Relevant bibliographies by topics / Lo-Fi

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Lo-Fi'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Lo-Fi.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Lo-Fi"

1

Leone, Massimo. "Hi-Fi, Lo-Fi, No-Fi, and Wi-Fi Interpretation." Chinese Semiotic Studies 15, no. 3 (August 27, 2019): 411–27. http://dx.doi.org/10.1515/css-2019-0023.

Full text
Abstract:
Abstract The article seeks to establish a dialog, from a semiotic point of view, with the grand cartography of methods in literary criticism proposed by Prof. Zhang Jiang in his famous essay “Imposed interpretation.” While acknowledging that Prof. Zhang Jiang identifies the most crucial weak points of the semiotic methodology, the article nevertheless takes these criticisms as occasions to improve the approach of semiotics, as regards especially the following oppositions: diagrammatic over-schematization versus quest for a more judicious application of the method; overenthusiastic adoption of mathematical formulas versus cautious cross-fertilization between humanities and scientific thought; frantic pursuance of theoretical uniformity versus humble acceptance of literary idiosyncrasies; fundamentalist proclamation of the self-reliance of the text versus thoughtful consideration of the evident links between the text and its contexts. This new theoretical approach, wherein traditional semiotics improves itself in dialog with Prof. Zhang Jiang’s criticisms, is exemplified with reference to the concept of interpretive fidelity, which is categorized into different levels and dimensions of adhesion between the textual structure and the discourse of the meta-language interpreting it: hi-fi, low-fi, no-fi, and wi-fi interpretation.
APA, Harvard, Vancouver, ISO, and other styles
2

Newton, Elizabeth. "Lo-fi Listening as Active Reception." Leonardo Music Journal 26 (December 2016): 53–55. http://dx.doi.org/10.1162/lmj_a_00975.

Full text
Abstract:
Literature on sound reproduction is largely concerned with “high-fidelity” recording, despite a multiplicity of modes of recording in practice throughout history. As a result, histories of listening have often tacitly privileged standards of appreciation rooted in high-fidelity culture. In an attempt to expand our conception of different listening styles, the author draws attention to latent histories of low-fidelity listening, positing “lo-fi” as a receptive mode that appreciates amateur and failed musical performances, aestheticizes noise in soundscapes and encourages listeners to participate in the construction of sonic experience at the time of playback.
APA, Harvard, Vancouver, ISO, and other styles
3

Molina-Moreno, Nadia Selene, Maria Susana Avila-Garcia, Marco Bianchetti, David Claudio-Gonzalez, and Marcelina Pantoja-Flores. "Uso de prototipos Lo-Fi en programación para niños." Avances en Interacción Humano-Computadora, no. 1 (September 21, 2016): 39. http://dx.doi.org/10.47756/aihc.y1i1.12.

Full text
Abstract:
El uso de prototipos de baja fidelidad permite la obtención de las consideraciones de diseño para aplicaciones que permitan colaboración y participación de manera simultánea. El objetivo de este trabajo es analizar las interacciones sociales y con las herramientas de niños de entre 8 y 10 años durante el uso de prototipos de baja fidelidad para actividades donde se desarrolla la lógica de programación. En este trabajo se presentan resultados preliminares y se espera que los resultados obtenidos sean posteriormente utilizados para el desarrollo de herramientas interactivas y colaborativas en mesas multitáctiles, permitiendo la comunicación con el usuario, mostrando una interfaz fácil de manipular y operar.
APA, Harvard, Vancouver, ISO, and other styles
4

Rudy, Dario, and Yves Citton. "Le lo-fi : épaissir la médiation pour intensifier la relation." Ecologie & politique N°48, no. 1 (2014): 109. http://dx.doi.org/10.3917/ecopo.048.0109.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Xinghua Li. "Whispering: the murmur of power in a lo-fi world." Media, Culture & Society 33, no. 1 (January 2011): 19–34. http://dx.doi.org/10.1177/0163443710385498.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Suppia, Alfredo. "Acesso negado: circuit bending, borderlands science fiction e lo-fi sci-fi em Branco Sai, Preto Fica." Revista FAMECOS 24, no. 1 (January 2, 2017): 24331. http://dx.doi.org/10.15448/1980-3729.2017.1.24331.

Full text
Abstract:
Branco Sai, Preto Fica (2014), de Adirley Queirós, mescla documentário e ficção científica para discutir a cidadania e os direitos civis sob a alça de mira do estado. Realizado com verba de um edital público destinado à produção de filmes documentários, o filme de Adirley Queirós recorre a toda sorte de circuit bending narrativo, cenográfico e de mise-en-scène no sentido de provocar o estranhamento cognitivo de cenários e situações aparentemente familiares e corriqueiros. Branco Sai, Preto Fica é também um filme fronteiriço, híbrido em termos de gênero e regime de representação, e também sua fábula se situa num território de fronteira. Este trabalho pretende analisar Branco Sai, Preto Fica à luz dos conceitos contemporâneos de circuit bending, borderlands science fiction e lo-fi sci-fi.
APA, Harvard, Vancouver, ISO, and other styles
7

Supper, Alexandra. "Listening for the hiss: lo-fi liner notes as curatorial practices." Popular Music 37, no. 2 (April 13, 2018): 253–70. http://dx.doi.org/10.1017/s0261143018000041.

Full text
Abstract:
AbstractLo-fi music is commonly associated with a recording aesthetic marked by an avoidance of state-of-the-art technologies and an inclusion of technical flaws, such as tape hiss and static. However, I argue that lo-fi music is not defined merely by the presence of such imperfections, but by a discourse which deliberately draws attention to them. Album liner notes play an important role in this discourse, as they can function as curatorial practices, through which lo-fi artists give an appropriate frame of reference to their recordings. By highlighting the ‘honest’ character of the recordings, the intimate recording spaces, the materiality of the equipment and its ambiguous character as machine/instrument/performer, they invite listeners to adopt a genre-adequate mode of listening. Rather than listening past hiss and other recording artefacts as undesirable qualities, listeners are asked to listen for these qualities as an essential element of not just the recordings, but the music itself.
APA, Harvard, Vancouver, ISO, and other styles
8

Kabzińska, Iwona. "The dying of Czerniakowskie lake, the dying of quiet: from a hi-fi to a lo-fi soundscape." Etnografia Polska 63 (2019): 113–32. http://dx.doi.org/10.23858/ep63.2019.007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Winston, Emma, and Lawrence Saywood. "Beats to Relax/Study To: Contradiction and Paradox in Lo-Fi Hip Hop." IASPM Journal 9, no. 2 (December 2019): 40–54. http://dx.doi.org/10.5429/2079-3871(2019)v9i2.4en.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Baez-Quintero, Liliana Carolina, Delbem Alberto Carlos-Botazzo, Emi Mariana Nagata, and Juliano Pelim-Pessan. "Concentración de flúor en cremas dentales y enjuagues bucales para niños vendidos en la ciudad de Bogotá, Colombia." Revista Nacional de Odontología 12, no. 23 (May 19, 2016): 41–48. http://dx.doi.org/10.16925/od.v12i23.1396.

Full text
Abstract:
Introducción:el uso de flúor ayuda en el control de la caries dental; las cremas dentales y los enjuagues bucales constituyen los medios de aplicación más usados por la población. Objetivo: determinar las concentraciones de flúor en las cremas dentales y enjuagues bucales para niños, vendidos en los supermercados de la ciudad de Bogotá y verificar si estos valores estaban consistentes con los informados por los fabricantes. Materiales y Métodos: fueron encontradas 17 cremas dentales y 4 enjuagues bucales. En todas las cremas dentales fue evaluado el flúor total (FT) y flúor iónico (FI); en las que contenían Monofluorofosfato de Sodio adicionalmente se evaluó el flúor soluble total (FST). En los enjuagues bucales se evaluó flúor iónico (FI). Para los análisis fue usado un electrodo específico de flúor acoplado a un analizador de iones, calibrado previamente con padrones de flúor después de adicionar TISAB II como solución tampón. Se realizó un análisis estadístico descriptivo de los datos. Resultados: el 18% de las cremas dentales presento valores entre 12,46 a 13,93% por debajo del valor esperado para el FT. Para el FI una presento valores del 77% menos de lo esperado, que fue la misma con valores en FST del 48,7% menor a lo esperado. Uno de los enjuagues bucales obtuvo un valor de FI 7% mayor a lo esperado. Conclusión: la mayoría de las cremas dentales y enjuagues bucales analizados presentan valores de FT y FI de acuerdo a la información presentada por los fabricantes. Sin embargo, se observó inconsistencia en la concentración de flúor en algunos productos que puede afectar su efecto anticaries.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Lo-Fi"

1

Harper, A. C. "Lo-Fi aesthetics in popular music discourse." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:cc84039c-3d30-484e-84b4-8535ba4a54f8.

Full text
Abstract:
During the late twentieth and early twenty-first centuries, 'lo-fi,' a term suggesting poor sound quality, the opposite of 'hi-fi,' became a characteristic perceived in certain popular-music recordings and eventually emerged as a category within independent or 'indie' popular music. It is typically taken to express the technical and technological deficiencies associated with amateur or 'DIY' musical production, namely at home using cheap recording equipment. However, this thesis rejects the assumption that lo-fi equates to a mode of production and charts it as a construction and a certain aesthetics within popular music discourse, defined as 'a positive appreciation of what are perceived and/or considered normatively interpreted as imperfections in a recording.' I chart the development and manifestation of lo-fi aesthetics, and the ways it focuses on various 'lo-fi effects' such as noise, distortion ('phonographic imperfections') and performance imperfections, in several decades of newspapers, magazines and websites covering popular music in the English-speaking world. I argue that lo-fi aesthetics is not merely the unmediated, realist authenticity that it is often claimed to be, but one that is also fascinated with the distance from perceived commercial norms of technique and technology (or 'technocracy') that lo-fi effects signify. Lo-fi aesthetics derives from aesthetics of primitivism and realism that extend back long before phonographic imperfections were positively received. I also differentiate between lo-fi aesthetics and aesthetics of noise music, distortion in rock, glitch, punk and cassette culture. An appreciation for recording imperfections and the development of 'lo-fi' as a construction and a category is charted since the 1950s and particularly in the 1980s, 1990s and in the twenty-first century, taking in the reception of artists such as the Velvet Underground, Bob Dylan, Hasil Adkins, the Shaggs, Jandek, Daniel Johnston, Beat Happening, Pavement, Sebadoh, Guided By Voices, Beck, Will Oldham, Ariel Pink and Willis Earl Beal.
APA, Harvard, Vancouver, ISO, and other styles
2

Conter, Marcelo Bergamin. "Lo-fi : agenciamentos de baixa definição na música pop." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/135476.

Full text
Abstract:
Considerando todos os avanços tecnológicos pelos quais a fonografia passou desde sua invenção, em 1877, por que persistem registros sonoros de baixa definição? Para enfrentarmos essa questão, propomos encarar o lo-fi como um objeto comunicacional, de modo a compreender, a partir de sua linguagem, como ele modeliza a música pop. O lo-fi é reconhecido em senso comum pelo uso de equipamentos de áudio e instrumentos musicais deteriorados, obsoletos ou sucateados. Nesta tese, problematizamos essa noção. Logo de saída, desprendemos o lo-fi do determinismo tecnológico, passando ele a significar outras práticas, linguagens, políticas, estéticas e discursos. Para compreender esse panorama, evitamos uma construção linear ou mesmo histórica. Ao invés disso, mapeamos diversos agenciamentos de baixa definição simultâneos que se processam ao longo da história, circunscrevendo como objeto empírico canções registradas fonograficamente e que promovem algum tipo de desterritorialização do regime de signos institucionalizado pelo mainstream, o que nos leva ao seguinte objetivo geral: compreender o lo-fi como uma virtualidade que age na comunicação fonográfica, isto é, como uma máquina abstrata que não só se diferencia de si própria, mas também produz diferença na música pop. Para dar conta desse objetivo geral, desenvolvemos os seguintes objetivos específicos: (1) evidenciar a presença dos suportes fonográficos, instrumentos musicais e demais aparelhos tecnológicos na paisagem sonora das canções lo-fi; (2) mapear e sintetizar os diferentes sistemas culturais que, postos em relação, edificam a semiosfera de onde o lo-fi emerge como um novo sistema; (3) mapear os territórios de significação agenciados pelas imagens sonoras de baixa definição em canções lo-fi; (4) analisar a capacidade dessas imagens sonoras de promover agenciamentos de baixa definição na música pop; (5) descrever o diagrama da máquina abstrata lo-fi, seus modos de funcionamento e de modelização da música pop. Organizamos as análises em platôs, que percorrem diferentes linhas de variação contínua de significação efetuadas pelos agenciamentos de baixa definição. Ao final, descrevemos os modos de funcionamento da máquina abstrata lo-fi. Ao longo do estudo, também revisitamos e refletimos sobre teorias relacionadas ao assunto, como ecologia acústica, materialidades da comunicação, arqueologia da mídia, afecto, semiótica e a filosofia da diferença de Gilles Deleuze e Félix Guattari. Como resultado, esperamos contribuir para as teorias da comunicação com reflexões referentes às noções de fidelidade, resolução, ruído, percepção sonora e, em especial, para a constituição de um modelo comunicacional micropolítico, reconhecido nos processos de diferenciação de nosso objeto de estudo. A baixa definição, defendemos, manifesta-se entre estados regulares da música pop, desestabilizando seus ritmos regulares, forçando seu núcleo a modificar sua estratégia para lidar com a diferença. Imagens sonoras lo-fi são institucionalizadas pela música pop, mas isso acaba por gerar outras imagens sonoras potenciais. A baixa definição segue, assim, resistindo aos regimes de signos impostos pelos movimentos hegemônicos da música pop, sempre propondo arrebatamentos e estabelecendo modos de comunicar imprecisos, distorcidos, violentos.
Considering every technological advance phonographic recording has achieved since its invention in 1877, how come low definition sound recordings still exist (and persist)? To face such question, we treat lo-fi as a communicational object, in order to comprehend, from its language, how it models pop music. Lo-fi is recognized by common sense as the use of either scraped, obsolete, or spoiled audio and/or music equipments. In the present dissertation, we question and problematize such notion. From the start, lo-fi is set loose of its technological determinism, so it can be understood as different practices, languages, politics, aesthetics and discourses. To comprehend such a perspective, we avoid linear or historical approaches. Instead, several simultaneous low definition agencements processed throughout history are mapped, where we look for recorded songs that promote some kind of deterritorialization of the regime of signs institutionalized by the mainstream, which leads us to the following general objective: to comprehend lo-fi as a virtuality that acts on phonographic communication, that is, as an abstract machine that not only differs from itself, but also produces differentiation in pop music as well. To unravel this general objective, we established the following specific objectives: (1) to point out the presence of phonographic supports, musical instruments and other technological devices in the soundscape of lo-fi songs; (2) to map and to synthesize the different cultural systems that, when put in relation to each other, build a semiosphere from where lo-fi emerges as a new system of its own; (3) to map the territories of signification produced by agencements of low definition sound images; (4) to analyze the capacity of such sound images in promoting low definition agencements in pop music; (5) to describe the diagram of lo-fi’s abstract machine, its operating modes and pop music modelizations. The analyses are organized in plateaus that roam different lines of continuous meaning variations elicited by low definition agencements. At the end, we describe the modes of operation of the lo-fi abstract machine. Throughout the research, we also revisit and speculate about theories regarding the subject: acoustic ecology, materialities of communication, media archaeology, affect, semiotics and Deleuze and Guattari’s philosophy of difference. As a result, we expect to contribute to the theories of communication, specially concerning the notions of fidelity, resolution, noise, sound perception and, last but not least, to contribute to the construction of a micro-political communication model, recognized in the processes of differentiation of our object of research. As we advocate, low definition manifests itself between pop music’s regular states, destabilizing its regular rhythms, forcing its core to modify its strategy to deal with the difference. However, pop music institutionalizes lo-fi sound images, but that movement ends up generating other potential lo-fi sound images in the lo-fi system. Therefore, low definition follows, resisting to the regimes of signs imposed by pop music’s hegemonic movements, developing new ways of ravishments and establishing fuzzy, distorted, violent, inaccurate modes of communication.
APA, Harvard, Vancouver, ISO, and other styles
3

Ferreira, Guilherme Zamboni. "Lo-fi : aproximações e processos criativos : da fotografia à arquitetura." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/174973.

Full text
Abstract:
Lo-Fi vem de Low Fidelity, que em inglês significa baixa fidelidade. Na música, se transformou em linguagem sonora a partir da década de 1970, quando alguns artistas, buscando soluções econômicas para a autoprodução e independência em relação às gravadoras, passaram a utilizar gravadores caseiros para fazer seus próprios registros. A partir desse ato de libertação e experimentação, se obteve, por transbordamento, uma sonoridade ruidosa, crua, de baixa fidelidade de gravação. Mas, ao mesmo tempo, o ruído produzido por essa produção marginal engendrou cruzamentos autênticos e espontâneos que logo formaram uma paisagem sonora de grande vitalidade. De forma contrária, o Hi-fi, ou High-Fidelity, busca na alta-fidelidade a idealização e a perfeição do seu produto final que, uma vez ligado à indústria fonográfica e à alta tecnologia, tende a ser direcionado pelas lógicas do mercado. Pensado e produzido como objeto-fim, o fazer arquitetural contemporâneo vem se aproximando da gravação hi-fi: delimitado, ordenado por estratos, classificações e tipos que a definem como objeto-produto. Nessa lógica, a arquitetura torna-se imagem, espetáculo pronto para o consumo e descarte. Propõe-se, neste trabalho, uma inflexão, um deslocamento do pensar arquitetural a partir da aproximação metafórica acionada pelo modo lo-fi .
Lo-Fi is the acronym that stands for Low Fidelity. In the music industry, during the70’s it became a trendy language when artists, searching economical solutions for self-production and independence from record companies, using homemade devices for sound recording. Following this first experiment of liberation, was obtained a noisy overflowing sonority, raw, or as it became known, low fidelity of the recording. However, at the same time the noise produced by this marginal production created an authentic and spontaneous blend that soon formed a vivid sound scene. Contrariwise the Hi-fi, or High Fidelity, seeks the idealization of perfection as its final product which, once merged to the phonographic industry and the high technology, tends to be driven by the logic of the market. Thought and produced as a final product, contemporary architecture follows the steps of the hi-fi recording: delimited, ordered in layers, classifications and by stereotypes that define it as an object-product. In this logic, architecture becomes an image, a spectacle ready for consumption and disposal. This work proposes an inflexion, a displacement on the architectural thinking from the metaphorical approach triggered by the lo-fi mode. Flaws by noise, by experimentation, by the potency of invention leads to a turning point in the making process, broader, returning to the idea of the unfinished, unexpectedly, guiding into a process that its meaning is not in the final product, but rather in the path itself, in the desire for transformation, in the unknown. Reflecting about the process as lo-fi music evokes is returning to the initial sketch, it is decomposing and questioning its nature, it is exposing the traces. It is bringing back the architecture in the sense of discovery, as a body in experimentation, as the surprise that reveals the unforeseen crossing of distinct times. The intention here is, based from speculative narratives, to try the deconstruct of some consolidated practices on the design process catalyzed by the music action. Pointing analogous approximations and representations of other architectural assemblies that are not represented by the narratives determined and exhausted by the logic of the market.
APA, Harvard, Vancouver, ISO, and other styles
4

Lindgren, Tonny, and Felix Almberg. "Undersökning av Musique Concrète." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20060.

Full text
Abstract:
Detta kandidatarbete undersöker Pierre Schaeffers (2012 [1952]) begrepp musique concrète samt dess metoder och tekniker. Musique concrète kan beskrivas som en samling kompositionsmetoder som utgår från inspelade ljud av omvärlden utan inblandning av musikinstrument, musikteori, eller ljud genererade från elektroniska källor. Vi använde Schaffers begrepp reduced listening, vilket är en lyssningsmetod där man bortser från ljudets källa och fokuserar på dess akustiska egenskaper, (vilket Michel Chion (1994) senare expanderade på). Jøran Rudi (2011) skriver om R. Murray Schafer’s begrepp Hi-Fi och Lo-Fi, vilket vi använde för att kategorisera ljuden som användes och platserna som spelades in. I designprocessen applicerade och experimenterade vi med metoder och tekniker från den aktuella forskningen för att utforska och dokumentera arbetsprocessen i gestaltningsprototyperna. Detta arbete resulterade i en samling kompositioner utefter Lo-Fi och Hi-Fi inom musique concrète där vi fick en bredare förståelse för de aktuella metoderna och teknikerna.
This bachelor thesis examines Pierre Schaeffer’s (2012 [1952]) term musique concrète as well as it’s methods and techniques. Musique concrète can be described as a collection of compositional methods that uses recorded sounds from the surrounding world as a startingpoint, without the use of musical instruments, music theory, or electronically produced sounds. We used Schaeffer’s term reduced listening (which Michel Chion (1994) later expanded upon). Jøran Rudi (2011) writes about R. Murray Schafer’s term Hi-Fi and Lo-Fi,and these terms were later used by us to categorise and record sounds from the environment. Investigation and experimentation with the various methods and techniques ensued in the design process in order to explore and document the work process of the prototypes. This process resulted in a collection of musique concrète compositions stemming from the Lo-Fi och Hi-Fi processes through which we gained more knowledge and understanding of themethods and techniques involved.
APA, Harvard, Vancouver, ISO, and other styles
5

Mancini, Michela. "Architettura Lo-Fi, riqualificazione di aree industriali dismesse il caso "Fabbrichina" a Colle Di Val D'Elsa." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.

Find full text
Abstract:
L’esistenza di ex aree strutture industriali dismesse sul nostro territorio è un fenomeno noto. Quei vuoti problematici per un paese che deve la sua fama all’aspetto unico delle proprie città sono considerati risorsa dai progettisti, che ne apprezzano lo stimolo creativo, dai promotori pubblici o privati, che ne colgono il potenziale strategico e dai cittadini, per i quali questi scheletri racchiudono una memoria. Tuttavia l’esito dei tentativi di riqualificazione risulta variabile: le dimensioni e le criticità che spesso caratterizzano questi siti comportano difficoltà nell’elaborazione di metodi di approccio univoci ed efficaci e rendono incerte le modalità di intervento, la valutazione di tempi, di costi e soprattutto, le prospettive di successo a lungo termine. Da questa indagine nasce l’idea di riqualificazione basata sulla architettura Lo-Fi che permetta di esplorare le potenzialità degli spazi e la loro relazione con il contesto urbano, liberi dalle restrizioni pratiche imposte dalla progettazione del dettaglio. L’architettura a bassa definizione sposta l’attenzione sulle fasi intermedie del processo, sul possibile cambio di necessità o risorse nel tempo e, svuotata dal tentativo di controllo (intrinseco nel concetto di progettazione), si concretizza in uno sviluppo tra gli infiniti possibili, riconoscendo ed evidenziando scenari interessanti diversamente inesplorabili. L’enorme quantità di variabili, inseribili in via ipotetica nel processo, è ridotta dal vincolo di compatibilità con gli strumenti di tipo organizzativo proposti e le molteplici possibilità sono limitate dall’opinione del progettista, regolata da parametri, scelti per rendere comprensibile e quantificabile il ragionamento compiuto.Il modello teorico è accompagnato dal caso di studio “Fabbrichina” di Colle di Val d’Elsa, la cui scelta intenzionale è dovuta alla sua criticità: il duplice abbandono di due esempi di archeologia industriale ed in seguito del cantiere di riqualificazione stesso.
APA, Harvard, Vancouver, ISO, and other styles
6

Neale, Spencer III. "DIG." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2495.

Full text
Abstract:
DIG Spencer Kellogg Neale III MFA, Virginia Commonwealth University, 2011 BA, The College of Santa Fe, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2011 Major Director: Bob Paris Associate Professor, Department of Kinetic Imaging This paper is an outline to various creative pursuits in the Graduate school of arts at Virginia Commonwealth University in leading to my MFA Thesis Exhibition. I have been focused on the works of artists exploring audio/visual textures and overall conceptuality behind a Lo Fidelity sensibility. In my practice, I work through unconventional recording and editing techniques in an effort to define an individual sound within the music I make. With video, I have worked with software programs to manipulate and distort, altering the frame in an attempt to bend the very fabric of the medium. I also present a brief history of the Lo Fidelity aesthetic in music and film.
APA, Harvard, Vancouver, ISO, and other styles
7

Coradeschi, Ginevra. "L'insediamento dell' antica età del bronzo di Via Neruda a Sesto Fiorentino (FI): lo sfruttamento delle risorse arboree." Master's thesis, Instituto Politécnico de Tomar. Universidade de Trás-os-Montes e Alto Douro, 2012. http://hdl.handle.net/10400.26/6022.

Full text
Abstract:
Master Erasmus Mundus em Quaternário e Pré-História
O sítio arqueológico de Via Neruda, localizado em Sesto Fiorentino (Florença, Itália), é datável entre o final da Antiga Idade do Bronze e o início da Média Idade do Bronze. Foi objeto de uma campanha de escavações no 1999, efetuada com a direção científica da secção de Pré-História da Universidade de Siena e de Florença, sendo estas encarregadas pela Soprintendenza per i Beni Archeologici della Toscana. Ó sítio arqueológico devolveu uma quantidade de macro restos vegetais, entre os quais muitos carvões e alguns lenhos, que são o objeto de estudo na presente dissertação. Entre os carvões, alguns são consideráveis pertencentes a estruturas relativas a frequentação humana. Objetivo da presente dissertação é de perceber as conhecenças e o uso do lenho desta comunidade humana da Idade do Bronze. As análises furam feitas no Laboratório da Soprintendenza per i Beni Archeologici della Toscana. A análise antracológica dos carvões das estruturas evidenciou o uso de: Ulmus cfr. minor, Quercus spp. caducifolia, Fraxinus excelsior L., Acer cfr. campestre, Sorbus sp., Prunus cfr. avium e Populus cfr. alba. A escolha de alguns destes taxa arbóreos parece indicar uma boa conhecença das características das várias madeiras fornecidas pelas diferentes árvores identificadas (Sorbus sp., Acer cfr. campestre, Prunus cfr. avium e Populus cfr. alba); enquanto, para as outras madeiras identificadas (Sorbus sp., Acer cfr. campestre, Prunus cfr. avium e Populus cfr. alba) parecem a por em relação, mais que a escolhas especificas, ao seu abastecimento no território, provavelmente fácil, explorando as árvores das quais furam obtidos. Os resultados finais da análise xilo-antracológica de Via Neruda permitiram de identificar além das taxa já elencadas, também: Phyllirea cfr. latifolia, Cornus cfr. mas e Abies cfr. alba. O conjunto dos taxa identificados parece representar o testemunho de uma floresta sub-humida de planície. A única evidência de Abies cfr. alba, por causa das diferentes exigências eco edáficas desta espécie, em respeito as outras reconhecidas, parece a por em relação a um provável abastecimento em diferentes ambientes, provavelmente os das colinas nos arredores.
APA, Harvard, Vancouver, ISO, and other styles
8

Ieiri, Aline Yuri. "Desenvolvimento de um protótipo lo-fi de repositório de objetos de aprendizagem com utilização do Método de Bruno Munari." reponame:Repositório Institucional da UFABC, 2016.

Find full text
Abstract:
Orientadora: Profa. Dra. Juliana Cristina Braga
Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Ciência da Computação, 2016.
Objetos de Aprendizagem (OAs) são recursos educacionais digitais ou não que possibilitam apoiar o processo educativo, tendo como sua característica principal, a reusabilidade. Eles podem ser encontrados em Repositórios de Objetos de Aprendizagem (ROAs), definidos como bibliotecas digitais aonde são armazenados, catalogados e disponibilizados. Problemas de usabilidade nestes repositórios, podem ser empecilhos que inviabilizam a possibilidade de reúso dos OAs por parte dos usuários finais docentes. Um desses problemas, está relacionado ao design de interface de usuário de alguns ROAs, ser pouco intuitivo. Este trabalho apresenta 3 métodos que viabilizam a detecção de problemas de usabilidade e como propor baseando-se em alguns resultados, um protótipo Lo-fi de interface de usuário intuitiva e amigável. A Revisão Sistemática (Método 1) foi realizada com o objetivo de identificar os problemas de usabilidade em diversos ROAs. O Método 2, Avaliação Heurística, foi realizada com especialistas de IHC em busca de observar os problemas e dificuldades na interação com 3 ROAs: Ariadne, BIOE e MERLOT. O Método 3, consiste em aplicar métodos da área de Design para propor o visual estético de um protótipo Lo-fi, sendo esta, a etapa final. Foram identificados durante e após a Revisão Sistemática, que muitos problemas de usabilidade são relacionados ao design da interface do usuário e também com os sistemas implementados nesses ROAs. Os resultados obtidos na Revisão Sistemática Avaliação Heurística foram importantes para obter dados que agregassem informações relevantes em relação à usabilidade dos ROAs escolhidos para análise, além de ser possível propor checklists de usabilidade para ROAs. Foram aplicados métodos da área do Design para a concepção do protótipo Lo-fi, entitulado de OAS PARA VOCÊ. Sugere-se realizar posteriormente, a validação das checklists de usabilidade para ROAs e a implementação do OAS PARA VOCÊ.
Learning Objects (LOs), are digital or non digital educational resources which can support the educational process, presenting as a main characteristic, its reusability. The can be found in Learning Object Repositories (LORs), which can be defined as digital libraries where stores, catalogs and makes them available. Usability issues in these repositories may be possible obstacles which can make the possibility of reuse, very difficult for the end users, the teachers. One of these issues, is related to the fact that some user interface design presented in some LORs, aren¿t intuitive. This work presents three methods which enable the usability issues detection and how to propose result based, an intuitive and user-friendy Lo-fi prototype. The Systematic Review (Method 1) was performed aiming to identify usability issues in several LORs. Method 2, Heuristic Evaluation, was held with HCI experts, trying to observe issues and difficulties while interacting with 3 LORs: Ariadne, BIOE and MERLOT. Method 3, consists in applying methods from the Design¿s field aiming to propose visual aesthetics of Lo-fi prototype, this is the work¿s final step. Were identified during and after the Systematic Review, that many usability issues were related to user¿s interfaces and also within the systems implementation in these LORs. The results obtained in the Systematic Review and Heuristic Evaluation were important to get data which could add up relevant information related to the usability in those chosen LORs for analysis, in addition, was possible to propose usability checklists for LORs. For the Lo-fi prototype¿s (entitled OAS PARA VOCÊ) conception, were applied methods from the Design¿s field. It is suggested to put into practice in the future, the validation or the usability heuristics for LORs and the implementation of the OAS PARA VOCÊ.
APA, Harvard, Vancouver, ISO, and other styles
9

Liguori, Elizabeth Angela. "(Not) Drawing The Line: Technology Reexamined." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/77949.

Full text
Abstract:
(Not) Drawing The Line: Technology Re-examined is the culmination of interdisciplinary research exploring the nature of materiality and process in the fields of art, science, and technology. Exploration and experimentation in these diverse disciplines have helped to illuminate many of the ideas and concepts that have guided the overall research process. These explorations have also honed the ability to critically examine how technology is perceived and represented, post-internet.   This document illustrates the processes involved in the conception and creation of a body of work manifested through visual and technological problem solving, investigative research of materials and technologies, and the fundamental concerns of art, technology, form and pattern. These empirical areas of research are punctuated by literary texts on the philosophy of art and technology that have informed many of the visual comparisons represented. This body of evidence is an exploration of the idea that the evolution of technological developments can often be attributed to the creation of art through the heuristic experimentation and visual explorations of the artist.
Master of Fine Arts
APA, Harvard, Vancouver, ISO, and other styles
10

Hillborg, Linus. "Återbruk och återgivning : Om att finna det nya i det gamla och det imaginära ur det materiella." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4110.

Full text
Abstract:
Detta arbete består av ett antal verk skapade med olika återbrukade teknologier och de kompositionsmetoder som uppstår till följd av deras begränsningar, samt en text som behandlar verken utifrån några definitioner av mediearkeologisk konstnärlig praktik som föreslagits av medieteoretikern Jussi Parikka. Verken – Orphan Works, Magelungsverket och Temporal Canons: No. 1 - 3 – utgör den konstnärliga delen av arbetet. Texten tar även upp tankar om bl.a. mitt eget användande av teknik och betydelsen det haft för mitt skapande, att finna det suggestiva genom att utforska det materiella i skapandet, sociala och ekologiska aspekter av automatisering och moderna musikteknologier, olika nivåer av återbruk i konstnärligt syfte, alternativa historier och imaginära medier, konstverks livslängd under snabb teknikutveckling samt ljudåtergivning i relation till dessa.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Lo-Fi"

1

Valente, Nelson. Jânio Quadros: Fi-lo porque quis--. [SP, i.e. São Paulo]: O Artífice Editorial, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

DIY: The rise of lo-fi culture. 2nd ed. London: Marion Boyars, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

DIY: The rise of lo-fi culture. London: Marion Boyars, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Unterberger, Richie. Unknown legends of rock 'n' roll: Psychedelic unknowns, mad geniuses, punk pioneers, lo-fi mavericks & more. San Francisco: Miller Freeman, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dolfi, Anna, ed. Notturni e musica nella poesia moderna. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-803-7.

Full text
Abstract:
Che cos’è la notte? Come definirla e segnarne i limiti? È più o è meno mobile lo sguardo di chi la fissa; persiste nella notte la funzione cornice? In che modo la difficoltà di vedere favorisce l’invenzione artistica, l’interrogazione sull’infinito e la morte, i quesiti sull’immaginario, il sogno, il ricordo, l’oblio? Da domande come queste è partita Anna Dolfi nell’ideare un libro di grande novità e suggestione che, tra notturni e musica, si chiede come la letteratura, la pittura, il cinema, l’opera lirica, le tradizioni popolari, le canzoni, abbiano parlato di cecità e di visione, di ossessione e paura, di notti «tenere», disperate, sublimi, misteriose, mistiche, di notti di ‘malattia’, di notti riparatrici, di notti bianche e di notti insonni, quando il tentativo è resistere creando, per sfidare l’approssimarsi dell’alba. L’icona della mozartiana Regina della notte, assieme a quella di un Pierrot schönberghiano, ha accompagnato come in controluce una cinquantina di studiosi e giovani ricercatori italiani e stranieri che, partendo dal Settecento, dai canti di Ossian, lungo un percorso notturno europeo sostenuto da teorici (Nietzsche, Bachelard, Jankélévitch…) e musica (Mozart, Chopin, Schubert, Schumann, Fauré, Debussy, Britten…), hanno lavorato su Novalis, Hölderlin, il Romanticismo tedesco, Rilke, Celan, Müller, Hugo, Chenier, Baudelaire, Proust, Cocteau, Bonnefoy…, declinando i notturni italiani dalle elegie cimiteriali di Pindemonte a Leopardi, Di Giacomo, D’Annunzio, Onofri, Campana, Saba, Ungaretti, Sbarbaro, Montale, Penna, Pavese, Gatto, Caproni, Luzi, Bigongiari, Fortini, Jacobbi, Ripellino, Pasolini, Giudici, Rosselli, Sanguineti, De Signoribus, la Anedda, Magrelli… Aperto da testi inediti portoghesi di Ruggero Jacobbi, da versi e traduzioni di De Signoribus e di Vegliante, il volume, dalla notte di Donizetti arriva a quella dei cantautori (De Gregori, Dalla…), spingendosi al limite di notturni elettrici che rivelano in poesia gli squarci urbani di una tormentata società tra fi ne secolo e inizio millennio.
APA, Harvard, Vancouver, ISO, and other styles
6

Lo-Fi Baroque. Thread Waxing Space, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Spencer, Amy. DIY: The Rise Of Lo-Fi Culture. Marion Boyars Publishers, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Plastic Cameras: Lo-Fi Photography in the Digital Age. Ammonite Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Mail, Snail. Lush. 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Laura, Leonardi, and Varsori Antonio, eds. Lo spazio sociale europeo: Atti del convegno internazionale di studi, Fiesole (Fi), 10-11 ottobre 2003. Firenze: Firenze university press, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Lo-Fi"

1

Heckeroth, Holger. "A Lo-Fi Sampler and Looper." In Handmade Electronic Music, 304–11. Third edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429264818-33.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Axup, Jeff, Stephen Viller, Ian MacColl, and Roslyn Cooper. "Lo-Fi Matchmaking: A Study of Social Pairing for Backpackers." In Lecture Notes in Computer Science, 351–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11853565_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Johnston, Nessa. "Unlearning Film School: The ‘lo-fi’ Soundtracks of Joe Swanberg." In The Palgrave Handbook of Sound Design and Music in Screen Media, 289–304. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Monrose, Kenny. "Sound-Tapes and Soundscapes: Lo-Fi Cassette Recordings as Vectors of Cultural Transmission." In Palgrave Studies in the History of Subcultures and Popular Music, 143–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55161-2_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Portilho, Lucas Peluffo dos Santos, and César André Luiz Beras. "O LO-FI E A PRODUÇÃO DE SIGNOS EM UMA SOCIEDADE EM REDE." In Investigação Científica nas Ciências Sociais Aplicadas 2, 325–32. Atena Editora, 2019. http://dx.doi.org/10.22533/at.ed.99119231226.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Boodaghian Asl, Arsineh, and Michel Gokan Khan. "Model-Based Interview Method Selection Approach in Participatory Design." In Interactivity and the Future of the Human-Computer Interface, 206–23. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2637-8.ch011.

Full text
Abstract:
Participatory design is a technique which is being used by system designers to involve the end users and product owners throughout the design process. Even though utilizing this approach brings customers to the design process, implementing it requires a budget, a place, time, and other resources. This chapter demonstrates a model-based approach to facilitate the selection of interviews for each design phase such as listing elements for the interface, choosing location for components, making decision for the general look of the component, finally making the component interactable. Interface designers can use the model to choose different type of interview method for different design phases such as interface components, sketching, lo-fi prototyping and hi-fi prototyping, according to their resources. The research focus is on four different participatory design interview method, which are GUI-ii face-to-face, GUI-ii screen-sharing, GUI-ii Ozlab, and traditional face-to-face interview.
APA, Harvard, Vancouver, ISO, and other styles
7

Perkins, Claire. "My Effortless Brilliance: Women’s Mumblecore." In Indie Reframed. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403924.003.0009.

Full text
Abstract:
This chapter investigates women’s infiltration of mumblecore, an indie subgenre associated with auteurs such as Andrew Bujalski, Mark and Jay Duplass and Joe Swanberg, for feminist ends. In representing relationships among twenty-something millennials, mumblecore’s cheap, lo-fi digital aesthetic and anti-mainstream values of ‘authenticity’ are congenial to indie female practitioners such as Lynn Shelton, So Yong Kim and Desiree Akhavan. Rather than simple appropriations of a ‘male’ genre, their work represents a ‘reframing’ not only of mumblecore but indie cinema generally, which mumblecore has recently epitomised. In films with a feminist focus on female aspirations and insecurities but that also accommodate queer and racial perspectives, these practitioners transpose the mumblecore ‘ethos’ to accommodate otherwise marginalised subjectivities and experiences.
APA, Harvard, Vancouver, ISO, and other styles
8

Filippo, Maria San. "Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko." In Indie Reframed. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403924.003.0014.

Full text
Abstract:
This chapter claims that Lisa Cholodenko’s work exemplifies the sort of ‘in-betweenness’ that resists and challenges established categories. Identified with the lesbian branch of the New Queer Cinema of the early 1990s, evoking both praise and divisive reactions, Cholodenko’s High Art (1998), about the professional and sexual relationship between a young straight female art critic and journalist and a brilliant lesbian artist/heroin addict, was controversial at a time when lesbian indies were usually lo-fi romances. Likewise, her more mainstream lesbian family drama The Kids Are All Right (2010) has been accused of compromise with heteronormative patriarchal values. San Filippo argues that rather than ‘betraying’ lesbian cinema, her characters and films traverse boundaries and resist sexual, ideological and industrial categories.
APA, Harvard, Vancouver, ISO, and other styles
9

Östersjö, Stefan, and Nguyễn Thanh Thủy. "Attentive Listening in Lo-Fi Soundscapes: Some Notes on the Development of Sound Art Methodologies in Vietnam." In The Bloomsbury Handbook of Sonic Methodologies. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781501338786.ch-031.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Dec ThhleoruasneeoPf Br/Cl using 12% De lcuhs lo an ra dnsteh yn P e erg lburso ism tam nd in a o te f7.6dlaem6% pboexrye rom tiaisrndautsHeedd IP . STi epo hseshh xy. iog wn in Table 4. Th hiesstmoax te yrg ia eln is inde Aximsioxb tu ta rieneodfV-0 at 3.2 mm. A plot of the oxygen indexes from this table is plotted in Fi g al usroeU6. L-94." In Tomorrows Trends in Fire Retardant Regulations, Testing, and Applications, 42. CRC Press, 1996. http://dx.doi.org/10.1201/9781498705837-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Lo-Fi"

1

Rick, Jochen, Phyllis Francois, Bob Fields, Rowanne Fleck, Nicola Yuill, and Amanda Carr. "Lo-fi prototyping to design interactive-tabletop applications for children." In the 9th International Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1810543.1810559.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Taylor, Phil. "The Lo-Fi Phenomenon - Analogue versus Digital in the Creative Process." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.57.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sermuga Pandian, Vinoth Pandian, Sarah Suleri, Christian Beecks, and Matthias Jarke. "MetaMorph: AI Assistance to Transform Lo-Fi Sketches to Higher Fidelities." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441030.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Suan, Wong Bee, and Evi Indriasari Mansor. "A lo-fi prototype testing with preschoolers to design organic user interfaces." In ACE 2015: 12th International Conference on Advances in Computer Entertainment Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2832932.2832962.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ieiri, Aline Yuri, and Juliana Cristina Braga. "The development of a LOR user interface Lo-fi prototype using the bruno munari method." In 2016 XI Latin American Conference on Learning Objects and Technology (LACLO). IEEE, 2016. http://dx.doi.org/10.1109/laclo.2016.7751795.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sugasaki, Masato, Kota Tsubouchi, Masamichi Shimosaka, and Nobuhiko Nishio. "Group Wi-Lo: Maintaining Wi-Fi-based Indoor Localization Accurate via Group-wise Total Variation Regularization." In 2019 International Conference on Indoor Positioning and Indoor Navigation (IPIN). IEEE, 2019. http://dx.doi.org/10.1109/ipin.2019.8911754.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Liu, Hung-Chih, Hsun-Wei Chan, Henry Lopez, Kang-Lun Chiu, Chih-Wei Jen, Ngoc-Giang Doan, Zheng-Chun Huang, et al. "A 16/64 QAM Baseband SoC for mm-Wave Transceiver with Self-Healing for FD/FI IQ Mismatch, LO Leakage and CFO/SCO/PNC." In 2020 IEEE Asian Solid-State Circuits Conference (A-SSCC). IEEE, 2020. http://dx.doi.org/10.1109/a-sscc48613.2020.9336151.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Lo-Fi' for particular source types:
Journal articles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography