoquee une periode d'emergence de ce droit, periode allant de la plus lointaine antiquite (mesopotamie, egypte. Grece, rome) a la renaissance. Est etudiee, ensuite, la periode de formulation des regles de base qui va de colbert a la mise en place du plan comptable general 1947-1957. Enfin, sont analyses l'evolution du droit comptable dans l'epoque contemporaine, les effets des directives europeennes, mais aussi l'influence des pratiques etrangeres. Notamment anglo-saxonnes. En conclusion, l'auteur essaie de qualifier et de caracteriser le droit comptable contemporain, en mettant notamment en evidence le role de l'auditeur, qu'il assimile a un juge specifique.

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Neusserová, Sandra. "Rezervy ústavně právního postavení NKÚ v porovnání s obdobnými institucemi v naší historii a ve vybraných státech EU." Master's thesis, Vysoká škola ekonomická v Praze, 2016. http://www.nusl.cz/ntk/nusl-264436.

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This diploma thesis deals with historical development of the Czech Supreme Audit Office and its foreign analogies. The subject of the thesis is to evaluate the current legal status of the Supreme Audit Office and then propose possible modifications with reference to the regulatory audit institutions in European countries. The diploma thesis is divided into two parts. The theoretical part contains material study, theoretical introduction to the control and audit and then examines in detail the historical progress of the Supreme Audit Office in the Czech Republic to its current form. Other chapters are focused on different foreign institutions which are responsible for the national audit. The practical part highlights the differences between the control authorities. The comparison of individual offices is analysed on the basis of the Lima Declaration of Guidelines on Auditing Precepts.

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Watkins, Mark N. "Technology and the history-social science framework." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/1055.

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Lecián, Michal. "Využití auditu webových stránek pro Competitive Intelligence." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-358803.

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This thesis is focused on thorough description of Competitive Intelligence term and its fol-lows usage for webpages audit. The practical part of this thesis is primarily created for the Bisnode company. However, it can be used everyone who wants to perform on-line webpages analysis of their competitors. In thesis are also used professional tools of Majestic company and SEOPowerSuite company. I got these for limited time after my e-mail corre-spondence with company´s support team. At the beginning of practical section the Bisnode company is introduced to readers, so that they might become familiar with it. After that, the analysis was performed and divided into 4 thematic areas based on Bisnode´s wish. I ana-lyzed strengths and weaknesses of monitored sites in each of this section so that the company can learn not only from their mistakes but also from mistakes of its rivals. I tried to analyze Competitive Intelligence term in detail in the theoretical part of thesis. In addition, this term is viewed from multiple angles (its history, reflection of its Czech trans-lation, ethic associated with the CI term or description CI as process). So, this thesis can be also a beneficial for readers that know this term but want get deeper knowledges.

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Malone, Caitlin A. "A Visit to the Priory: An Interactive Audio Tour." Digital WPI, 2016. https://digitalcommons.wpi.edu/etd-theses/389.

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The chapter house of the Benedictine priory of Saint John Le Bas-Nueil, currently located in the Worcester Art Museum, is an impressive piece of architecture. However, visitors are currently restricted to admiring the structure and its restoration only, as there is limited information presented in the museum about the roomâ€™s original use. The purpose of this project was to produce a low-impact, narrative-driven audio experience designed to increase visitor interest in the museum in general and Benedictine life during the twelfth century in particular. The prototype produced combines elements of traditional audio tours, radio drama, and question-and-answer interaction sequences to provide a self-driven immersive experience.

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Bradley, Simon. "Archaeology of the voice : exploring oral history, locative media, audio walks, and sound art as site-specific displacement activities." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/28316/.

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This thesis develops a notion of an archaeology of the voice that is situated between three principal areas of research and practice: oral history, locative media, and sound art. The research takes place in the context of contested urban space in Holbeck, Leeds one of the most deprived neighbourhoods in the U.K. Through a reiterative and reflexive process of extensive interviewing, soundwalking and field recording the area is deep mapped and material gathered in order to produce a percipient led sitespecific presentation of oral history I term 'phonoscape'. Although the technology exists to connect oral history to place via locative media within a database aesthetic, a practical and conceptual gap is identified between these technologies for those working with audio interview material. In this context a purpose-built app is developed to enable oral history audio archives to be distributed geospatially, becoming navigable aurally on foot. In order to distribute a polyvocal sampling of an archive in time-space, techniques and principles from contemporary sound art are introduced, in particular a form of field composition involving an understanding of constitutive silence, soundscape, and voice editing techniques. Research into contemporary audio walk and memoryscape practice confirms that non-linear, fragmented narrative forms are used the construction of polyvocal understandings of place, and this is taken forward within a conception of the embodied hypertextual affordance of locative technology. The findings are then brought together in a transdisciplinary manoeuvre that introduces Displacement Activities, a translocational form of site-specific participatory performance art, providing a public vehicle that draws attention to phonoscape, its oral history content, and the archive itself. As an open work that is generative and reflexive, Displacement Activities extend the notion of site-specificity, finding global analogues before returning to the original site to begin the work again.

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Scott, Kathleen Ann. "A comparison of print and video as educational media for the development of historical thinking." Thesis, online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3266901.

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Casari, Jacopo <1994&gt. "Intersemiotic Translation for Tourism Promotion. The history of Treviso from an Italian written guidebook to an English audio guide script." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21053.

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L’elaborato presenta il risultato di un processo di traduzione intersemiotica in ambito turistico. Il testo originale in italiano, proveniente da guide cartacee, contiene una serie di informazioni su diversi siti e luoghi di interesse ed è rivolto a quei turisti interessati a visitare la città di Treviso. Il testo in questione è stato poi tradotto a livello intersemiotico, e quindi adattato, in modo da assumere le caratteristiche di uno script che possa fungere da copione per la creazione di un’audioguida adatta ad essere ascoltata. Nonostante il testo di arrivo sia in inglese, l’elaborato è rivolto a qualunque turista straniero in grado di comprendere la lingua, non necessariamente ad un pubblico madrelingua. Il primo capitolo include una panoramica sul concetto di ‘cultura’ e sull’impatto che una cultura differente (quella del turista straniero) può avere sull’approccio ed il risultato di un processo di traduzione. Nel secondo capitolo viene presentata un’introduzione al concetto di ‘multimodalità’, seguita poi da una definizione del concetto di ‘soundscape’. Nel terzo capitolo viene trattato tutto ciò che sta alla base della creazione di un’audioguida, partendo da una definizione generale e analizzandone poi le caratteristiche principali, tra cui il tipo di linguaggio utilizzato e le molteplici strategie legate a prosodia e soundscape impiegate. Queste ultime in particolare hanno permesso di trasformare il testo di partenza in uno script adatto ad essere ascoltato. L’ultima sezione del capitolo presenta un paragone tra le caratteristiche principali delle audioguide in italiano e di quelle in inglese. Infine, il quarto capitolo presenta la traduzione vera e propria, completa di note a piè di pagina che spiegano e trattano le micro e macro strategie utilizzate. La traduzione è quindi seguita da un commento traduttologico basato su quanto è stato discusso nei capitoli precedenti.

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Ross, Alexandra C. M. "Continuous curatorial conversations : an exploration of the role of conversation within the writing of a supplementary history of the curatorial." Thesis, University of Dundee, 2014. https://discovery.dundee.ac.uk/en/studentTheses/af610c50-f15e-43f0-8801-2b07defff126.

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Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.

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Neves, André Luís Lopes. "O vídeo como ibirapema. A apropriação dos recursos audiovisuais pelos Manoki e seus discursos sobre a história." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-01062015-152905/.

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Esta pesquisa propõe uma análise do processo de apropriação de ferramentas audiovisuais entre os Manoki, povo indígena de tronco isolado que vive ao noroeste de Mato Grosso, e suas correlações com os discursos nativos sobre a história. A partir de uma etnografia mediada pelo vídeo utilizado pelos indígenas de forma proeminentemente prospectiva em estratégias de registro e autorrepresentação , chega-se a diversos temas próprios da etnologia indígena, como relações intergeracionais, concepções sobre tempo, ritual e escatologia. Ao conjugar as abordagens antropológicas sobre audiovisual e povos ameríndios, a análise pretende levar em consideração a perspectiva nativa a propósito das transformações em seu mundo e o papel que o registro audiovisual pode ter para os Manoki. This research proposes an analysis of the appropriation process of audio-visual tools among the Manoki, indigenous people who live in northwest of Mato Grosso, and their correlations with native discourses about history. Through an ethnography mediated by video used by indigenous people in a prominently prospectively way in strategies for registration and selfrepresentation we arrive at several ethnological themes such as intergenerational relationships, conceptions of time, ritual and eschatology. By combining anthropological approaches in audio-visual and Amerindian peoples, the analysis aims to take into account the native perspective on the subject of changes in their world and the role that audio-visual records may have to Manoki people.

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Francoeur, Eric. "The forgotten tool : a socio-historical analysis of the development and use of mechanical molecular models in chemistry and allied disciplines." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0003/NQ44433.pdf.

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Martins, Débora Souza Cruz. "A prostituição televisionada em "Gabriela" : tempo presente, história e política no audiovisual brasileiro de 1975." Pós-Graduação em História, 2014. https://ri.ufs.br/handle/riufs/5661.

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The present study describes and analyze how the |prostitution´s world| was presented to TV viewers through de first version of the soap opera |Gabriela|, displayed by RedeGlobo in the year of 1975. Beyond the audio-visual as the primary source, we used magazines and newspapers of that time ( magazine Amiga, magazine Contigo, magazine Veja and newspaper Folha de São Paulo) to comprehend a little of the repercussion of the teledramaturgy. We also aimed, through the speech and actions of the characters, understand and contextualize the time that |Gabriela| was produced and televised. To seize this, we analyze the intern language and the mechanisms presents in the soap opera, trying to understand the reasons of the adaptations and omissions occurred. We think that like any other type of historic documents, the audio-visual sources reveal a kind of reality, porting tensions and representations and are produced with internationalities. Therefore, the simple fact that |Gabriela| being inserted in a spectacle of entertainment, doesn t make it invalid as a historical discourse. O presente estudo descreve e analisa como o mundo da prostituição foi apresentado ao telespectador através da primeira versão da telenovela Gabriela , exibida pela Rede Globo no ano de 1975. Além do audiovisual como principal fonte, utilizamos revistas e jornais de época (revista Amiga, revista Contigo, revista Veja e jornal Folha de São Paulo) para compreendermos um pouco sobre a repercussão da teledramaturgia. Buscamos também, por meio das falas e ações dos personagens, entender e contextualizar a época em que Gabriela foi produzida e televisionada. Para isso, analisamos a linguagem interna e os mecanismos presentes na telenovela, procurando compreender os motivos das adaptações e omissões recorrentes. Entendemos que assim como qualquer outro tipo de documento histórico, as fontes audiovisuais revelam uma dada realidade, são portadoras de tensões e representações e são produzidas com intencionalidades. Sendo assim, o simples fato de Gabriela ser inserida em um espetáculo de entretenimento, não faz com que a mesma seja invalidada como discurso histórico.

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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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Gómez, Acuña Luis. "Borras, Gérard. Lima, el vals y la canción criolla (1900-1936). Lima: Instituto Francés de Estudios Andinos, Instituto de Etnomusicología- Pontificia Universidad Católica del Perú, 2012, 503 pp. + 1 disco compacto [grabación de audio]." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/121892.

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Dall', Agnol Caroline. "Produção audiovisual como recurso didático-pedagógico no ensino de história : "Como me veem?", "Como eu vejo?" estudo de caso de adolescentes de uma comunidade em situação de vulnerabilidade social." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1088.

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A presente dissertação, realizada entre 2013 e 2015, insere-se no contexto de um processo de produção audiovisual que trabalha com o conceito de identidade e pertença de adolescentes de uma comunidade em situação de vulnerabilidade social em Caxias do Sul, RS. O estudo Produção Audiovisual como recurso didáticopedagógico no Ensino de História : “Como me veem?”, “Como eu me vejo?” estudo de caso de adolescentes de uma comunidade em situação de vulnerabilidade social tem como objetivo geral desenvolver uma metodologia, com o uso da produção audiovisual no ensino de História, trabalhando os conceitos de identidade e pertença de adolescentes, partindo da premissa de que a produção audiovisual possibilita ao indivíduo situar-se como protagonista em seu contexto sócio-histórico-cultural. Ao mesmo tempo em que o recurso didático-pedagógico possibilita ao jovem ocupar o lugar de sujeito histórico, também funciona como um duplo espelho, fortalecendo o autoconhecimento e a autoestima (sentimento de identidade) e desencadeando um processo de visibilidade social (reconhecimento e sentimento de pertença à comunidade em que vive). O problema do estudo acadêmico que guia o trabalho é se a produção audiovisual, como recurso didático-pedagógico no Ensino de História, pode desenvolver o sentimento de identidade e pertença em adolescentes de comunidades em situação de vulnerabilidade social. A veia condutora dessa pesquisa está estruturada no desenvolvimento da produção audiovisual que, atende a proposta de educação pedagógica social (educação humanizadora), quando trabalhada dentro de sala de aula e focada na inserção do adolescente como sujeito da história. Desta forma, o adolescente ganha espaço para a reflexão sobre uma questão fundamental: “Como me veem?” (visibilidade social) “Como eu me vejo?” (autoreconhecimento), questão que balizou a escolha e definição do tema. Quem nos guia para buscar essas respostas são os teóricos Honneth (2003), Freire (1996; 2004), Martín-Barbero (2001), Pêcheux (1999), Bourdieu (2010; 1974; 1983; 1972), Canclini (1984; 1999), Hall (2005) e Goffman (1988). Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-01-27T12:36:30Z No. of bitstreams: 1 Dissertacao Caroline Dall Agnol.pdf: 2442096 bytes, checksum: 9ee25fb5136aea324c2d85782b0466df (MD5) Made available in DSpace on 2016-01-27T12:36:30Z (GMT). No. of bitstreams: 1 Dissertacao Caroline Dall Agnol.pdf: 2442096 bytes, checksum: 9ee25fb5136aea324c2d85782b0466df (MD5) This work, carried out between 2013 and 2015, falls within the context of an audiovisual production process that works with the concept of identity and belonging among adolescents in a socially vulnerable community in Caxias do Sul, RS. The Audiovisual Production study as a didactic and pedagogical resource in History teaching: "How do they see me?", "How do I see myself?" case study of adolescents from a socially vulnerable community has the general objective of developing a methodology, with the use of audiovisual production in History teaching, working the concepts of identity and belonging of teenagers from communities in socially vulnerable situation, on the premise that the audiovisual production allows the teenager to lie as protagonist in their social-historical-cultural context. While the didactic-pedagogic resource enables the young to take the place of historical subject, it also functions as a double mirror, strengthening self-knowledge and self-esteem (sense of identity) and triggering a social visibility process (recognition and feeling of belonging to the community in which they live). The problem of academic study that guides the work is if audiovisual production, as didactic and pedagogical resource in History teaching, can develop a sense of identity and belonging in adolescents from communities in socially vulnerable situation. The conducting vein to this research is structured in the development of the audiovisual production that meets the proposed social pedagogical education (humanizing education), when worked in class room and focused in the adolescent's insertion as the subject of history. In this way, the teenager gains space for reflection on a fundamental question: "How do they see me?" (Social visibility) "How do I see myself?" (Self-recognition), an issue that buoyed the choice and definition of the subject. Who guides us to seek those answers are the theoretical Honneth (2003), Freire (1996, 2004), Martin-Barbero (2003), Pêcheux (1999), Bourdieu (2010; 1974; 1983; 1972), Canclini (1984; 1999), Hall (2005) and Goffman (1988).

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Robertson, Molly K. "Adult education on public television : an historic overview of the 1986-87 GED-On-TV Pilot Project in East Central Indiana." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544151.

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The purpose of this study was to examine the GED-ON-TV project operated by Muncie Community Schools in 1986-87, and to look at the effect of the program on under-educated adults in east central Indiana. The study also offered recommendations for improving the operation of the GED-ON-TV project for use by other adult education providers throughout Indiana and the country.GED-ON-TV began to broadcast a series of 43 television in Muncie, Indiana, in November, 1986. The programs were designed by Kentucky Educational Television specifically for adult high school drop-outs who wished to prepare to take the General Educational Development (GED) Tests, and earn a high school equivalency credential. The series featured programs on reading, social studies, science, writing and math.The target population for the series was the 41,150 drop-outs in the six east central Indiana counties, who received the WIPB-TV signal, and who left high school somewhere between theprocedures used ninth and eleventh grade. The counties participating in the project were Blackford, Delaware, Henry, Jay, Madison and Randolph.A massive advertising campaign was launched to recruit students from throughout the area. The promotional campaign resulted in 994 inquiries to an "800" telephone number. Of these, 498 students enrolled in the program. At the end of the series, 157 adults took the GED Tests and 134 passed and received a high school equivalency certificate.The project surveyed all students who enrolled in the program and learned that over 58 per cent claimed that the learn-at-home series was the first contact they had had with any adult education program.This study explains in detail the operating by the project and offers 11 specific recommendations for improvement of the project that may be used by other adult education providers wanting to begin a GED-ON-TV program. Department of Telecommunications

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Gómez, Acuña Luis. "Rohner, Fred y Gérard Borras (comps.). Montes y Manrique 1911-2011. Cien años de música peruana. Lima: Instituto de Etnomusicología de la Pontificia Universidad Católica del Perú, Instituto Francés de Estudios Andinos, 2010, 88 pp. + 2 discos compactos [grabaciones de audio]." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/121785.

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Gadsden, Cynthia A. "Artforum Basquiat, and the 1980s." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217965257.

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Mancini, Orlando Marcos Martins. "O pensamento musical no cinema = o exemplo de Ennio Morricone." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284956.

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Orientador: Claudiney Rodrigues de Carrasco Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-18T00:42:25Z (GMT). No. of bitstreams: 1 Mancini_OrlandoMarcosMartins_D.pdf: 6805808 bytes, checksum: 7a89e4b87eec71308f7438073bada8d8 (MD5) Previous issue date: 2011 Resumo: O pensamento musical no cinema exemplificado pela "música aplicada" de Ennio Morricone originou-se em julho de 1992, na ACCADEMIA MUSICALE CHIGIANA, Siena - Itália, onde Ennio Morricone e Sergio Miceli ministraram conjuntamente o Corso de Perfezionamento in Musica per Film. Sucintamente, o curso propôs a possibilidade de uma confluência entre dois pensamentos relacionados à música de cinema, duas abordagens: uma musicológica, histórica e teórica, voltada a apresentar instrumentos idôneos na análise das relações intercorrentes entre música e imagem (a parte de Sergio Miceli); a outra, profissional, artesanal, estritamente relativa a um pensamento e uma praxe compositiva desenvolvida dentro dos vínculos impostos pela própria produção e linguagem cinematográfica (a parte de Ennio Morricone). Mesmo que primariamente distintas, de modo geral, as abordagens percorreram assuntos que, insistentemente, orbitaram em torno de um mesmo problema: qual o contexto da música e do compositor de cinema na história contemporânea? Utilizando inserções musicais das trilhas sonoras das duas trilogias do diretor Sergio Leone e de alguns filmes representativos situados em momentos importantes da trajetória de Ennio Morricone como referência, este trabalho busca apresentar, situar, estender e aprofundar a proposta de confluência estabelecida na Chigiana, acrescida por tópicos importantes e significativos do instrumental teórico da área de música de cinema, principalmente o referenciado no campo acadêmico. O estudo alterna entre uma vertente mais geral, percorrendo panoramicamente momentos decisivos da vida e da obra de Ennio Morricone, com outra mais particularizada, aprofundando-se em momentos significativos, onde são estabelecidas instâncias reveladoras de seu pensamento musical aplicado no objeto audiovisual Abstract: Musical Thought in Cinema exemplified by Ennio Morricone's "Applied Music" originated in July 1992 at Accademia Musicale Chigiana, in Siena - Italy, where Ennio Morricone and Sergio Miceli ministered, together, the Corso di Perfezionamento in Musica per Film. Succinctly, the course raised the possibility of a confluence between two approaches related to film music: a musicological, historical and theoretical view aimed to present suitable instruments for the analysis of the reciprocal relations between music and image (Sergio Miceli's focus), and a professional, compositional perspective developed within the constraints imposed by its creation and cinematic language (advocated by Ennio Morricone). Even though primarily distinct, in general, both approaches seem to converge to the same problem: what is the context of film music and composer in history? Using fragments of Sergio Leone's two trilogies and other representative film scores in the career of Ennio Morricone as reference, this study aims to present, situate, expand and deepen the proposed confluence, established originally at Chigiana, by considering various well-known theoretical lenses. This work will alternate between a panoramic overview of decisive moments in Ennio Morricone's life and work and an in depth analysis of key extracts which reveal his applied musical thought in the relationship between the audiovisual object and the soundtrack Doutorado Doutor em Música

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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.

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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.

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Saidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.

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Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.

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Dattin, Christine. "Du Code de Commerce de 1807 à la loi de 1966 : la lente émergence du commissariat aux comptes. De la fonction à la profession." Phd thesis, Université de Nantes, 2012. http://tel.archives-ouvertes.fr/tel-00920755.

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Comment s'est développé le commissariat aux comptes en France, du contrôle des comptes pratiqué dans les SA du XIXe jusqu'à la loi de 1966 qui fixe son cadre actuel ? Pour démontrer le passage d'une simple fonction de contrôle des comptes à une profession organisée par la loi de 1966 et son décret d'application, nos propos se sont articulés autour des trois axes caractérisant une profession : * L'activité. La pratique du contrôle des comptes a été étudiée notamment au travers des statuts des SA autorisées, des textes de lois, des exemples de la SA des Hauts fourneaux et fonderies de Pont-à-Mousson et de la Compagnie Saint-Gobain, de lectures dans la presse économique et professionnelle. * Les organisations professionnelles. Depuis la création de la Société Académique de Comptabilité en 1881 à la constitution de la Compagnie des Experts Comptables de Paris en 1912, à celle de la Fédération des associations de commissaires inscrits suite au décret-loi de 1935 puis à la fondation de l'OECCA en 1942, cette thèse met en avant les combats menés par les professionnels durant toute cette période pour que soient reconnues ces différentes organisations. * La formation. Nous avons étudié l'évolution des formations comptables : la création des premières écoles de commerce, le développement du système d'enseignement de la SAC, l'évolution des diplômes d'Etat d'expertise comptable ainsi que celle de l'examen d'aptitude aux fonctions de commissaire aux comptes. Différents aspects tenant au contexte économique, social et culturel ont été mis en avant pour expliquer la lenteur de ce processus d'émergence et les choix effectués quant aux modalités de la mise en œuvre du commissariat aux comptes.

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Hess, Daniel Lund. "The Evolution of Media in the Church Educational System of The Church of Jesus Christ of Latter-Day Saints." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/4787.

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This thesis will chronicle the efforts of Church Educational System employees, those in the Church Audiovisual Department, and those in Church Correlation of the Church of Jesus Christ of Latter-day Saints, in the development of media produced specifically for use in the CES classroom.Following a brief overview of the history of Church Education and LDS motion picture production, this thesis will document the efforts in producing media support for CES from 1965 to the present. It will chronicle how CES media development, approval, and production have mirrored changes and developments in CES curriculum philosophy, Church organization, and advances in motion picture production technology. The creative and collaborative processes during each phase of media development will also be explored.

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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.

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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

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Gutierrez, Julia Sabina. "L'espace dans le travail de Rafael Azcona, scénariste." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030110.

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Au travers de cette recherche, nous nous sommes attachée à analyser la dimension narrative des scénarii, en nous penchant plus spécifiquement sur le travail de Rafael Azcona (1926-2008), auteur de comédies pour le cinémaet la télévision. Parce qu’il a créé et exploité à l'écran un univers personnel et aisément identifiable pour les spectateurs, ce scénariste est considéré, en Espagne au moins, comme un auteur au sens plein.Notre objectif est comprendre comment un style caractéristique a pu survivre à Rafael Azcona, alors même que son texte se dissolvait peu à peu dans tout le processus de la construction d’une oeuvre audiovisuelle. Ce travail analytique est d’autant plus délicat que nous devons également tenir compte du fait qu'il a collaboré avec des cinéastes aux mondes très personnels comme Marco Ferreri, Carlos Saura ou Luis García Berlanga.La principale difficulté rencontrée face au travail de Rafael Azcona était de savoir quel est le scénario original d'un film. Celui qui a été écrit avant que le tournage ne commence ? Celui qui a été modifié durant le tournage? Celui qui a été publié une fois le film projeté dans les salles ? Celui qui a été apprécié par le public ? Ce qui nous amène à poser, une question fondamentale : le scénario a-t-il des lecteurs ou des spectateurs ? Il est important, en effet, de ne pas oublier le poids des aspects socio-économiques de la filière cinématographique dans l’appréhension du travail scénaristique.Dans la mesure où un scénario, dans son format, sa structure et sa conception, n’attend en général pas un lecteur, mais une caméra pour être filmé, nous avons donc décidé de nous confronter au scénario à partir d’une perspective qui prenne en compte la construction spatiale d'une histoire, c’est-à-dire un élément habituellement attribué aux architectes d'images que doivent être le réalisateur et le monteur. L'importance que l'oeuvre d'Azcona donne aux lieux où se déroule l'histoire, la relation spéciale entre le personnage et l'espace, et la thématique omniprésente de la recherche d'intimité, nous invitent à questionner en profondeur le rôle de l'espace dans laconstruction de ses histoires.À travers ces pages nous cherchons à montrer comment le scénariste Rafael Azcona, qui savait que le scénario n'était pas écrit pour être lu mais pour être vu après dans un écran, s'est préoccupé de décrire et déconstruire minutieusement la caractéristique la plus strictement cinématographique: l'espace, cette réalité dont le cinéma ne peut jamais se détacher This study analyses the narrative dimension of screenplays, focusing primarily on the work of Rafael Azcona(1926-2008), comedy writer for cinema and television. Due to the fact that he created and developed on the screen apersonal universe that is easily identifiable by the audience, in Spain at least, this screenwriter is considered to be atrue auteur.Our primary objective is to understand how Rafael Azcona’s characteristic style could survive even when histext dissolved little by little in the entire process of constructing an audio-visual work. The analytic work is madeeven more delicate by the fact that we must take into account his collaboration with filmmakers that had their ownvery personal universes, such as Marco Ferreri, Carlos Saura, or Luis Garcia Berlanga.The main difficulty encountered with regard to Rafael Azcona’s work was finding out which was the originalscreenplay of the film. The one written before the start of filming? The one modified during filming? The onepublished once the film was shown in cinemas? The one liked by the audience? Which brought us to a fundamentalquestion: does the screenplay belong to the readers or to those who watch? It is, in fact, important to remember theweight of socio-economic aspects in the film industry when trying to understand screenwriting.Given that a screenplay, due to its structure and form, doesn't generally wish for a reader, but for a camera, tobe filmed, we have decided to look at the scenario from the point of view of the spatial construction of a story, thatis, an element usually attributed to image architects, such as the director and the editor. The importance given byAzcona’s work to the locations where the story takes place, the special relationship between character and space, andthe ubiquitous theme of the search for intimacy invite us to explore in depth the role played by space in theconstruction of the story.In this study, we try to show how the screenwriter Rafael Azcona, who knew that the screenplay wasn’twritten to be read, but to be seen later on a screen, put great effort into describing and constructing in great detailthe most cinematic of characteristics: space, that reality which cinema can never leave

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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.

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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.

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Wang, Jane, and 王淑貞. "Implementation of Inventory Audit System by Using Transaction Count Concept and History Data for 3C Industry." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/4v566h.

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碩士 臺中健康暨管理學院 資訊工程學系碩士班 93 Due to many type of merchandise in 3C industry and the difficulty in inventory count, it is often to neglect the importance of inventory accuracy. Therefore it will cause business-uncertainty risk to the company because of unable to confirm the quantity of the stock, incapable of confirming the amount of the finance inventory, and unable to check with amount of stock to know the total cost and total gross profit rate; it is incapable to understand company capital account; whether it have a surplus or how much profit. The stock amount inaccuracy is referred to inconsistency of the recorded quantity versus actual quantity of product category. The exactness of the quantity accounting and making accurate stocks controls method will improve profit-ability on 3C industry. In the environment of highly competitive market, the 3C industry must be devoted to reduce the operating cost, and therefore the stock accuses is one of the important tasks to reducing the operating cost. This thesis is based on 3C industry continuous-count inventory system. When stock and inventory were incorrect, it is proposed to make use of tracing inventory transactions and combined history information to carry out the research of inventory status examination. Focusing on the profit and loss situation of stock , checking the various trade records of purchasing, sale, receiving to stock , transferring-between among all chain stores, and combed with history database all together will find out the reason of stocks inaccuracy; point to stocks inventory mistake to affect control policy; offer to 3C industry about stocks inaccuracy information. Fully understanding about stocks control policy and profit achievement will straighten out the inventory control and prevent finance stack problem; decrease inventory shortage to improve enterprise competitiveness and management performance.

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Malik, Shahid. "Pakistan political environment: an impediment to democracy?" 2007. http://arrow.unisa.edu.au:8081/1959.8/34057.

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This thesis systematically examines vital socio-political factors which are impediments to democracy in Pakistan since 1947. The object is not to reach a single verdict on whether or not the whole regime can legitimately be called democratic, but to determine by empirical observation how democratic it is in its various parts. Democratic audit is a systematic, qualitative assessment of the performance of a regime's many parts against agreed democratic standards.

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Ncongwane, Malaya Zebulon. "A media programme for history teachers." Thesis, 2014. http://hdl.handle.net/10210/11598.

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Biemond, Catharina Elizabeth. "Simulasie in geskiedenisonderrig in die primêre skool." Thesis, 2014. http://hdl.handle.net/10210/10664.

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M.Ed. (Didactic Education) All over the world History as a school subject is on the defensive. This phenomenon is usually attributed to a variety of causes. In general however, the reason for this crisis is seldom seen in the traditional approach and teaching of the subject. At university, the secondary and even the primary school the understanding of the past is the cornerstone for the study of History. Accordingly History has only by accident any real value for the child living in the present day society. potentially however, History is, due to man's historicity, one of the most fundamental ways of broadening his perspective. Unfortunately this basic fact is often neglected in the approach to and teaching of the subject. Educational principles are neglected and the content seems to be relatively meaningless to the pupils. There has been a general neglect of play or simulation games as a subject for research or study. Scientists, biologists, anthropologists and psychologists have studied play, but in most cases it has been concerned with animals. It is believed that in future the power of simulation as a learning tool will attain the consideration and support it should have. Only if History is restructured at all levels in accordance with sound educational principles and in an existentially relevant way, the subject will, at least in principle, regain the ground that has been lost.

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Potgieter, Nicolaas Daniel. "Mediagebruik by geskiedenisonderrig in sekondêre skole in Gazankulu." Thesis, 2014. http://hdl.handle.net/10210/12618.

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Caxeiro, Susana Cristina Belchior. "Immaterial in the Material: A study on 78rpm audio carriers in Portuguese collections." Doctoral thesis, 2021. http://hdl.handle.net/10362/133066.

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In 1887, Emile Berliner patented the gramophone and its flat lateral-cut records, a format that was the basis of the birth of the music recording industry. The aim of this study is to contribute to the history of sound recording and to the preservation of shellac discs through a better knowledge of the material and immaterial aspects of industrial record manufacture during the acoustic period, ca. 1898-1925, through a multidisciplinary approach, combining research methods from ethnomusicology, history of technology and conservation sciences. The first part of this study is dedicated to the history of the recording companies and record labels active in Europe during the acoustic era, considering the different perspectives of their activity in these early decades: from artist and repertoire selection to the technical challenges of the early recording sessions, and to the marketing and distribution strategies that led to the implementation of this emerging industry across the globe, with Portugal serving as a case study of how the business relations could lead to the introduction of local labels in a country with no manufacturing facilities, and how major companies, like the Gramophone Co., operated in these smaller markets. The study then goes into the more technical aspects of record manufacture, with a focus on the procedures inside the factory. Shellac disc compound recipes were compiled, retrieving information from patents and historical documentation, to assess the most common ingredients used over time by each company as fillers, binders, and additives. This then led to the second part of this study, where a set of shellac discs from Portuguese collections was analysed with a non-destructive method, µ-EDXRF, with the aim of identifying the materials used as fillers and ascertain whether it would be possible to attribute a specific pattern or a tendency to the production of each European factory over time. This study may enable the material characterization of the production of each factory over time, allowing in the future a better knowledge of the manufacturing location of local labels whose history is little known up to now, being also important for further studies on the preservation of these sound carriers – which are important information providers themselves, and need to be preserved together with the audio signal they carry. Em 1887, Emile Berliner patenteou o gramofone e os seus discos planos de gravação lateral, um formato que esteve na génese da indústria fonográfica. O objetivo deste estudo é contribuir para a história da gravação sonora e para a preservação dos discos de goma laca por meio de um melhor conhecimento dos aspectos materiais e imateriais envolvidos no fabrico industrial de discos durante o período acústico, ca. 1898-1925, através de uma abordagem multidisciplinar, combinando métodos de pesquisa da etnomusicologia, história da tecnologia e ciências da conservação. A primeira parte deste estudo é dedicada à história das empresas discográficas e etiquetas activas na Europa durante a era acústica, considerando as diferentes perspectivas da sua atividade nessas primeiras décadas: desde a seleção de artistas e repertório aos desafios técnicos das sessões de gravação, passando pelas estratégias de marketing e distribuição que levaram à implementação desta indústria emergente por todo o mundo, com Portugal servindo como um estudo de caso de como as relações comerciais levaram à introdução de etiquetas locais num país sem meios próprios de produção, e como grandes empresas, como a Gramophone Co., operavam nesses mercados mais periféricos. Em seguida, o estudo aborda os aspectos mais técnicos do fabrico de discos, com foco nos procedimentos internos da fábrica. Foram compiladas receitas de compostos para fabricardiscos de goma laca a partir da consulta de patentes e de documentação histórica, de modo a listar os ingredientes mais comuns usados por cada empresa ao longo do tempo com a função de carga, ligante e aditivo. Este passo conduziu então à segunda parte deste estudo, onde foi analisado um conjunto de discos de gomalaca de colecções portuguesas por um método não destrutivo, µ-EDXRF, com o objectivo de identificar quais os materiais utilizados como carga, e averiguar a possibilidade de atribuir um determinado padrão ou tendência à produção de cada fábrica europeia ao longo do tempo. Com o desenvolvimento deste estudo poderá ser possível atribuir o fabrico de etiquetas locais, cuja história empresarial ainda seja pouco conhecida, a um determinado centro de produção. O conhecimento dos materiais presentes nos discos será também fundamental para futuros estudos sobre a preservação destes suportes de áudio, que são eles próprios importantes fontes de informação, sendo importante a sua preservação juntamente com o sinal de áudio que armazenam.

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Hsu, Yaun-Yang, and 徐元彥. "Basic Discussions Of The Modernity In Music of Taiwan Xi Qu During The Japanese Colonial Era—An Analysis of Audio Data on “Echoes of Taiwan History”." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/72887a.

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碩士 國立臺北藝術大學 傳統藝術研究所 95 In the Japanese colonial era, Taiwan''s modernization is the form of compression and the heavy stratified modernized process. Therefore, traditional and the modern concept mostly juxtaposes perhaps overlaps with no intense opposition relations. Drama music, under the modernized process, had reformed and innovated by the absorption the element of the jazz music, the Western world popular music. From“Echoes of Taiwan History”by Chaun-Wu Chang in year 2000, we could not only spy music of Taiwan xi qu appearance on Japan to govern, but also listen respectfully directly from Taiwan xi qu’s innovation, the improvement situation at that time. This article attempts to do the analysis from the Japanese colonial era under the time modernization function to bring the influence, and then to discuss entire drama music environmental variation and drama music innovation improvement situation. Finally, the article attempts to make the consumption, the social class and the creator background observes the drama music creator who Japan governs the time when the drama innovation chooses music element the basis for the final author because of the drama music and jazz common spot discussion, the attempt explained both innovate more possibilities at the drama.

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Candusso, Damian. "Dislocations in sound design for 3-d films: sound design and the 3-d cinematic experience." Phd thesis, 2015. http://hdl.handle.net/1885/15862.

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Since the success of James Cameron’s Avatar (2009),1 the feature film industry has embraced 3-D feature film technology. With 3-D films now setting a new benchmark for contemporary cinemagoers, the primary focus is directed towards these new stunning visuals. Sound is often neglected until the final filmmaking process as the visuals are taking up much of the film budget. 3-D has changed the relationship between the imagery and the accompanying soundtrack, losing aspects of the cohesive union compared with 2-D film. Having designed sound effects on Australia’s first digital animated 3-D film, Legend of the Guardians: The Owls of Ga’Hoole (2010),2 and several internationally released 3-D films since, it became apparent to me that the visuals are evolving technologically and artistically at a rate far greater than the soundtrack. This is creating a dislocation between the image and the soundtrack. Although cinema sound technology companies are trialing and releasing new ‘immersive’ technologies, they are not necessarily addressing the spatial relationship between the images and soundtracks of 3-D digital films. Through first hand experience, I question many of the working methodologies currently employed within the production and creation of the soundtrack for 3-D films. There is limited documentation on sound design within the 3-D feature film context, and as such, there are no rules or standards associated with this new practice. Sound designers and film sound mixers are continuing to use previous 2-D work practices in cinema sound, with limited and cautious experimentation of spatial sound design for 3-D. Although emerging technologies are capable of providing a superior and ‘more immersive’ soundtrack than previous formats, this does not necessarily mean that they provide an ideal solution for 3-D film. Indeed the film industry and cinema managers are showing some resistance in adopting these technologies, despite the push from technology vendors. Through practice-led research, I propose to research and question the following:Does the contemporary soundtrack suit 3-D films? ; Has sound technology used in 2-D film changed with the introduction of 3-D film? If it has, is this technology an ideal solution, or are further technical developments needed to allow greater creativity and cohesiveness of 3-D film sound design? ; How might industry practices need to develop in order to accommodate the increased dimension and image depth of 3-D visuals? ; Does a language exist to describe spatial sound design in 3-D cinema? ; What is the audience awareness of emerging film technologies? And what does this mean for filmmakers and the cinema? ; Looking beyond contemporary cinema practices, is there an alternative approach to creating a soundtrack that better represents the accompanying 3-D imagery?

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