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Disinformation is multiplied through social networks, and many hoaxes show Russian interests, to the extent that the US and the European Union qualify RT and Sputnik as media outlets for the circulation of false facts. This research aims to identify the disinformation generated by RT and Sputnik related to Ecuador in audiovisual media and social networks. The methodology is qualitative and quantitative, descriptive in scope. It is evident that Russian disinformation is present in the country, especially online. It is important to promote media literacy and open a debate on regulation that promotes freedom of expression. [ABSTRACT FROM AUTHOR]

It has been proposed that autistic people experience a temporal distortion whereby the temporal binding window of multisensory integration is extended. Research to date has focused on autistic children so whether these differences persist into adulthood remains unknown. In addition, the possibility that the previous observations have arisen from between-group differences in response bias, rather than perceptual differences, has not been addressed. Participants completed simultaneity judgements of audiovisual speech stimuli across a range of stimulus-onset asynchronies. Response times and accuracy data were fitted to a drift-diffusion model so that the drift rate (a measure of processing efficiency) and starting point (response bias) could be estimated. In Experiment 1, we tested a sample of non-autistic adults who completed the Autism Quotient questionnaire. Autism Quotient score was not correlated with either drift rate or response bias, nor were there between-group differences when splitting based on the first and third quantiles of scores. In Experiment 2, we compared the performance of autistic with a group of non-autistic adults. There were no between-group differences in either drift rate or starting point. The results of this study do not support the previous suggestion that autistic people have an extended temporal binding window for audiovisual speech. In addition, exploratory analysis revealed that operationalising the temporal binding window in different ways influenced whether a group difference was observed, which is an important consideration for future work. [ABSTRACT FROM AUTHOR]

Recent psychology and neuroscience studies have used tactile stimuli in patients, concluding after their experiments that touch is a sense tightly linked to emotions. In parallel, a new way of seeing films, 4D cinema, has added new stimuli to the traditional audiovisual via, including the tactile vibration. In this work, we have studied the brain activity of audience while viewing a scene filmed and directed by us and with an emotional content, under two different conditions: 1) image + sound, 2) image + sound + vibro-tactile stimulation. We have designed a glove where pulse trains are generated in coin motors at specific moments and recorded 35 viewers' electroencephalograms (EEGs) to evaluate the impact of the vibro-tactile stimulation during the film projection. Hotelling's T-squared results show higher brain intensity if the tactile stimulus is received during the viewing than if no tactile stimulus is injected. Condition 1 participants showed activation in left and right orbitofrontal areas, whereas Condition 2 they also showed activities in right superior frontal and right-medial frontal areas. We conclude that the addition of vibrotactile stimulus increases the brain activity in areas linked with attentional processes, while producing a higher intensity in those related to emotional processes. [ABSTRACT FROM AUTHOR]

In the McGurk effect, visual speech from the face of the talker alters the perception of auditory speech. The diversity of human languages has prompted many intercultural studies of the effect in both Western and non-Western cultures, including native Japanese speakers. Studies of large samples of native English speakers have shown that the McGurk effect is characterized by high variability in the susceptibility of different individuals to the illusion and in the strength of different experimental stimuli to induce the illusion. The noisy encoding of disparity (NED) model of the McGurk effect uses principles from Bayesian causal inference to account for this variability, separately estimating the susceptibility and sensory noise for each individual and the strength of each stimulus. To determine whether variation in McGurk perception is similar between Western and non-Western cultures, we applied the NED model to data collected from 80 native Japanese-speaking participants. Fifteen different McGurk stimuli that varied in syllable content (unvoiced auditory "pa" + visual "ka" or voiced auditory "ba" + visual "ga") were presented interleaved with audiovisual congruent stimuli. The McGurk effect was highly variable across stimuli and participants, with the percentage of illusory fusion responses ranging from 3 to 78% across stimuli and from 0 to 91% across participants. Despite this variability, the NED model accurately predicted perception, predicting fusion rates for individual stimuli with 2.1% error and for individual participants with 2.4% error. Stimuli containing the unvoiced pa/ka pairing evoked more fusion responses than the voiced ba/ga pairing. Model estimates of sensory noise were correlated with participant age, with greater sensory noise in older participants. The NED model of the McGurk effect offers a principled way to account for individual and stimulus differences when examining the McGurk effect in different cultures. [ABSTRACT FROM AUTHOR]

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Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Congruent visual speech improves speech perception accuracy, particularly in noisy environments. Conversely, mismatched visual speech can alter what is heard, leading to an illusory percept that differs from the auditory and visual components, known as the McGurk effect. While prior transcranial magnetic stimulation (TMS) and neuroimaging studies have identified the left posterior superior temporal sulcus (pSTS) as a causal region involved in the generation of the McGurk effect, it remains unclear whether this region is critical only for this illusion or also for the more general benefits of congruent visual speech (e.g., increased accuracy and faster reaction times). Indeed, recent correlative research suggests that the benefits of congruent visual speech and the McGurk effect rely on largely independent mechanisms. To better understand how these different features of audiovisual integration are causally generated by the left pSTS, we used single-pulse TMS to temporarily disrupt processing within this region while subjects were presented with either congruent or incongruent (McGurk) audiovisual combinations. Consistent with past research, we observed that TMS to the left pSTS reduced the strength of the McGurk effect. Importantly, however, left pSTS stimulation had no effect on the positive benefits of congruent audiovisual speech (increased accuracy and faster reaction times), demonstrating a causal dissociation between the two processes. Our results are consistent with models proposing that the pSTS is but one of multiple critical areas supporting audiovisual speech interactions. Moreover, these data add to a growing body of evidence suggesting that the McGurk effect is an imperfect surrogate measure for more general and ecologically valid audiovisual speech behaviors. [ABSTRACT FROM AUTHOR]

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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nowadays, the spectator lives surrounded by television series in which increasingly complex, depressing and denouncing themes proliferate. About this, the Netflix hit Squid Game (2021) is a clear representation of a mass culture increasingly virtuous in staging, as well as more horrifying, preachy and sensationalist. Based on the observation of the phenomenon that the series has meant, narrative content analysis has been carried out in which we have sought to find evidence of how mainstream culture continues to popularize and stylize audio-visual abjection in the context of the third golden age of television and the fascination with the plots of torture porn or postmodern cinema of cruelty. The results show that Squid Game is a faithful product of its time: as a current prestige series, it is dark, depressing, pessimistic and has an artistic aura without neglecting entertainment and explores human complexity in themes such as suicide, genocide and violence. [ABSTRACT FROM AUTHOR]

The prevalence of synthetic talking faces in both commercial and academic environments is increasing as the technology to generate them grows more powerful and available. While it has long been known that seeing the face of the talker improves human perception of speech-in-noise, recent studies have shown that synthetic talking faces generated by deep neural networks (DNNs) are also able to improve human perception of speech-in-noise. However, in previous studies the benefit provided by DNN synthetic faces was only about half that of real human talkers. We sought to determine whether synthetic talking faces generated by an alternative method would provide a greater perceptual benefit. The facial action coding system (FACS) is a comprehensive system for measuring visually discernible facial movements. Because the action units that comprise FACS are linked to specific muscle groups, synthetic talking faces generated by FACS might have greater verisimilitude than DNN synthetic faces which do not reference an explicit model of the facial musculature. We tested the ability of human observers to identity speech-in-noise accompanied by a blank screen; the real face of the talker; and synthetic talking faces generated either by DNN or FACS. We replicated previous findings of a large benefit for seeing the face of a real talker for speech-in-noise perception and a smaller benefit for DNN synthetic faces. FACS faces also improved perception, but only to the same degree as DNN faces. Analysis at the phoneme level showed that the performance of DNN and FACS faces was particularly poor for phonemes that involve interactions between the teeth and lips, such as /f/, /v/, and /th/. Inspection of single video frames revealed that the characteristic visual features for these phonemes were weak or absent in synthetic faces. Modeling the real vs. synthetic difference showed that increasing the realism of a few phonemes could substantially increase the overall perceptual benefit of synthetic faces. [ABSTRACT FROM AUTHOR]

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Marketing research has a very important role within any organization and with regard to any of the investigated markets. The present research belongs to the category of qualitative research, being exploratory research, carried out with the aim of allowing a deeper understanding of the specific problems of the television market. The obtained results are qualitative and cannot be extrapolated to the level of the researched population. The problem addressed is a special one of current interest, because the audiovisual in general, and television in particular, determine contradictory and vehement opinions. The current trends of the television market in Romania are quite uncertain in the context of increased digitization. The young respondents appreciate that the public's thirst for information and entertainment is satisfied, rather, by modern communication channels, in particular social networks and the Internet, in general. [ABSTRACT FROM AUTHOR]

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Studies on multisensory perception often focus on simplistic conditions in which one single stimulus is presented per modality. Yet, in everyday life, we usually encounter multiple signals per modality. To understand how multiple signals within and across the senses are combined, we extended the classical audio‐visual spatial ventriloquism paradigm to combine two visual stimuli with one sound. The individual visual stimuli presented in the same trial differed in their relative timing and spatial offsets to the sound, allowing us to contrast their individual and combined influence on sound localization judgements. We find that the ventriloquism bias is not dominated by a single visual stimulus but rather is shaped by the collective multisensory evidence. In particular, the contribution of an individual visual stimulus to the ventriloquism bias depends not only on its own relative spatio‐temporal alignment to the sound but also the spatio‐temporal alignment of the other visual stimulus. We propose that this pattern of multi‐stimulus multisensory integration reflects the evolution of evidence for sensory causal relations during individual trials, calling for the need to extend established models of multisensory causal inference to more naturalistic conditions. Our data also suggest that this pattern of multisensory interactions extends to the ventriloquism aftereffect, a bias in sound localization observed in unisensory judgements following a multisensory stimulus. [ABSTRACT FROM AUTHOR]

The ability to detect the absolute location of sensory stimuli can be quantified with either error-based metrics derived from single-trial localization errors or regression-based metrics derived from a linear regression of localization responses on the true stimulus locations. Here we tested the agreement between these two approaches in estimating accuracy and precision in a large sample of 188 subjects who localized auditory stimuli from different azimuthal locations. A subsample of 57 subjects was subsequently exposed to audiovisual stimuli with a consistent spatial disparity before performing the sound localization test again, allowing us to additionally test which of the different metrics best assessed correlations between the amount of crossmodal spatial recalibration and baseline localization performance. First, our findings support a distinction between accuracy and precision. Localization accuracy was mainly reflected in the overall spatial bias and was moderately correlated with precision metrics. However, in our data, the variability of single-trial localization errors (variable error in error-based metrics) and the amount by which the eccentricity of target locations was overestimated (slope in regression-based metrics) were highly correlated, suggesting that intercorrelations between individual metrics need to be carefully considered in spatial perception studies. Secondly, exposure to spatially discrepant audiovisual stimuli resulted in a shift in bias toward the side of the visual stimuli (ventriloquism aftereffect) but did not affect localization precision. The size of the aftereffect shift in bias was at least partly explainable by unspecific test repetition effects, highlighting the need to account for inter-individual baseline differences in studies of spatial learning. [ABSTRACT FROM AUTHOR]

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This article discusses a study that examined the use of audiovisual distraction in reducing anxiety levels in children during dental visits. The study involved 60 children aged 6-10 years, with half of them receiving a tablet and headphones to watch their favorite shows during treatment, while the other half did not have any gadgets. Anxiety levels were measured using the Facial Image Scale before, during, and after treatment. The results showed that the group with audiovisual distraction had significantly lower anxiety levels during and after treatment compared to the control group. The authors suggest that audiovisual distraction can be an effective method to reduce anxiety in pediatric dental patients and should be encouraged in dental practices. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The format of the live audiovisual interview, through the Twitch livestream platform, becomes an effective and invaluable tool for learning journalistic skills and deepening the informative task through professional experience, thanks to the testimonies of prominent radio and television communicators, who also show their human side. In addition, the content of the Audiovisual Journalism course at the University CEU San Pablo has been updated. A collaborative methodology in which students participate in writing and conducting interviews. [ABSTRACT FROM AUTHOR]

Both multisensory and lexical information are known to influence the perception of speech. However, an open question remains: is either source more fundamental to perceiving speech? In this perspective, we review the literature and argue that multisensory information plays a more fundamental role in speech perception than lexical information. Three sets of findings support this conclusion: first, reaction times and electroencephalographic signal latencies indicate that the effects of multisensory information on speech processing seem to occur earlier than the effects of lexical information. Second, non-auditory sensory input influences the perception of features that differentiate phonetic categories; thus, multisensory information determines what lexical information is ultimately processed. Finally, there is evidence that multisensory information helps form some lexical information as part of a phenomenon known as sound symbolism. These findings support a framework of speech perception that, while acknowledging the influential roles of both multisensory and lexical information, holds that multisensory information is more fundamental to the process. [ABSTRACT FROM AUTHOR]

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Copyright of Speech & Context International Journal of Linguistics, Semiotics & Literary Science / Limbaj si Context is the property of Speech & Context Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This text explores Korpelarörelsen, a Black Metal band that presents an audiovisual performance depicting a religious movement in Tornedalen during the early 20th century. In 2020 they received prolific funding from the Swedish Arts Grants Committee to conceive, rehearse and tour with the band. The article describes the band's unique portrayal of local history through the use of black metal music, while also discussing the boundaries between art and music, its implications for arts funding and the Black Metal genre's position in cultural hierarchies. The study draws on interviews, concert observations, and analysis of applications and documents outlining the funding decision from the Swedish Arts Grants Committee. The historic religious Korpela movement has been described as a doomsday cult, which believed that practicing music and dance, extrovert “childlike behavior” and even nudity and free sex, was the path to salvation. The band Korpelarörelsen depicts this through raw Black Metal, atmospheric elements, spoken word passages, and peculiar onstage-rituals. Visual aesthetics, including black robes, corpse paint, and blood-like smears, contributed to the atmosphere of mystique, darkness, and death. Korpelarörelsen’s application for cultural funding strategically positioned the project as a collaboration between various art forms and emphasized the interaction between Black Metal aesthetics and music industry methods. Korpelarörelsen's innovative approach and funding success might offer possibilities for extreme music within culturally funded systems. This case study demonstrates how a Black Metal band from Tornedalen could potentially have cultural and political impact and pave the way for other extreme music groups seeking recognition and support. [ABSTRACT FROM AUTHOR]

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Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sound-based trajectories or sound gestures draw links to spatiokinetic processes. For instance, a gliding, decreasing pitch conveys an analogous downward motion or fall. Whereas the gesture's pitch orientation and range convey its meaning and magnitude, respectively, the way in which pitch changes over time can be conceived of as gesture shape, which to date has rarely been studied in isolation. This article reports on an experiment that studied the perception of shape in uni-directional pitch, loudness, and tempo gestures, each assessed for four physical scalings. Gestures could increase or decrease over time and comprised different frequency and sound level ranges, durations, and different scaling contexts. Using a crossmodal-matching task, participants could reliably distinguish between pitch and loudness gestures and relate them to analogous visual line segments. Scalings based on equivalent-rectangular bandwidth (ERB) rate for pitch and raw signal amplitude for loudness were matched closest to a straight line, whereas other scalings led to perceptions of exponential or logarithmic curvatures. The investigated tempo gestures, by contrast, did not yield reliable differences. The reliable, robust perception of gesture shape for pitch and loudness has implications on various sound-design applications, especially those cases that rely on crossmodal mappings, e.g., visual analysis or control interfaces like audio waveforms or spectrograms. Given its perceptual relevance, auditory shape appears to be an integral part of sound gestures, while illustrating how crossmodal correspondences can underpin auditory perception. [ABSTRACT FROM AUTHOR]

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This article deals with archival materials in the mosque landscape of Turkish origin in Germany. The focus is to work out its becoming, structure, functionality and importance as well as lines of knowledge of empirical reappraisal. First, the history and the context of the emergence are examined in order to capture the microcosm of the archives in a phenomenological insightful way. Subsequently, the discoverable archival collections will be subjected to a categorization of their parts. The summarizing notes emphasize that mosques and their archives are Germany's historical and cultural heritage that need to be researched in its depth and breadth. [ABSTRACT FROM AUTHOR]

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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the McGurk effect, perception of a spoken consonant is altered when an auditory (A) syllable is presented with an incongruent visual (V) syllable (e.g., A/pa/V/ka/ is often heard as /ka/ or /ta/). The McGurk effect provides a measure for visual influence on speech perception, becoming stronger the lower the proportion of auditory correct responses. Cross-language effects are studied to understand processing differences between one's own and foreign languages. Regarding the McGurk effect, it has sometimes been found to be stronger with foreign speakers. However, other studies have shown the opposite, or no difference between languages. Most studies have compared English with other languages. We investigated cross-language effects with native Finnish and Japanese speakers and listeners. Both groups of listeners had 49 participants. The stimuli (/ka/, /pa/, /ta/) were uttered by two female and male Finnish and Japanese speakers and presented in A, V and AV modality, including a McGurk stimulus A/pa/V/ka/. The McGurk effect was stronger with Japanese stimuli in both groups. Differences in speech perception were prominent between individual speakers but less so between native languages. Unisensory perception correlated with McGurk perception. These findings suggest that stimulus-dependent features contribute to the McGurk effect. This may have a stronger influence on syllable perception than cross-language factors. [ABSTRACT FROM AUTHOR]

Copyright of Boletín Económico de ICE is the property of S.G.E.E.I.P.C., Secretaria de Estado de Comercio, Ministerio de Industria, Comercio y Turismo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Emotion recognition – a prerequisite for social interactions – varies among individuals. Sex differences have been proposed as a central source of individual differences, although the existing evidence is rather heterogeneous. In the current study (N = 426), we investigated the potential moderating effects of stimulus features, including modality, emotion specificity, and the sex of the encoder (referring to the sex of the actor) on the magnitude of sex differences in emotion recognition. Our findings replicated women's overall better emotion recognition, particularly evident for negative expressions (fear and anger) compared to men. This outperformance was observed across all modalities, with the largest differences for audiovisually expressed emotions, while the sex of the encoder had no impact. Given our findings, future studies should consider these and other potential moderator variables to better estimate sex differences. [ABSTRACT FROM AUTHOR]