Bibliografias temáticas / Character voice

Literatura científica selecionada sobre o tema "Character voice"

Autor: Grafiati
Publicado: 23 de junho de 2021
Última modificação: 6 de fevereiro de 2022

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  1. Artigos de revistas
  2. Teses / dissertações
  3. Livros
  4. Capítulos de livros
  5. Trabalhos de conferências

Artigos de revistas sobre o assunto "Character voice":

1

Ichikawa, Akira. "Character voice communication system". Journal of the Acoustical Society of America 93, n.º 3 (março de 1993): 1676. http://dx.doi.org/10.1121/1.406756.

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Smith, Jennifer. "Voices, Combat, and Music". Journal of Sound and Music in Games 2, n.º 2 (2021): 42–62. http://dx.doi.org/10.1525/jsmg.2021.2.2.42.

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Role-playing video games can highlight a sense of player identification with a pre-made player-character through the inclusion of the voice; this can include diegetic character dialogue, the non-diegetic sung voice, and voice-overs. Ensuring that the player can connect with their player-character on an individual level is key to forming a suspension of disbelief and immersion with a game. Final Fantasy XV emphasizes collaboration between the player, player-characters, and non-playable characters during combat, cutscenes, and exploration. This camaraderie effect actively engages the player with multiple characters through the constant use of the diegetic spoken voice to communicate between the player-character, Noctis, and the three other character identities, Prompto, Ignis, and Gladiolus. The game’s opening rendition of Ben E. King’s “Stand by Me,” performed by Florence + the Machine, provides the player with four narrative themes that are present throughout the game. These themes include a coming-of-age story, character relationships, and the development of a greater evil within the narrative. Unique in its position as a pre-composed song, “Stand by Me” plants the idea that the player will not be alone in their journey, as character allies will stand by Noctis, from the beginning of the game. Final Fantasy XV uses vocalizations in both the diegetic and non-diegetic audio space in order to reflect the characteristics of the playable characters. The vocal relationship between the player’s characters provides directional feedback and information for the player within combat, alongside foretelling the stories of certain characters.
3

Howell, Peter. "CHARACTER VOICE IN ANIME SUBTITLES". Perspectives 14, n.º 4 (24 de julho de 2007): 292–305. http://dx.doi.org/10.1080/09076760708669045.

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Feng, Dezheng, e Peter Wignell. "Intertextual voices and engagement in TV advertisements". Visual Communication 10, n.º 4 (14 de outubro de 2011): 565–88. http://dx.doi.org/10.1177/1470357211415788.

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By analysing multimodal TV advertisements, this study aims to show how intertextual voices are exploited in advertising discourse to enhance persuasive power. Taking as their point of departure the assumption that all discourses are intertextual recontextualizations of social practice that draw on external voices from both specific discourses and discursive conventions, the authors identify two types of intertextual voice in TV advertisements: character and discursive voice. This article illustrates the multimodal construction of voices and demonstrates that the choice of voices is closely related to the ‘domain’ of the product. It is argued that the intertexual voices contribute to the advertising discourse through multimodal engagement strategies. Character voice endorses the advertised product through such resources as lexico-grammar, intonation, facial expression and staged narrative, while discursive voice endorses the advertised product through contextualization and intertextual discourse structure. It is hoped that the study will shed light on the understanding of the heteroglossic nature of advertisements, the interaction between intertextual voices and the advertised message, and multimodal construction of voices and engagement.
5

Mitchell, Liam. "Damsels Who Distress". Camera Obscura: Feminism, Culture, and Media Studies 35, n.º 2 (1 de setembro de 2020): 63–93. http://dx.doi.org/10.1215/02705346-8359518.

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Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators, nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female voice in five recent games—BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer responsible for four critical and popular successes. Rather than reducing women’s voices to agential player functions, Supergiant’s first two games, Bastion (2011) and Transistor (2014), pose these voices as an affirmation of the characters’ agency. Moreover, because of the distressing character of this affirmation for certain players, Supergiant at first represses these characters’ speech. Although they are rendered voiceless, they are anything but powerless.
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Pongkittiphan, Teeraphon, Daisuke Saito, Nobuaki Minematsu e Keikichi Hirose. "Eigenvoice-Based Character Conversion for Arbitrary Speakers Using Various Character Voices of a Skilled Voice Actor". Journal of Signal Processing 17, n.º 4 (2013): 139–42. http://dx.doi.org/10.2299/jsp.17.139.

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Smith, Jennifer. "Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II". Soundtrack 11, n.º 1 (1 de agosto de 2020): 75–97. http://dx.doi.org/10.1386/ts_00006_1.

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The voice as disruption is not a new concept. Disruptions to discourses, relationships and lifestyles can be caused by the insertion of the voice. In video games, voices can be disruptive to player progressions, gameplay and character relationships through dialogue and performances. The female entertainer frequently disrupts the aural space of a game through her uniqueness as a performer at the forefront of the diegetic space, using song to tell her own story. The video games The Witcher 3: Wild Hunt (2015), Transistor (2014) and Divinity Original Sin II (2017) use diegetic female entertainer voices to disrupt the video game’s continuity. These case studies consider performance as disruption to gameplay, which is significant for the growth of the story and its characters, alongside the player’s understanding of the game’s musical meanings.
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Adnan Al-Khayyat, Amal. "When the Old Woman Speaks in Soueif’s “Her Man” and “The Wedding of Zeina” and Rifaat’s “Bahiyya’s Eyes”". Advances in Language and Literary Studies 11, n.º 1 (27 de fevereiro de 2020): 65. http://dx.doi.org/10.7575/aiac.alls.v.11n.1p.65.

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This paper compares between the voices of three old women characters in three short stories by two Arab women writers. The stories are Ahdaf Soueif’s “Her Man” and “The Wedding of Zeina” (from the same story collection Aisha) and Alifa Rifaat’s “Bahiyya’s Eyes” from her story collection Distant View of a Minaret. The paper reveals, from a feminist perspective, how the women characters are positively or negatively influenced by the way patriarchy perceives them and relates this perception to Jacque Lacan’s theory of the gaze. It also shows how each one of the old women characters seeks to pass her understanding to the upcoming generation and demonstrates how her voice turns out to be either one of patriarchy or resistance. The paper finds that although the voices of the three old women in the three short stories differ in their representation, they can be placed in the same boat as the female character who listens to the old woman’s voice does not act passively in any of them.
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Duerfahrd, Lance. "Sisyphus screams: The rift between sound and image in Matka". Short Film Studies 4, n.º 1 (1 de abril de 2014): 27–30. http://dx.doi.org/10.1386/sfs.4.1.27_1.

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Matka allegorizes cinematic voice. It denotes the distance crossed in order to scream and the distance separating character from scream. Editing desutures voice from (voice) box, scream from mouth and the character from his silent journey. Cinematically, Sisyphus encounters his body as an absurd excess, a hollow armature to his voice.
10

Sun, Xinxin, e Wenkui Jin. "Health Informatics Study of Smart Human-Computer Interaction Devices for Elderly Patients". Journal of Medical Imaging and Health Informatics 9, n.º 8 (1 de outubro de 2019): 1607–13. http://dx.doi.org/10.1166/jmihi.2019.2780.

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Purpose: To analyze the elderly patients' demand in the field of language emotional attributes which is different from the particularity of the general population, and then used it to design the Smart Voice Assistant for elderly patients. Methods: The types of character are called the experts, assistants, family members and pets according to two evaluation scales which are 'friendly–unfriendly' and 'dominant–submissive.' Professional Mandarin Chinese broadcasters were invited to record their voice of a neutral sentence respectively. With differences in pitch, volume, tone color and sound quality, varied types of characters were simulated and eight pieces of voice record were generated. Twenty old people were selected to participate in the measurement test to grade these eight pieces of voice based on their acceptability of these voices. Results: Experiment shows that the male test group's preference value to the male voice is 4.4250, a little higher than their preference value to the female voice which is 3.9000. But the Independent Samples T Test shows that the significance of F Test is 0.345 > 0.05, while that of corresponding T test is 0.051, a little higher than 0.05. Hence it can be assumed that the male test group has almost no difference in the preference for voice gender. And the average of the female test group's preference value is 3.9500 for the male voice and 4.9750 for the female voice. Therefore, the female test group prefer female voice. In Independent Samples T Test, the significance of F Test is 0.909 > 0.05, while that of T Test is 0.000 < 0.05. Hence the female test group's voice gender preference has statistically significance difference. In terms of the individualization of voice type with different voice characters, the average grades from male test group to expert, assistant, family and pet type is 4.75, 4.85, 3.9, 3.15, while male test group is 3.65, 4.40, 5.40, 4.41. Conclusion: Based on the experimental results and verification, voice interaction among the elderly patients in the home environment, family-female type is the best choice.
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Artigos de revistas Teses / dissertações Livros

Teses / dissertações sobre o assunto "Character voice":

1

Swickard, Michael. "Defining a Character Through Voice Quality: An Analysis of the Character "George" in Sondheim and Lapine's Sunday in the Park With George Using the Estill Voice Model". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2800.

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This thesis explores the use of the Estill Voice Model, in particular six voice qualities (Speech, Twang, Falsetto, Cry/Sob, Belt and Opera) and their permutations, to define character, character traits and emotions. Traits and emotions that specific voice qualities can influence are, but are not limited to, location, age, background, socioeconomic status, genre, intelligence, nationality, class, culture, gender, promiscuity, disposition, pain and revelations. In particular, this thesis explores the use of voice qualities to show specific human qualities of the character "George" from Sondheim and Lapine's "Sunday in the Park with George" and the people he imitates in his painting by letting the characters' given circumstances (textual and subtextual), the way other actors portray the characters and the director's and musical director's input inform the choices in voice quality. By using the specific technical aspects of the Estill Voice Training System and combining them with the limi
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
2

Veninger, Laurie Rose. "Mothers in two contemporary women's autobiographies : a linguistic study of voice, character and relationship". Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587550.

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This thesis aims to take a stylistic and narratological approach to the portrayal of . mothers by two contemporary women autobiographers. Through the analysis of linguistic features, the varied "voicing" of mothers in two contemporary women's autobiographies is examined. In Loma Sage's Bad Blood (2001) and Kim Chemin's In My Mother's House (2003, 1983) two very different portrayals ofthe mother "character" reflect the authors' perceptions of their mothers' personalities and expose the issues affecting the mother/daughter relationship. A mother's (or any character's) "voicing" may be achieved through the textual projection of point of view and the characterisation devices of speech and thought presentation, including the use of free indirect discourse, omniscience and a recently recognised phenomenon termed "intermentality". Within fiction it is commonly accepted that authors use these varied stylistic techniques, most especially free indirect discourse and omniscience. This study highlights the fact that autobiographers (and other nonfiction writers) may also use the very same stylistic techniques common to fiction. This apparent anomaly is not frequently addressed by narratologists, but it is my conclusion that these characterisation devices can be exploited for the portrayal of real people as well. In these autobiographies, the mother character appears powerful or meek, a hero or a victim, depending, in part, on the techniques used by the author to "voice" her. This thesis has found that autobiographers capitalize on the same stylistic techniques as writers of fiction to convey complex characterisations and complicated relationships.
3

Timmins, Will Nicholas. "Out of character? : the voice of the 'I' and Christian identity in Romans 7". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708558.

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Rusanen, Sirius. "Character voice in subtitles: a case study of the Japanese subtitles of The Witcher". Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37461.

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In storytelling, one of the most important functions of dialogue is to create characterisation. Character voice is each character's unique style of speaking, which can impart explicit or implicit information about characters, such as their personality, age, or gender. Japanese language texts are known to use gendered language and role language (yakuwarigo) as a way of creating characterisation and character voice.This case study examines the English dialogue and the Japanese subtitles of four characters (Tissaia, Yennefer, Geralt, and Jaskier) from the series The Witcher. The aim was to categorize the strategies used to recreate the original character voice, to mark the differences in the character voices, and to examine their possible impact on the overall characterisations. The study concludes that the main strategy in creating character voice was gendered language and role language. Overall, the English and Japanese character voices were roughly equivalent with each other, and the used gendered language was supported by the characters’ personalities or appearance. The character Jaskier had the most differences between his English and Japanese dialogue, most likely due to the difficulties in recreating his brand of humorous tone in subtitle form.
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Holmes, William Paul. "Voice input for the disabled /". Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09ENS/09ensh749.pdf.

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Thesis (M. Eng. Sc.)--University of Adelaide, 1987.
Typescript. Includes a copy of a paper presented at TADSEM '85 --Australian Seminar on Devices for Expressive Communication and Environmental Control, co-authored by the author. Includes bibliographical references (leaves [115-121]).
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Byun, JaeHwan. "EFFECTS OF CHARACTER VOICE-OVER ON PLAYERS' ENGAGEMENT IN A DIGITAL ROLE-PLAYING GAME ENVIRONMENT". OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/595.

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Learner engagement has been considered one of the keys that can lead learners to successful learning in a multimedia learning environment such as digital game-based learning. Regarding this point, game-based learning advocates (e.g., Gee, 2003; Prensky, 2001) have asserted that digital games have great potential to engage learners. Nonetheless, there have been only a small number of empirical research studies of players' engagement, and there is little consensus on which elements of digital games critically engage people in play (Garris, Ahlers, & Driskell, 2002). Furthermore, despite the possibility that sensory stimuli can be factors influencing digital game players' engagement, there have been very few attempts to examine empirically the relationship between engagement and sensory stimuli. This study examined the effects of game characters' voice-over in digital games on players' engagement, by using a short digital role-playing game modified from Neverwinter Nights 2. A randomized control-group post-test only design was used to collect data from 74 participants (22 female, 52 male); engagement was measured by a modification of the Game Engagement Questionnaire (Brockmyer et al., 2009). Data analysis revealed that the GEQ mean scores of the participants who played the game with voice-over was much higher than that of the participants who played without voice-over. The difference of the mean scores between the two groups was statistically significant (t = 2.45, df = 72 p = .02), and the effect size, Cohen's d, was .58 (moderately significant). The results of this study will guide educational practitioners to the identification of more effective ways of adopting, developing, and modifying digital games for educational purposes, as well as furthering the research and guiding the practice in instructional multimedia design and development.
7

Vass, Verity. "Aspects of narration and voice in Zora Neale Hurston’s Their Eyes Were Watching God". The University of the Western Cape, 2017. http://hdl.handle.net/11394/6467.

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Masters of Art
Zora Neale Hurston is a significant figure in American fiction and is strongly associated with the Harlem Renaissance, the period noted for the emergence of literature by people of African-American descent. Hurston worked as a writer of fiction and of anthropological research and this mini-thesis will discuss aspects of her novel, Their Eyes Were Watching God, first published in 1937. While the novel traces the psychological development of the central female character, Janie Mae Crawford and, thus, demonstrates several features of a conventional Bildungsroman, the novel also contains some intriguing innovations in respect of narration and voice. These innovations imply that the novel can be read in terms of the qualities commonly associated with the Modernist novel. This contention becomes significant when it is understood that a considerable degree of critical responses to the novel have discounted these connections. The novel is widely accepted to be a story about a woman’s journey to self-actualisation through the relationships she has with the men in her life. Much of the criticism related to the novel is based on this aspect of it, with many stating that Janie’s voice is often silenced by the third-person narrator at crucial moments in the text and that, as a consequence, she does not achieve complete self-actualisation by the end of the novel. This thesis will examine the significance of the shifts between first-person and thirdperson narration and the manifestations of other voices or means of articulation, which give the novel a multi-vocal quality. The importance of this innovation will also be considered, particularly when it is taken into account that Hurston sought to incorporate some elements associated with the oral tradition into her work as a writer of fiction.
8

MacRae, Marianne. "A Rat-Shaped Tear ; and, Beyond the other : animals in the poetry of D.H. Lawrence, Elizabeth Bishop and Marianne Moore". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33081.

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The poems in A Rat-Shaped Tear consider wide-ranging ideas of otherness using character and voice. Through misdirection, understatement and unexpected imagery I confront ideas of animal and female otherness in playful ways as a means of subverting traditional impressions of both. The othering effects of grief are also examined in poems that reflect on bereavement and mortality. Human-animal interaction is used to further explore the effects of death and disappointment, though overtones of cartoonish extravagance, dark humour and the surreal temper the more serious themes of loss, disillusionment and loneliness that recur within the collection. In the accompanying thesis, I focus on the work of three poets - D.H Lawrence, Marianne Moore and Elizabeth Bishop - each of whom confront animal otherness in their work. Through close examinations of their individual works, I explore the differences in approach to human-animal interaction, and the ways in which these poets draw meaning from animal otherness. It is suggested that although they engage with the concept using varied poetic techniques, they are drawn together by the intimations of spiritual transcendence that permeate each of their animal poetics.
9

Válková, Jana. "Formy zadávání a zpracování textových dat a informací v podnikových IS - trendy a aktuální praxe". Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-114263.

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This thesis introduces readers to the basic types of the text and information inputs and processing to the computer. Thesis also includes historical contexts, current trends and future perspective of computer data input technologies and their use in practice. The first part of the thesis is a summary of a particular forms of entering and processing of the text data and information. The following part presents technological trends on the market concentrated on the automatic speech recognition systems along with the possibilities of their application in the business sphere. The rest of the thesis consists of a survey between Czech IT companies and based on it's results comes a suggestion of which technologies should be used as a part of the information systems.
10

Stenquist, Sanya. "Having a voice : Representation in fiction and why it matters". Thesis, Mälardalens högskola, Hälsa och välfärd, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-28310.

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Some research has been done on this subject, although sparsely. The purpose of this study is to determine how, why, and to what extent representation in fiction matters, in regard to socially stigmatized groups of people, focusing on mental health, sexuality, and gender roles. The main focus is on bonding with fictional characters, how it relates to representation and its importance. Eleven (cis)female participants shared their own experiences with this. Each written reply was condensed, eventually narrowed down to three main components considered central to this phenomenon; (1) a sense of isolation, (2) an inability to cope, and (3) relatability in characters. These components can all be connected to loneliness, which suggests that loneliness plays a large part in one's sense of self-worth. Thus, representation can be argued to be vital, due to its function of including and speaking for stigmatized groups of people, granting a sense of belonging and support.
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Livros sobre o assunto "Character voice":

1

Brouwer, Sigmund. Thunder voice. Wheaton, Ill: Victor Books, 1995.

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Brouwer, Sigmund. Thunder voice. Minneapolis: Bethany House, 2001.

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3

Parsons, Richard. GCSE anthology AQA poetry study guide (character & voice) higher. Broughton-in-Furness: Coordination Group Publications Ltd, 2010.

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Parsons, Richard. GCSE anthology AQA poetry study guide (character & voice) foundation. Broughton-in-Furness: Coordination Group Publications Ltd, 2010.

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5

Schwartz, Richard B. The last voice you hear. Woodbury, Minn: Midnight Ink, 2006.

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6

Lewis, Pamela. Talking funny for money: An introduction to the cartoon/character/looping area of voice-overs. New York: Applause Theatre & Cinema Books, 2003.

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Newman, Margaret. AQA anthology: Moon on the tides : character and voice, and place. Deddington: Philip Allan Updates, 2011.

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Camilleri, Andrea. Voice of the violin. New York, NY: Viking, 2004.

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Camilleri, Andrea. Voice of the violin. New York: Viking, 2003.

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10

McIntosh, Pat. The stolen voice. New York: Soho Constable, 2009.

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Capítulos de livros sobre o assunto "Character voice":

1

Dunkelberg, Kendall. "Character and Voice". In A Writer's Craft, 65–75. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_7.

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Wadley, Greg, e Martin R. Gibbs. "Speaking in Character: Voice Communication in Virtual Worlds". In Online Worlds: Convergence of the Real and the Virtual, 187–200. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-825-4_15.

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3

Quillot, Mathias, Jarod Duret, Richard Dufour, Mickael Rouvier e Jean-François Bonastre. "Influence of Speaker Pre-training on Character Voice Representation". In Speech and Computer, 577–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87802-3_52.

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Nouza, Jan, Petr Kolář e Josef Chaloupka. "Voice Chat with a Virtual Character: The Good Soldier Švejk Case Project". In Text, Speech and Dialogue, 445–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-46154-x_63.

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Trencsényi, Klára, e Vlad Naumescu. "Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking". In IMISCOE Research Series, 117–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_7.

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AbstractThe so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
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Frow, John. "Voice". In Character and Person, 149–80. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780198704515.003.0005.

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"Character Voice". In Voice Into Acting, 238–60. Bloomsbury Publishing Plc, 2013. http://dx.doi.org/10.5040/9781472515803.ch-013.

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"Character Voice". In Voice into Acting. Methuen Drama, 2021. http://dx.doi.org/10.5040/9781350064959.ch-014.

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"Character". In Voice and Vision, 153–75. Harvard University Press, 2009. http://dx.doi.org/10.2307/j.ctvjnrv08.16.

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"INTONING VOICE:". In Out of Character, 153–98. Stanford University Press, 2014. http://dx.doi.org/10.2307/j.ctvqsdvvf.8.

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Trabalhos de conferências sobre o assunto "Character voice":

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Cabral, João Paulo, Benjamin R. Cowan, Katja Zibrek e Rachel McDonnell. "The Influence of Synthetic Voice on the Evaluation of a Virtual Character". In Interspeech 2017. ISCA: ISCA, 2017. http://dx.doi.org/10.21437/interspeech.2017-325.

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Rynkiavichutse, Hreta. "Голос как форма проявления сознания персонажа в цикле пьес М. Арбатовой «Поздний экипаж»". In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.10.

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This article discusses the aspects of Voice functioning in the cycle of plays by M. Arbatova "the Late crew". As a result of the analysis, it was found that the appearance (or absence) The voices in the plays indicate a deep crisis of personal identification of the characters and reveal the internal conflicts of the characters. In modern drama, the Voice is one of the forms of manifestation of the splitting of consciousness and transformation of characters.
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Szabó, Zoltán, e Eniko T. Enikov. "Development of Haptic Communication Device for Disabled Persons". In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-65404.

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With the emergence of augmented and virtual-reality based information delivery technologies the gap between availability of communication devices for visually impaired people and sighted people is emerging. The current study describes a communication tool which provides a reading platform for visually impaired people by means of a haptic display. In this paper the development and human subject study based evaluation of an electromagnetic microactuator-array based virtual tactile display is presented. The actuator array is comprised of a 4 by 5 array of micro voice-coil actuators (tactors) providing vibrotactile stimulation on the user’s fingertip. The size and performance of the actuators is evaluated against the thresholds of human tactile perception. It is demonstrated that a 2.65 mm (diameter) × 4 mm (height) generic tactor is suitable for practical applications in dynamic tactile displays. The maximum force of the actuator was 30 mN generated at current levels of 200 mA. At a stroke of 4.5 mm, the force is reduced to 10 mN. The peak force was generated at a displacement of 1.5 mm. A total of 10 alpha-numeric symbols were displayed to the users via dynamically changing the location of the vibrating point in a predefined sequence, thus creating a tactile perception of continuous curve. Users were asked to sketch out the perceived symbols. Each subject carried out three experiments. The first experiment exposed all subjects to ten different characters. Data obtained from human subject tests suggest that users perceive most shapes accurately, however the existence of jump discontinuities in the flow of presentation of the curves lowers recognition efficiency most likely due to loss of sensation of solid reference point. Characters containing two or more discontinuous lines such as ‘X’ were more difficult to recognize in comparison to those described with a single line such as ‘P’, or ‘Z’. Analysis of the average character recognition rate from 10 volunteers concluded that any presented character was identified correctly in 7 out 10 tests. The second test included characters that were reused from the first experiment. Users had improved their character recognition performance as a consequence of repeated exposure and learning. A final set of experiments concluded that recognition of groups of characters, forming words, is the least efficient and requires further perfecting. Recommendations for improvements of the recognition rate are also included.
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Rodríguez-Contreras, Laura, e Juan-José Igartua. "Narrative tools to quit smoking. Indirect effects of audience-character similarity and narrative voice in the intention to quit smoking". In TEEM'19: Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3362789.3362852.

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Dinu, Liviu P., e Ana Sabina Uban. "Finding a Character’s Voice: Stylome Classification on Literary Characters". In Proceedings of the Joint SIGHUM Workshop on Computational Linguistics for Cultural Heritage, Social Sciences, Humanities and Literature. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-2210.

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Yılmaz, Selin, e Deniz Yengin. "Analysis of Emotional Approach of Digital Surveillance in Film Studies". In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.020.

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Human is a social being, and needs communication to convey feelings, thoughts, beliefs, and ideologies to survive. Despite being man-made, machines do not have any feelings. However, the development of artificial intelligence poses a suggestion that machines can also think, and feel. The development of new communication technologies reveals the importance of the relationship between machines and humans. People can control the machine/robot with voice commands or hand-face-eye scans. The data processed in the machine memory can be interpreted with other algorithms and instantly give the needed information. The machine that processes the reaction of the individual sometimes may be protective for itself and the individual, and sometimes, a shadow. By recognizing the individual, the machine can turn into a dangerous and useful tool. Makine işlediği verileri saklayıp, depolamakta ve kayıt altına almaktadır. The data is protected by a machine-built firewall. However, if these data are captured, internal and external surveillance is inevitable. Nowadays, in terms of the ecology of communication, new media tools ensure the continuity of communication and facilitate the individual's socialization. In addition, the machines add speed to the life of the individual over time and space. In this study, the character structures of the machine are examined and its importance in terms of digital surveillance is revealed. The aim is to evaluate the machine in terms of digital surveillance by revealing that the machine can be protective, shadow, friend, or dangerous for the individual with the concept of artificial intelligence. In this study, the emotional intelligence of the machine and the concept of digital surveillance will be analyzed using the content analysis method and semiotics technique. In the research, randomly picked 5 Hollywood films (Ex Machina, I Robot, Bicentennial Man, Transcendence, Eagle Eye) will be analysed according to the character analysis of Jung, and the different aspects of the human and machine will be determined by making use of the emotional side of the machine and the fundamental oppositions of Barthes. In these films, the forms of the machine are different, and it is noteworthy that they have protective and shadow characters. The machine becomes dangerous by acting with its emotions. As a result, it has been revealed that the machine/robot reacts according to the data and has an important aspect in terms of digital surveillance since the machine is constantly evolving with the power of artificial intelligence, and this development makes it easier to access other tools and facilitate digital surveillance. In the eagle eye film, the machine can make digital surveillance using all the camera systems in the city.
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Vieira, Alex de Souza, Álan Lívio V. Guedes, Daniel de Sousa Moraes, Lucas Ribeiro Madeira, Sérgio Colcher e Carlos de S. Soares Neto. "ListeningTV: Accessible Video using Interactive Audio Descriptions". In Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/webmedia_estendido.2020.13065.

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People with visual impairments suffer from the incapacity to understand contextual information in videos, such as the place where characters are, or any other non-spoken actions in general. Some content creators address this issue by providing a secondary audio to describe such information, called Audio Descriptions (ADs). How- ever, some works in the literature have highlighted that people with visual impairment are usually not able to completely understand scene changes based only on characters’ voices or traditional ADs. Moreover, traditional ADs do not completely describe some of the important visual information, such as the background scenery (e.g. colors, furniture) and characters’ details (e.g. blond woman using a red dress). In this work, we propose incrementing the traditional AD techniques with the usage of interactive video features present in TV systems. More precisely, the proposed interactivity enables users to access specialized AD for different visual information (e.g., scene, scenario, character). To support the development of such interactive content, we present an application template, which helps to create the final interactive-enhanced video application. Asa proof of concept for our approach, we created an interactive AD for an independent video mainly composed of visual information, with only a few talks.
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Vishnubhotla, Krishnapriya, Adam Hammond e Graeme Hirst. "Are Fictional Voices Distinguishable? Classifying Character Voices in Modern Drama". In Proceedings of the 3rd Joint SIGHUM Workshop on Computational Linguistics for Cultural Heritage, Social Sciences, Humanities and Literature. Stroudsburg, PA, USA: Association for Computational Linguistics, 2019. http://dx.doi.org/10.18653/v1/w19-2504.

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Sakai, Erika, Akinori Ito e Takayuki Itoh. "Towards an Analysis of Voice Features of Game Characters". In 2016 Nicograph International (NicoInt). IEEE, 2016. http://dx.doi.org/10.1109/nicoint.2016.38.

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Greene, Erica, Taniya Mishra, Patrick Haffner e Alistair Conkie. "Predicting character-appropriate voices for a TTS-based storyteller system". In Interspeech 2012. ISCA: ISCA, 2012. http://dx.doi.org/10.21437/interspeech.2012-589.

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