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This report presents the experience developed by the Educational Technology Center of the State University of Rio de Janeiro (CTE/Uerj) which resulted in the transformation of its Video Library into an Audiovisual Memory Center (NuMA/Uerj). Its creation is the result of a research project funded by a notice from the Carlos Chagas Filho Foundation for Research Support in the State of Rio de Janeiro - FAPERJ. The text reports the dialogue between technological modernization and a multidisciplinary concern with the importance of audiovisual sources in the production of meaning and dissemination of academic knowledge. It also brings a conversation about the relationship between memory and history, culminating in the transformations that occurred in the processes of guarding, preserving and using these narratives as sources for institutional history. [ABSTRACT FROM AUTHOR]

This article presents a case study on the creation and challenges faced during the early operation years of Café & Fita Crepe Junior Films Enterprise, part of the Cinema undergraduate at the Federal University of Santa Catarina. Registered as an extension project and configured as a non-profit association, following the guidelines of junior enterprises regulated by Federal Law 13,267, dated April 6, 2016, Café & Fita Crepe represents an experiment aimed at offering content creation with a positive social impact to the Florianópolis community (Santa Catarina State, Brazil), carried out by the students of the program. In light of the literature on university extension projects and junior companies, the article examines the main difficulties in implementing and continuing action of this type of initiative within a public university's audiovisual undergraduate program. The findings of the study confirm many of the insights provided by the literature, highlighting the lack of student engagement in extension projects and the limited professional maturity of junior enterprise participants as some of the main obstacles to the consolidation of this type of initiative. [ABSTRACT FROM AUTHOR]

Copyright of Jangwa Pana is the property of Revista Jangwa Pana 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.)

O objetivo deste estudo foi analisar etapas da produção de legendas para pessoas surdas ou ensurdecidas e processos de tradução no par linguístico Libras (Língua Brasileira de Sinais) - português. Por meio de uma pesquisa documental e qualitativa, investigamos como tais procedimentos foram desenvolvidos pelo “TradInter Lab: laboratório de tradução audiovisual acessível e interpretação Libras - português” da UFRJ (Universidade Federal do Rio de Janeiro) para promover a acessibilidade comunicativa em conteúdos audiovisuais de eventos acadêmicos. A fundamentação teórica baseia-se em estudos sobre tradução audiovisual e acessibilidade comunicativa, normativos legais brasileiros e reflexos da pandemia de COVID-19 nesses processos. Os resultados preliminares apontam caminhos para uma tradução audiovisual cada vez mais acessível.

Based on a theoretical gap identified on the relationship between film commissions and marketing, this study carries out a systematic review of the literature with the aim of presenting a characterization of film commissions and their relationships with territorial marketing and tourism. The research carried out is exploratory-descriptive and had as its method the systematic integrative review of the literature as a way of identifying, selecting and qualitatively analyzing 25 articles from a universe of 348 works published in the databases of the Portal de Periódicos of the Coordination for the Improvement of Higher Education Personnel (Capes) of Brazil, Google Scholar, Spell and also, in a complementary way, in the Annals of the National Association of Graduate Studies in Tourism (ANPTUR). It appears that there is a mutual interest in film commissions in promoting their territory and, at the same time, seducing producers to capture audiovisual productions. It was observed that, in theory, film commissions can be understood as a territorial marketing organization. However, in practice, this action still takes place indirectly, often unrelated to other institutional departments of public management.

This paper presents the experience of the research group on Contemporary Theater, Politics and Society in Latin America (IIGG-UBA) with the creation and management of an archive that collects videos connected to the group’s subject. It is called TyPAL (Teatro y Política en América Latina) and it is hosted as a fonds inside the Audiovisual Archive of the Gino Germani Research Institute at the University of Buenos Aires. Within the framework of this issue’s dossier, we aim to approach some of the productive tensions that emerge when working with the archive, and that are connected to its definition as an audiovisual theatrical archive. We organized our reflections on a series of pairings that condense these productive tensions ‒theatrical research/archive; theatrical/ audiovisual; analogical/digital; personal archives /institutional archives‒ and that allowed us to analyze some of the specific circumstances and conceptual discussions in which the TyPAL is framed and that let us address issues of performing arts research in the context of the growing archival interest widespread in contemporary culture.

Este artigo desenvolve um estudo de caso sobre a criação e desafios dos primeiros anos de operação da Produtora Júnior Café e Fita Crepe do curso de Cinema da Universidade Federal de Santa Catarina. Registrada como projeto de extensão e configurada no formato1 de associação sem fins lucrativos, nos moldes das empresas juniores regulamentadas pela Lei Federal 13.267, de 6 de abril de 2016, a Café e Fita Crepe é um experimento no sentido de ofertar, pelos alunos do curso, a realização de conteúdos com impacto social positivo à comunidade de Florianópolis. À luz da literatura sobre projetos de extensão universitária e empresas juniores, o artigo se debruça sobre as principais dificuldades de implantação e continuidade de uma ação deste tipo em uma graduação na área audiovisual de uma universidade pública. Os achados do estudo confirmam boa parte dos dados trazidos pela literatura, apontando a falta de engajamento de estudantes em projetos de extensão e a baixa maturidade profissional dos ingressantes em empresas juniores como alguns dos principais entraves para a consolidação deste tipo de iniciativa. Palavras-chave: Audiovisual; Empresa júnior; Graduação, Artes Junior producer “Café e Fita Crepe” (Coffee and Crepe Tape): A case study in cinema Abstract: This article presents a case study on the creation and challenges faced during the early operation years of Café & Fita Crepe Junior Films Enterprise, part of the Cinema undergraduate at the Federal University of Santa Catarina. Registered as an extension project and configured as a non-profit association, following the guidelines of junior enterprises regulated by Federal Law 13,267, dated April 6, 2016, Café & Fita Crepe represents an experiment aimed at offering content creation with a positive social impact to the Florianópolis community (Santa Catarina State, Brazil), carried out by the students of the program. In light of the literature on university extension projects and junior companies, the article examines the main difficulties in implementing and continuing action of this type of initiative within a public university's audiovisual undergraduate program. The findings of the study confirm many of the insights provided by the literature, highlighting the lack of student engagement in extension projects and the limited professional maturity of junior enterprise participants as some of the main obstacles to the consolidation of this type of initiative. Keywords: Audiovisual; Junior Enterprise; Undergraduate; Arts

IntroductionThis study evaluated the ability of children (8–12 years) with mild bilateral or unilateral hearing loss (MBHL/UHL) listening unaided, or normal hearing (NH) to locate and understand talkers in varying auditory/visual acoustic environments. Potential differences across hearing status were examined.MethodsParticipants heard sentences presented by female talkers from five surrounding locations in varying acoustic environments. A localization-only task included two conditions (auditory only, visually guided auditory) in three acoustic environments (favorable, typical, poor). Participants were asked to locate each talker. A speech perception task included four conditions [auditory-only, visually guided auditory, audiovisual, auditory-only from 0° azimuth (baseline)] in a single acoustic environment. Participants were asked to locate talkers, then repeat what was said.ResultsIn the localization-only task, participants were better able to locate talkers and looking times were shorter with visual guidance to talker location. Correct looking was poorest and looking times longest in the poor acoustic environment. There were no significant effects of hearing status/age. In the speech perception task, performance was highest in the audiovisual condition and was better in the visually guided and auditory-only conditions than in the baseline condition. Although audiovisual performance was best overall, children with MBHL or UHL performed more poorly than peers with NH. Better-ear pure-tone averages for children with MBHL had a greater effect on keyword understanding than did poorer-ear pure-tone averages for children with UHL.ConclusionAlthough children could locate talkers more easily and quickly with visual information, finding locations alone did not improve speech perception. Best speech perception occurred in the audiovisual condition; however, poorer performance by children with MBHL or UHL suggested that being able to see talkers did not overcome reduced auditory access. Children with UHL exhibited better speech perception than children with MBHL, supporting benefits of NH in at least one ear.

Each year, approximately 12 million girls worldwide enter into marriage before reaching the age of 18. In East Kalimantan Province, data from the 2020 National Socio-Economic Survey revealed that 11.54% of women aged 20-24 had experienced early marriage, surpassing Indonesia's average. This study aimed to assess the efficacy of audiovisual and printed health education media in enhancing the knowledge of young women about early marriage. A quasi-experimental approach was adopted, involving 32 young women aged 15-18 from a public high school in Borneo. The study measured the knowledge change in young women and their parents through questionnaires. Data analysis consisted of descriptive and inferential procedures, including normality tests, homogeneity tests, paired t tests, and analysis of variance tests. The findings demonstrated that audiovisual media significantly improved young women's awareness of early marriage (p

Este artigo apresenta um exercício metodológico utilizando a podcast ethnography (Lundström e Lundström, 2021). Além de resumir as três etapas do método e alguns de seus pressupostos teóricos, relatamos os primeiros meses de uma etnografia sobre podcasts de hip-hop. Durante dois meses acompanhamos o Gringos Podcast, um podcast vinculado à cultura hip-hop gravado em uma loja de discos no centro de São Paulo. Na seção principal detalhamos nosso percurso durante a observação participante, a estrutura do objeto observado e os resultados dessa investida exploratória. Os principais temas notados são: função de registro histórico; discussões sobre consumo de mídia; o trabalho do podcaster; política e politização no hip-hop; e a vida cotidiana dos artistas convidados.

Introduction: Disaster-prone regions like Karangasem Regency, located in the Ring of Fire, are susceptible to earthquakes and volcanic eruptions. It becomes imperative to ensure that students possess adequate disaster preparedness knowledge and skills. The objective of this study was to evaluate the efficacy of role-playing and audio-visual educational interventions based on local wisdom in improving disaster preparedness behavior among elementary school students. Methods: This study employed a quasi-experimental design using a pre- and post-test approach, including a control group. The study participants consisted of elementary school students in grades 4, 5, and 6 who were willing to participate and physically fit. A total of 56 students were included in the study, selected through simple random sampling, with 28 students assigned to each of the intervention and control groups. The research was conducted at SD 6 Ban, situated in Kubu, Karangasem, Bali. Results: The utilization of audiovisual educational videos and locally rooted role-playing activities significantly enhanced disaster preparedness behavior among elementary school students at SD 6 Ban. This effectiveness was demonstrated by the p-values, which were 0.001, 0.002, and 0.001 for knowledge, attitude, and behavior, respectively, indicating a substantial positive impact of the intervention on all three aspects. Conclusion: The audiovisual educational videos and locally rooted role-playing activities have proven to be effective in enhancing the elements of knowledge, attitude, and behavior among elementary school students. It is our hope that this method can be consistently applied as an ongoing intervention to further improve disaster preparedness among students. Keywords: Audiovisual, disaster preparedness, local wisdom, role play, schoolchildren

Com base na análise dos filmes O ano em que meus pais saíram de férias (2006), de Cao Hamburger; Kamchatka (2002), de Marcelo Piñeyro; e Infância clandestina (2011), de Benjamin Ávila, este artigo aborda o contexto ditatorial militar brasileiro em 1970 e o argentino em 1976 e 1979, tendo como aportes teóricos autores como Jeanne Marie Gagnebin (2014), Beatriz Sarlo (2012) e Márcio Selligman-Silva (2003) na discussão da memória como meio para construção de identidade. Os filmes expressam o trauma vivido nos dois países sob a perspectiva lúdica infantil dos filhos de militantes, cujos pais caíram na clandestinidade. O enquadramento traz para primeiro plano as consequências no corpo infantil que, ao serem narradas, suturam as lembranças de um passado marcado pela violência.

Nossa sociedade está cada vez mais hiperconectada e, nesse sentido, atividades presenciais têm tomado forma na ambiência virtual, a exemplo dos clubes de leitura. Assim, os conceitos de midiatização da cultura e da sociedade (HJARVARD, 2014) e de bios midiático (SODRÉ, 2013) são fundamentais para o entendimento da virtualização social. Diante disso, este artigo apresenta uma análise do Netflix Book Club, um clube de leitura online focado em obras presentes no catálogo da plataforma de streaming e que são derivadas de livros. A partir da metodologia Análise Televisual Convergente (BECKER, 2019), verificou-se que o clube abandona certos protocolos imbricados nesse tipo de formação. Logo, apenas etiqueta-se como clube do livro ignorando, ainda, a promessa de continuidade do projeto.

O artigo propõe uma discussão epistemológica sobre o tema de interesse para acionar teorias do campo da comunicação. Apresenta-se um breve levantamento bibliográfico sobre o melodrama e, em seguida, são abordadas as características melodramáticas que apontam comunicabilidades e incomunicabilidades, para destacar sua relação com a comunicação. Como resultado, entende-se o melodrama como integrante de um sistema circular de construção de sentidos que funciona através da interpretação, da interação e da reflexão. Por isso, sugere-se considerar a estratégia narrativa melodramática como uma estratégia comunicacional, ao invés de referir-se à noção do melodrama como um gênero fechado, para perceber sua linguagem como mediadora de diferentes obras audiovisuais e seus receptores.

Este artigo pretende discutir novas formas de apresentação de problemas e soluções da ciência em conteúdo audiovisual para um público amplo, analisando como esse conteúdo circula no Youtube, a partir do caso do canal Nunca vi 1 cientista, com 200 mil inscritos. Pretende-se, com isso, compreender como o conteúdo audiovisual de divulgação científica no YouTube difere de outras propostas já consolidadas da mídia tradicional, em uma abordagem de crítica de mídia que projeta a expansão das narrativas da TV para outras linguagens e dispositivos. Para tanto, selecionamos três episódios do canal sobre um mesmo tema e estudamos suas características centrais, como a linguagem e a performance das comunicadoras. Aspectos de sua circulação também foram mapeados a partir dos comentários da audiência. A conclusão é que esses novos produtos rompem com modelos mais formais de comunicação, como os conteúdos jornalísticos, proporcionando autenticidade na linguagem e nas trocas com a audiência, além de oferecerem uma abordagem crítica de forma acessível e dinâmica.

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]

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]

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Explaining individual differences in vocabulary in autism is critical, as understanding and using words to communicate are key predictors of long-term outcomes for autistic individuals. Differences in audiovisual speech processing may explain variability in vocabulary in autism. The efficiency of audiovisual speech processing can be indexed via amplitude suppression, wherein the amplitude of the event-related potential (ERP) is reduced at the P2 component in response to audiovisual speech compared to auditory-only speech. This study used electroencephalography (EEG) to measure P2 amplitudes in response to auditory-only and audiovisual speech and norm-referenced, standardized assessments to measure vocabulary in 25 autistic and 25 nonautistic children to determine whether amplitude suppression (a) differs or (b) explains variability in vocabulary in autistic and nonautistic children. A series of regression analyses evaluated associations between amplitude suppression and vocabulary scores. Both groups demonstrated P2 amplitude suppression, on average, in response to audiovisual speech relative to auditory-only speech. Between-group differences in mean amplitude suppression were nonsignificant. Individual differences in amplitude suppression were positively associated with expressive vocabulary through receptive vocabulary, as evidenced by a significant indirect effect observed across groups. The results suggest that efficiency of audiovisual speech processing may explain variance in vocabulary in autism. [ABSTRACT FROM AUTHOR]

Audiovisual speech perception includes the simultaneous processing of auditory and visual speech. Deficits in audiovisual speech perception are reported in autistic individuals; however, less is known regarding audiovisual speech perception within the broader autism phenotype (BAP), which includes individuals with elevated, yet subclinical, levels of autistic traits. We investigate the neural indices of audiovisual speech perception in adults exhibiting a range of autism-like traits using event-related potentials (ERPs) in a phonemic restoration paradigm. In this paradigm, we consider conditions where speech articulators (mouth and jaw) are present (AV condition) and obscured by a pixelated mask (PX condition). These two face conditions were included in both passive (simply viewing a speaking face) and active (participants were required to press a button for a specific consonant–vowel stimulus) experiments. The results revealed an N100 ERP component which was present for all listening contexts and conditions; however, it was attenuated in the active AV condition where participants were able to view the speaker's face, including the mouth and jaw. The P300 ERP component was present within the active experiment only, and significantly greater within the AV condition compared to the PX condition. This suggests increased neural effort for detecting deviant stimuli when visible articulation was present and visual influence on perception. Finally, the P300 response was negatively correlated with autism-like traits, suggesting that higher autistic traits were associated with generally smaller P300 responses in the active AV and PX conditions. The conclusions support the finding that atypical audiovisual processing may be characteristic of the BAP in adults. [ABSTRACT FROM AUTHOR]

Each year, approximately 12 million girls worldwide enter into marriage before reaching the age of 18. In East Kalimantan Province, data from the 2020 National Socio-Economic Survey revealed that 11.54% of women aged 20-24 had experienced early marriage, surpassing Indonesia's average. This study aimed to assess the efficacy of audiovisual and printed health education media in enhancing the knowledge of young women about early marriage. A quasi-experimental approach was adopted, involving 32 young women aged 15-18 from a public high school in Borneo. The study measured the knowledge change in young women and their parents through questionnaires. Data analysis consisted of descriptive and inferential procedures, including normality tests, homogeneity tests, paired t tests, and analysis of variance tests. The findings demonstrated that audiovisual media significantly improved young women's awareness of early marriage (p<0.005). The study encourages midwives and healthcare professionals to employ effective health education media, particularly audiovisual tools, in educational settings to combat early marriage practices. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ciencias Sociales (13159518) is the property of Revista de Ciencias Sociales de la Universidad del Zulia Venezuela 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 Millars: Espai i Història is the property of Millars: Espai i Historia 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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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 paper examines the interaction of sound and vision in audiovisual works for solo electric guitar, providing an overview of existing compositions before exploring in depth the approaches utilised in two new works commissioned by the author. Multimedia works which combine sound and vision represent a minority of the contemporary western art music repertoire, and are rarer still in works involving the electric guitar. The use of visuals in the small literature of audiovisual works for solo electric guitar varies widely, ranging from pre-recorded videos which simply play back over the course of a performance with no temporal alignment between sound and vision, to complex lighting mechanisms which respond to the music in real-time with clear parameter mapping. The bulk of the repertoire, however, demonstrates limited gestural synchronisation between the two media, with composers creating audiovisual cohesion through extra-temporal means. The works commissioned by the author – Svart-Hvít Ský á Himni by Icelandic composer Gulli Björnsson, and especially Akrasia by Australian composer Victor Arul – run counter to this trend, situating them as outliers which push the boundaries of parametric mapping in the repertoire for solo electric guitar and visuals. [ABSTRACT FROM AUTHOR]

In this article, we detail a project that seeks to expand the ways in which the concepts of gesture and spectromorphology can be understood and applied in audiovisual projects. We argue that understanding spectromorphology in visual domains requires consideration of the wavelengths of light that give us an image. In this project, the complex interaction between clouds and solar radiation becomes the medium for understanding this concept of visual spectra. Invalid Data W.E.S.T. is a collaboration between media artist Grayson Cooke, audio engineer Ian Stevenson, and the experimental improvising group Wilcox, Encarnacao, Swanton Trio (W.E.S.T.), comprising three Australian composer-performers: Felicity Wilcox (piano), John Encarnacao (guitar), and Lloyd Swanton (bass). In this project, a multi-camera recording of W.E.S.T. in studio performance is combined with Cooke's exploration of creative uses of satellite data. Satellite images of clouds rendered using infrared light are intercut with in-depth, multi-camera footage of W.E.S.T. captured during improvisation. The resulting audiovisual meditation draws parallels between spontaneous artistic processes, collaborative creation, and environmental phenomena. In this article, we explore how concepts of gesture and spectromorphology shaped the conception, production and post-production phases of the project, and how these concepts can be used to enhance the production of audiovisual work. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Internacional de la Imagen is the property of Common Ground Research Networks 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.)

Transcranial Magnetic Stimulation (TMS) is an effective non-invasive treatment method for major depressive disorder. Accurate placement of an electromagnetic coil on the patient's head during repetitive TMS is the key for stimulation of the desired brain regions and positive treatment outcome. Neuronavigation systems constitute the state-of-the-art method to accurately stimulate the appropriate brain region. Local separation of navigation information and the patient anatomy in combination with intricate visualisations and cumbersome setup limits the benefits and usability of this method. The present study addresses these problems by proposing an audiovisual Augmented reality (AR) system for coil positioning during TMS. The system sonifies and visualises translational and rotational differences between a target and the current instrument position using a minimalistic graphical user interface and auditory display. Effects of cross-modal integration on usability and targeting precision were shown in an experiment comparing audiovisual AR, audio AR and visual neuronavigation. Our approach revealed significant improvements in task time of all proposed AR conditions over neuronavigation (p < 0.001). Conversely, the neuronavigation system achieved significantly better targeting accuracy (p < 0.001). A purely auditory guidance achieved comparable performance as the audiovisual interface designs. [ABSTRACT FROM AUTHOR]

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This article examines the evolution of public policy for cultural and creative industries in the context of building India as a digital nation. How has the rise of digital industries in the building of the country permeated policies related to cultural industries, and what have been the consequences of this trend? It will also explore the tensions regarding the evolution of the role of the State in shaping and regulating such industries in the broader context of culture being increasingly associated with national identity. This article starts by showing that in a context where cultural policies remain centered on heritage, the support to culture by the state has remained limited, both in financial terms as well as regarding the implementation of specific regulations which would require protection from traditional market forces. Then, it analyzes several action plans that have been developed as part of the Digital India government initiative and assesses emerging issues for the cultural and creative industries, which are increasingly associated with the functioning of digital devices and operators. Finally, it discussed recent modalities of state intervention through the transfer of the role of cultural operator to digital platforms and the attempts to control expressions. [ABSTRACT FROM AUTHOR]

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Audiovisual media are an essential source of information and leisure in our lives, but people with hearing disabilities lose the emotional content that is intended to be transmitted through this channel. Some previous studies have tried to find alternative ways to elicit these emotions using other sensory channels, and some attempts have been made with haptic systems synchronized with rhythms of music and action in movies, but they fail in studying deeply the provoked neural response. In this article, we propose the tactile channel as the alternative to the auditory channel to convey the emotions generated by audiovisual events, measuring the effect of a proprietary system in the emotions by monitoring neural response. We have developed a low-cost system consisting of an Arduino Uno, a pair of gloves with micromotors and a driver. Using EEG, we have measured brain activity generated during audiovisual stimulation of a short film with clearly negative emotional content, with and without synchronized tactile stimuli, in two groups of people, one without hearing impairment and the other with hearing impairment. We have used the Hotelling’s T2 test as a multivariate statistical analysis of EEG measurements. Comparing the difference in brain activation generated in the conditions with and without vibration in both groups, we have found that multimodal stimulation by touch and associated with audiovisual stimuli enhances in a 30% the emotional, attentional, and auditory circuits activation, due to brain reorganization around frontal and parietal structures (all related to emotional responses) in the hearing-impaired group.

Substantial research has been done in saliency modeling to make intelligent machines that can perceive and interpret their surroundings and focus only on the salient regions in a visual scene. But existing spatio–temporal saliency models either treat videos as merely image sequences excluding any audio information or are unable to cope with inherently varying content. Based on the hypothesis that an audiovisual saliency model will perform better than traditional spatio–temporal saliency models, this work aims to provide a generic preliminary audio/video saliency model. This is achieved by augmenting visual saliency map with an audio saliency map computed by synchronizing low-level audio and visual features. The proposed model was evaluated using different criteria against eye fixations data for a publicly available video dataset DIEM. The evaluation results show that the model outperforms two state-of-the-art visual spatio–temporal saliency models. Thus, supporting our hypothesis that an audiovisual model performs better in comparison to a visual model for natural uncategorized videos.

Research is conducted collaboratively between researchers and learners. Researchers act as teachers while the learning process is ongoing. This research is carried out through a class action research design which consists of two cycles. Each success rate cycle is adjusted to the competencies expected to be mastered by learners. The media used in this study is audio-visual media. This research was conducted in the even semester of the 2021/2022 school year, increased learning of football dribbles is in March - July. The subject of this study is a class VIII student of SMPN 6 Banjarmasin consisting of 20 learners. The results of research in the form of Pre Test, Cycle I, and Cycle II in the Divergent-style learning process, it turned out that there has been a significant increase in participants' learning outcomes. This can be seen from the increasing value of the Percentage of Learning Completion as well as the average value of student learning outcomes.The results of the cycle II test turned out that the completion value obtained by participants in class VIII of State Junior High School 6 Banjarmasin had reached 9.55%. The use of audio-visual media can improve the learning outcomes of participants in class VIII SMPN 6 Banjarmasin, especially during the pandemic which limits meetings between teachers and students.

Angka kasus tenggelam di laut yang cukup tinggi memerlukan penanganan pertama yang mayoritas dilakukan oleh nelayan. Penanganan tersebut tidak lepas dari pemberian Bantuan Hidup Dasar (BHD) kepada korban tenggelam oleh nelayan, sehingga nelayan harus memiliki pengetahuan dasar tentang bagaimana cara memberikan Bantuan Hidup Dasar (BHD). Tujuan penelitian untuk mengetahui efektivitas pemberian audiovisual tentang Bantuan Hidup Dasar terhadap tingkat pengetahuan nelayan dalam menangani korban tenggelam di Desa Jetis. Desain penelitian two group (kelompok eksperimen dan kontrol) pre-post test design. Sebanyak 140 responden (nelayan) menjadi sampel dalam penelitian ini. Instrumen penelitian menggunakan kuesioner pengetahuan dan media audiovisual. Analisis data menggunakan uji wilcoxon. Hasil penelitian menunjukkan pengetahuan nelayan sebelum intervensi memiliki nilai rata-rata 14.47 pada kelompok kontrol dan 13.84 pada kelompok eksperimen dan sesudah intervensi memiliki nilai rata-rata 14.39 pada kelompok kontrol dan 15.77 pada kelompok eksperimen. Hasil dari uji wilcoxon didapatkan hasil nilai p-value sebesar 0.000 (p-value ≤ α). Kesimpulannya bahwa ada pengaruh pemberian audiovisual tentang BHD terhadap pengetahuan nelayan dalam menangani korban tenggelam di Desa Jetis.

Abstract Background Electromyography (EMG)-based audiovisual biofeedback systems, developed and tested in research settings to train neuromuscular control in patient populations such as cerebral palsy (CP), have inherent implementation obstacles that may limit their translation to clinical practice. The purpose of this study was to design and validate an alternative, plantar pressure-based biofeedback system for improving ankle plantar flexor recruitment during walking in individuals with CP. Methods Eight individuals with CP (11–18 years old) were recruited to test both an EMG-based and a plantar pressure-based biofeedback system while walking. Ankle plantar flexor muscle recruitment, co-contraction at the ankle, and lower limb kinematics were compared between the two systems and relative to baseline walking. Results Relative to baseline walking, both biofeedback systems yielded significant increases in mean soleus (43–58%, p

El acceso a la información es un derecho fundamental que adquiere relevancia en el caso de la televisión, especialmente la pública, por su misión de servicio público e inclusión social. Garantizar el acceso de las personas con discapacidad a sus contenidos audiovisuales resulta imprescindible para alcanzar los objetivos de calidad de vida y plena igualdad de oportunidades. Para ello, la legislación internacional y nacional establece que los contenidos televisivos deben incluir subtítulos, audiodescripción y lengua de signos. Sin embargo, que las televisiones cumplan con los requisitos legales no significa necesariamente que se satisfagan las necesidades de los televidentes con discapacidad. Este estudio exploratorio cualitativo se enmarca en Reino Unido y España, y analiza la situación de la accesibilidad en la televisión pública a través de entrevistas cualitativas a trece personas expertas provenientes del movimiento asociativo, la televisión y el ámbito académico. Enfrentando las posiciones de los distintos sectores se demuestra que los niveles de accesibilidad y su calidad son inferiores a los deseados, impidiendo el acceso universal de las personas con discapacidad visual y/o auditiva. Asimismo, desde diferentes ángulos, se plantean alternativas de mejora a las principales demandas de los receptores.

En esta edición de la Revista Artilugio, nuestrxs invitadxs1 a la sección Diálogos comparten sus experiencias y despliegan un conjunto de preguntas alrededor del eje temático “Prácticas artísticas, crisis planetaria y vidas posibles”. A lo largo de la conversación delinean cuestiones sobre las formas de habitabilidad, enlazando sus prácticas vitales con las profesionales. De este modo van emergiendo las diversas problemáticas vinculadas al tema: la noción de territorio como recurso económico, las prácticas predatorias, los múltiples modos de humanización de los ambientes naturales en los procesos de migración desde los núcleos urbanos hacia lugares menos habitados, los ciclos reiterados de incendios forestales y la construcción de grandes autovías en áreas protegidas. Al mismo tiempo perciben que ni la mirada conservacionista ni la ecológica alcanzan a dimensionar la urgencia de esta enorme crisis. Resultan necesarias otras “figuras del pensamiento” que habiliten la crítica para “hacer vacilar las certezas e imaginar un mundo posible”. En este punto, todxs acuerdan que las prácticas artísticas tienen ese potencial; son capaces de proyectar acciones “sin un saber asignado de antemano”. En el debate, aparece la idea de un “común” que presienten posible a partir de la construcción de alianzas. Una comunidad (nunca exenta de problemas) que no se limite a lo humano, que abarque a otros seres ya sean vivos o inertes a participar de ella. Así, quedan flotando en el aire las preguntas que nuestrxs invitadxs compartieron: ¿es “lo común” una forma de habitabilidad posible?, ¿o tal vez sea lo “in-común”, es decir, aquello radicalmente in-apropiable?, ¿se encontrarán allí las formas de atravesar el umbral entre lo humano y lo no-humano? ___ Dialogantes invitadxs: Emmanuel Biset, Belén Bornancini, Nehuén Moyano Cortéz y Agustina Triquell Coordinación general: Carolina Cismondi y Constanza Molina Dirección: Juan Tello Contenido: Constanza Molina y Hernando Varela Asistencia de producción: María Sol Rassi Sonido directo: Pablo Dagassan Iluminación y coordinación técnica: Pablo Dagassan Cámaras: Vanina Gottardi, Juan Tello, Marcela Yaya Edición y postproducción de imagen: Vanina Gottardi Grafismo y animación: Sebastián Cáceres Gráfica: Marina Fernández Música, edición de sonido y pos-sonido: Federico Ragessi __ [1] Optamos por el empleo de la “x” para evitar el uso genérico del masculino en aras de seguir produciendo reflexiones en un lenguaje inclusivo, no sexista.