Bibliografie tematiche / Sound film

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Letteratura scientifica selezionata sul tema "Sound film"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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Articoli di riviste sul tema "Sound film"

Alam, Pandu Watu, Rangga Saptya Mohamad Permana, and Sri Seti Indriani. "Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film." ProTVF 7, no. 2 (2023): 165. http://dx.doi.org/10.24198/ptvf.v7i2.47281.

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Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form

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Vani, Giovani Gio, and Dwinta Arswendah. "Penerapan Diagetic Sound Pada Film Dokudrama “Bondar Hatabosi”." ROLLING 6, no. 2 (2023): 135. http://dx.doi.org/10.19184/rolling.v6i2.43685.

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The artwork "The Role of Sound in the Bondar Hatabosi Docudrama Film" aims to create a docudrama film that provides a reflection on how the importance of natural and environmental sounds in the form of culture in Luat Hatabosi village is especially able to shape the emotions of the audience who hear it. The creation of this film is in the docudrama genre because it tells a story based on a true story from historical re-enactment with elements of dramatization. For this reason, the use of real sound is very appropriate to the genre of this film, namely docudrama. The object of creating this wor

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Paletz, Gabriel M. "Writing sound in the screenplay: Traditions and innovations." Soundtrack, The 15, no. 1 (2023): 61–75. http://dx.doi.org/10.1386/ts_00027_1.

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Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in

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Karaduman, Arzu. "Crystal sounds in contemporary film and TV." Soundtrack, The 14, no. 1 (2023): 3–17. http://dx.doi.org/10.1386/ts_00018_1.

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At the core of Deleuze’s theorization of the time-image is the ‘crystal image’ that appears as a direct presentation of time in an indiscernibility of the actual and the present from the virtual in various forms. Lending his ears to cinema after the Second World War, Deleuze coins the term ‘sound-crystal’, but he neither sufficiently engages with it nor thinks about it beyond music. Turning to film sound scholarship or film philosophy is futile in a similar fashion. To address these gaps in Deleuze, film philosophy and sound in cinema, I listen carefully to a number of contemporary films and T

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Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.

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The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character. This essay explores the director's vision of urban space and the

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Zhang, Minglei. "Gone with the sound: critical perspectives on studying imaginability of American cinematic experience in the “sound” era, 1927-1935." Arts & Humanities Open Access Journal 5, no. 1 (2023): 75–79. http://dx.doi.org/10.15406/ahoaj.2023.05.00190.

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This article explores the human-technology relationship during the transition from silent films to sound films in American history and analyzes how this specific technology has influenced film audiences’ experiences. The author revisits the importance of human-centered technology and uses the term “imaginability” to describe the likelihood for both spontaneous bodily responses and technologically cultivated thinking activities inspired by cinematic engagement. The article challenges the discourse of technology as progress while focusing on the audiences’ experience during their cinematic engag

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Luo, Yi, Jian Liu, Jiachang Zhang, Yu Xiao, Ying Wu, and Zhidong Zhao. "A wearable nanoscale heart sound sensor based on P(VDF-TrFE)/ZnO/GR and its application in cardiac disease detection." Beilstein Journal of Nanotechnology 14 (July 31, 2023): 819–33. http://dx.doi.org/10.3762/bjnano.14.67.

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This paper describes a method for preparing flexible composite piezoelectric nanofilms of P(VDF-TrFE)/ZnO/graphene using a high-voltage electrospinning method. Composition and β-phase content of the piezoelectric composite films were analyzed using X-ray diffraction. The morphology of the composite film fibers was observed through scanning electron microscopy. Finally, the P(VDF-TrFE)/ZnO/graphene composite film was encapsulated in a sandwich-structure heart sound sensor, and a visual heart sound acquisition and classification system was designed using LabVIEW. A heart sound classification mod

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Talijan, Emilija. "Introduction to Foley sound." Soundtrack, The 16, no. 1 (2024): 3–10. http://dx.doi.org/10.1386/ts_00029_2.

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Foley sound effects – those sounds that are created in post-production through live performance and then added to the sound mix of films, television, video games and animation – are ubiquitous. But effective Foley should not be heard. It is one of those creative labours in the making of a film that, to be considered successful, must erase itself. While film studies has begun to redress theory and practice’s bias towards the visual, film sound studies has yet to sufficiently acknowledge this hidden body in the sound process and fully reckon with the individual contribution made by the Foley art

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Kang, Hyo-wook. "A Study on the Interaction between Film Narrative and Sound Design." Korean Society of Human and Nature 5, no. 2 (2024): 11–27. https://doi.org/10.54913/hn.2024.5.2.11.

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Film is a comprehensive art form composed of various elements such as acting, cinematography, music, sound, and lighting. Yet, from the perspective of visual art, it is clear that the picture remains the most central component of film. This is evidenced by the term “Silent Film,” used to describe works from the era when only visuals existed, underscoring the indispensable nature of the picture in cinema. As film developed over time, auditory elements like music and sound were integrated, enhancing the narrative delivery. Consequently, the film’s narrative has achieved greater clarity and expre

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Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.

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Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film

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Più fonti

Tesi sul tema "Sound film"

Nylen, Nick. "The Oxide Incident." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1492.

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My interest in sound-centric filmmaking and the literary genre of magical realism fostered the development of my thesis film, The Oxide Incident. The film is the story of Simon, a recent divorcee and sound archivist, who discovers a mysterious reel-to-reel-audio tape that he believes may help him heal his damaged relationship with Hannah, his teenage daughter. This paper examines the influence of magical realism on the film, some of its thematic, theoretical, and conceptual ideas such as its exploration of interpersonal communication and its implications in regard to gender, as well as some of

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Dittrich, Elisabeth, and Rebecka Karlström. "Musik i Film : The Sound of Movies." Thesis, University of Kalmar, Baltic Business School, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2444.

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<p>The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in t

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Godsall, Jonathan. "Pre-existing music in fiction sound film." Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633201.

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A study of the use of pre-existing music in fiction sound film, this thesis fills a gap in the literature by studying pre-existing music as a category of music in film in itself, the premise being that there are conclusions to be drawn about the use of such music that relate to its pre-existing status, regardless of style, genre, and so on. The main questions are as follows: How and why is pre-existing music used in films? What effects can its use have for and on films and their audiences? And what lasting effects does appropriation have on the music? The exploration of these issues draws on c

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Milano, Omar. "It's a Wonderful Business: The Art of Production Sound." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.

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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sa

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Wingler, Peter A. "The narrative force of sound." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.

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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that usin

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Rogoff, Jana. "Audiovisual (a)synchrony in early Soviet sound film." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2016. http://dx.doi.org/10.18452/17533.

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Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene

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Schroer, Kerstin. "Film matters : historical and material considerations of colour, movement and sound in film." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q14q8/film-matters-historical-and-material-considerations-of-colour-movement-and-sound-in-film.

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The narratives presented in most film histories seem to ignore the essential material components of analogue film stock. Film matters focuses on material components of the film image – specifically colour, movement and sound – with the aim of telling a material history in a contemporary, ‘post-digital’ environment. The aim of this history is to show how film as a material has participated in the building of social and political realities that are still at work today. My practice-led research results in two videos on colour and a 16 mm film on movement and sound. In these works I practice alter

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Apprich, Franziska-Maria. "Film-sound as art : a study of sound in cinema presented in theory and practice." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.

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Slowik, Michael James. "Hollywood film music in the early sound era, 1926-1934." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.

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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film

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Petrikis, Titus. "Creating a sound world for Dracula (Browning, 1931)." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.

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The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s

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Più fonti

Libri sul tema "Sound film"

Kotas, Joanna. Film sound. LCP, 2002.

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Cardullo, R. J. Teaching Sound Film. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9.

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Altman, Rick. Silent film sound. Columbia University Press, 2005.

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Sisto, Antonella C. Film Sound in Italy. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137387714.

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Wiegand, Daniel. Aesthetics of Early Sound Film. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372.

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This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films’ fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of ‘classical’ sound film. Instead, authors highlight the sense of ‘fruitful uncertainty’ in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, a

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Holman, Tomlinson. Sound for film and television. Focal Press, 1997.

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Holman, Tomlinson. Sound for film and television. 3rd ed. Focal Press, 2010.

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Group, Society of Archivists (Great Britain) Film and Sound. Film and sound archive sourcebook. Society of Archivists, 1999.

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Holman, Tomlinson. Sound for film and television. 3rd ed. Focal Press, 2010.

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Society of Archivists. Film and Sound Group. Film and sound archive sourcebook. Society of Archivists, 1999.

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Più fonti

Capitoli di libri sul tema "Sound film"

Donaldson, Lucy Fife. "Sound." In Texture in Film. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137034809_5.

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Carroll, Beth. "Sound Space." In Feeling Film. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53936-6_3.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Sound." In A Level Film Studies. Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-4.

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Benyahia, Sarah Casey, and John White. "Sound." In A Level Film Studies, 4th ed. Routledge, 2025. https://doi.org/10.4324/9781003495901-6.

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Bridgett, Rob. "Ride Film." In Working with Sound. Focal Press, 2023. http://dx.doi.org/10.4324/9781003354352-39.

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kydd, Elspeth. "Sound." In The Critical Practice of Film. Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_8.

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Atencia-Linares, Paloma. "Sound in Film." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_9.

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Dick, Bernard F. "Graphics and Sound." In Anatomy of Film. Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26388-2_2.

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Beal, J. David. "Post-Synchronized Sound." In Adventurous Film Making. Routledge, 2024. http://dx.doi.org/10.4324/9781003568131-4.

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Dixon, Mark. "Sound." In Essential Revision for A Level Film Studies. Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-5.

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Atti di convegni sul tema "Sound film"

Wang, Ruiqi, Cong Jin, Yinan Yu, and Yutong Zhai. "VDFSR Knowledge based Variable-Density Photographic Film to Sound Generation Method." In 2024 International Conference on Cyber-Physical Social Intelligence (ICCSI). IEEE, 2024. https://doi.org/10.1109/iccsi62669.2024.10799417.

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Kobayashi, Ryota, Kosuke Sato, Hiroaki Miyake, and Yasuhiro Tanaka. "Space Charge Distribution Measurements of Thin-Film Insulating Materials with Slow Sound Velocity using a High-Resolution PEA System." In 2024 IEEE 5th International Conference on Dielectrics (ICD). IEEE, 2024. http://dx.doi.org/10.1109/icd59037.2024.10613312.

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Helsel, Jayson L. "Avoiding Problems with Coating Wood: a Review of Substrate Condition and Preparation, Moisture Issues and Coating Selection." In Paint and Coatings Expo (PACE) 2007. SSPC, 2007. https://doi.org/10.5006/s2007-00041.

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Abstract This paper provides a review of key items to consider in coating wood. The most important considerations are ensuring a sound wood substrate surface, elimination of moisture as a problem, adequate surface preparation, and the proper choice of coatings. Coatings for wood can be categorized as film-forming or penetrating finishes. This paper expands on a recent related article published in the Journal of Architectural Coatings.1

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Steely, Carroll N. "The Effects of Overvoltage When Applied to a Dielectric Film to Evaluate Cathodic Disbondment and Potential Performance by Means of Accelerated Laboratory Test Conditions." In CORROSION 1990. NACE International, 1990. https://doi.org/10.5006/c1990-90251.

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Abstract There is considerable evidence and historical data to support the position that laboratory tests conducted on candidate coatings at overvoltage values to ascertain adhesion and expected performance characteristics are misleading and unreliable, and in many cases screen out many field-proven, reliable coatings to the detriment of the user. Further, that the users spend considerable sums of money replacing coatings or tapes that looked good in the lab but fared badly in service because they are excellent electrical insulators but poor corrosion-resistant barriers. Finally, because of po

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Xi, Chen, Zhao Qi-Jun, Ma Yi-Yang, and Wang Bo. "Mechanism Analyses on Aeroacoustic Characteristics of Iced Rotor for Ice Detection." In Vertical Flight Society 73rd Annual Forum & Technology Display. The Vertical Flight Society, 2017. http://dx.doi.org/10.4050/f-0073-2017-12281.

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Based on mechanism analyses on aeroacoustic characteristics of iced rotors, a new icing detection method is proposed, and a corresponding numerical method for calculating aeroacoustic characteristics of iced rotors is developed. Firstly, the CFD simulation method for 3-D flowfield around the blade is established by solving the unsteady RANS equations. Using the Eulerian approach, the conservation equations of mass and momentum are solved to obtain the droplet flowfield properties. Then, combined with the characters of rotor blade motion, a 3-D icing model considering influences of centrifugal

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Nešić, Srdjan, Hui Li, Jing Huang, and Dusan Sormaz. "An Open Source Mechanistic Model for CO2 / H2S Corrosion of Carbon Steel." In CORROSION 2009. NACE International, 2009. https://doi.org/10.5006/c2009-09572.

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Abstract A mechanistic model is developed to predict the corrosion rate caused by CO2, H2S, organic acids and/or O2. The aim of this model was to provide the corrosion community with a theoretically sound, simple and effective corrosion model for internal corrosion of mild steel lines. This model is available in the open literature and can be easily accessed on the internet. All the background information, including theories behind, data used for calibration, limitations, etc. is shared with users. In addition, the source code of the model, which has been written in object-oriented fashion, is

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Ford, F. P., P. L. Andresen, D. F. Taylor, and C. Caramihas-Foust. "Prediction and Control of Stress Corrosion Cracking in the Sensitized Stainless Steel/Water System." In CORROSION 1985. NACE International, 1985. https://doi.org/10.5006/c1985-85352.

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Abstract The slip-dissolution/film-rupture model has been used as a working hypothesis to predict the environmentally controlled cracking of sensitized 304 stainless steel in oxygenated water at 288°C. The quantitative validity of this model has been tested by (a) calculating and measuring the potential/pH conditions that should exist at the tip of the embryo crack and, (b) measuring the rates of reactions in these environments which are relevant to the working hypothesis. From these data the theoretical values of the environmentally controlled crack propagation rates have been calculated as a

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Sun, Siyu, Xiaohuai Le, Zhuangqi Chen, Xianjun Xia, and Chuanzeng Huang. "FAF-Filt: Frequency-aware Fourier Filter for Sound Event Detection." In ICASSP 2025 - 2025 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2025. https://doi.org/10.1109/icassp49660.2025.10889813.

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Zhao, Lei, Chong Yang, Yiwei Guo, and Yipeng Lu. "Rectangular PMUT Phased Array with High Fill-Factor and High Sound Pressure Level." In 2024 IEEE Ultrasonics, Ferroelectrics, and Frequency Control Joint Symposium (UFFC-JS). IEEE, 2024. https://doi.org/10.1109/uffc-js60046.2024.10793890.

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NAQVI, A. "ACOUSTIC MODELLING OF FILM DUBBING AND MIXING THEATRES." In Reproduced Sound 1997. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/19115.

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Rapporti di organizzazioni sul tema "Sound film"

จักกะพาก, รัตนา. จินตทัศน์ทางสังคมและกลวิธีการเล่าเรื่องในภาพยนตร์ของ อาคิระ คุโรซาว่า : การวิเคราะห์. จุฬาลงกรณ์มหาวิทยาลัย, 2004. https://doi.org/10.58837/chula.res.2004.15.

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The aims of this research are to analyse the films directed by Akira Kurosawa in the narrative structure, the patterns of plot and the model of binary oppositions of structuralism; to analyse their contents based on the quest model and the semiotic square, to study the film language regarding point of view, the mise-en scene, the montage, the use of sound effect, and the narrative system in relation to the media, the types of the story and the auteurship. The results of the research finds that the plots reflect social problems. The contents are mostly represented by mise-en scene, motage, soun

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Ryan, Mark David, Andrew Couzens, Peter Innes, and Sue Cake. A Re-Evaluation of Screen Production on the Gold Coast After COVID-19. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244107.

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This study was commissioned by the City of Gold Coast to re-evaluate the size and activity of the film and television production industry on the Gold Coast since the outbreak of COVID-19 in March 2020. Focusing on the period between June 2020 and mid-2023, the study examines the production activity and characteristics of the local screen ecology; the size and growth of the local film, television and games workforce; and the current capacity of film and television sound stages and production facilities. Using both qualitative and quantitative research methodology, primary data was generated thr

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Rans, Richard. PR-352-16603-Z03 Multi-Vendor USM Test and Calibration Database with Common Diagnostics. Pipeline Research Council International, Inc. (PRCI), 2020. http://dx.doi.org/10.55274/r0011657.

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Data collection protocols and a common database have been developed to ensure complete and consistent collection of USM calibration data, logs files and documentation of test piping layout. By using an Excel input table spreadsheet, with instructions on how to organize the collected data, users can easily input data from multiple types of ultrasonic meters. The database retains the original calibration and log file data and processes the test results into standardized velocity and speed of sound reports. This organization supports reporting the original meter specific log file data and diagnos

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Rans, Richard. PR-352-16603-Z02 Multi-Vendor USM Test and Calibration Database. Pipeline Research Council International, Inc. (PRCI), 2020. http://dx.doi.org/10.55274/r0011656.

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Abstract (sommario):

Data collection protocols and a common database have been developed to ensure complete and consistent collection of ultrasonic meter (USM) calibration data, logs files and documentation of test piping layout. By using an Excel input table spreadsheet, with instructions on how to organize the collected data, users can easily input data from multiple types of ultrasonic meters. The database retains the original calibration and log file data and processes the test results into standardized velocity and speed of sound reports. This organization supports reporting the original meter specific log fi

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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, 2021. http://dx.doi.org/10.31542/r.gm:2687.

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Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor

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Michalski, Ranny L. X. N., Bruno Masiero, William D’Andrea Fonseca, and Márcio Avelar. Fim do Ano Internacional do Som: Fechamento do Ano Internacional do Som 2020 & 2021. Revista Acústica e Vibrações, 2021. http://dx.doi.org/10.55753/aev.v36e53.60.

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O Ano Internacional do Som (International Year of Sound — IYS) teve início em 2020 e foi prorrogado por mais um ano, em decorrência da pandemia da COVID-19. O presente artigo reúne informações sobre eventos e ações relacionados ao IYS que aconteceram no Brasil ao longo dos seus dois anos de duração.

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Baker, James E. Ethics and Artificial Intelligence: A Policymaker's Introduction. Center for Security and Emerging Technology, 2021. http://dx.doi.org/10.51593/20190022.

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The law plays a vital role in how artificial intelligence can be developed and used in ethical ways. But the law is not enough when it contains gaps due to lack of a federal nexus, interest, or the political will to legislate. And law may be too much if it imposes regulatory rigidity and burdens when flexibility and innovation are required. Sound ethical codes and principles concerning AI can help fill legal gaps. In this paper, CSET Distinguished Fellow James E. Baker offers a primer on the limits and promise of three mechanisms to help shape a regulatory regime that maximizes the benefits of

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Masiero, Bruno, Marcio Henrique de Avelar, and William D'Andrea Fonseca. International Year of Sound 2020 & 2021: Ano Internacional do Som prorrogado até 2021. William D’Andrea Fonseca, 2020. http://dx.doi.org/10.55753/aev.v35e52.15.

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O ano de 2020 começou em festa para a comunidade acústica com a abertura do "International Year of Sound'' (IYS) no Grande Anfiteatro da Universidade Sorbonne em Paris, França. Aqui no Brasil, a abertura oficial do Ano Internacional do Som aconteceu em 06 de março e foi marcada por um concerto da Orquestra Sinfônica da Unicamp. A orquestra levou o público a uma viagem pelos universos fantásticos de algumas óperas alemãs, como João e Maria, A Flauta Mágica, O Navio Fantasma, entre outras. Mas com as restrições impostas em todo o mundo para reduzir a disseminação da Covid-19, a Comissão Internac

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Somers Miles, Rachel, Alan Osbourne, Eleni Tzialli, and Esther Captain. Inward Outward, Critical Archival Engagements with Sounds and Films of Coloniality: A Publication of the 2020 Inward Outward Symposium. Inward Outward, 2020. http://dx.doi.org/10.18146/inout2020.

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