近年來大型消費性電子公司均致力發展商品外型的設計美感，試圖以具有視覺美感的商品吸引消費者的目光，以獲得更高的利潤。但本研究認為廠商在追逐商品設計美感時，也應探討消費者差異對於其美感反應的影響；以及不同商品以美感外型包裝時，對消費者的效果差異。對此，本研究以Bloch, Brunel & Arnold（2003）提出的消費者商品美感中心性（CVPA）、商品與自我一致性等概念，探討消費者對美感的心理差異，如何影響其對於商品設計美感的反應。同時並探討商品外顯性的差異，對於消費者的美感反應是否具有調節效果。 透過消費者美感中心性、商品設計美感、以及商品外顯性的2*2*2三因子實驗設計，本研究以3C商品為實驗商品，並以線上實驗的方式進行。研究結果如下： 1. 消費者重視美感的程度與商品設計美感間的一致性，會影響其對於商品設計的愉悅反應。 2. 商品呈現順序會調節不同CVPA消費者對於商品設計的愉悅、品牌興趣、自我與品牌連結、認知價值等反應。 3. 重視美感程度差異的消費者，並不會因為商品外顯性的調節而影響其美感反應。 4. 商品外顯性與商品設計美感之間具有交互效果：對於高外顯商品而言，高美感設計可有效提高消費者的認知價值，但低外顯商品若以高美感設計呈現，亦可使消費者因超乎預期的感受而倍感愉悅。 5. 消費者對於美感在認知層面的自我與品牌連結反應，會顯著受到CVPA「敏銳」面向的影響；在情感層面的美感評估、態度、愉悅等反應，則會顯著受到「價值」面向的影響；在行為層面的品牌興趣、購買意圖，則會顯著受到「反應」層面的影響。 / The role of aesthetical quality of a product has been placed much importance these years in the manufacturing industry, especially in consumer electronic industry. While developing products with aesthetical quality, it is also important to understand how consumers responded to products with high and low levels of aesthetic quality. The present study explored the moderating role of consumers’ psychological differences on their aesthetic responses, and also examined how differently they responded to products that differed on aesthetic quality and conspicuousness. This study adopted the concept of Centrality of Visual Product Aesthetics developed by Bloch, Brunel & Arnold (2003) and drew upon the concept of self-product image consistency to explore how consumers’ aesthetic orientation influence their responses to products with high and low aesthetic design. Moreover, the influence of product differences has also been considered. The proposed hypotheses were tested by a three-factor on-line experiment. The results are as follows: 1. The consistency of consumers’ CVPA and products’ design aesthetics influenced consumers’ pleasant feelings. 2. The order of how the stimuli were presented moderated the consistency effect mentioned above, especially on responses such as: pleasure, brand interest, self-brand connection, and perceived value toward the product. 3. For consumers with different levels of CVPA, the products’ conspicuousness did not moderate their aesthetic responses toward the product with high and low aesthetic designs. 4. There was an interaction between “product conspicuousness” and “product design aesthetics” on consumers’ “perceived value” and “pleasant feelings” toward product designs. 5. Consumers’ aesthetic responses were influenced by different dimensions of CVPA: “Acumen” accounted for significant variance in “self-brand connection,” “Value” explained significant variance in their attitudinal responses toward the product, and “Response” significantly predicted the variance in their behavioral responses. The implications and suggestions for future studies and practitioners were also discussed.

Made available in DSpace on 2016-04-25T20:22:36Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis presents the relevant points concerning the consolidation of the Brazilian music industry and its effect on the music scene between 1998 and 2008 caused by the introduction of new digital technology, music piracy and illegal Internet downloading. This thesis also analyzes the position of music producers towards new digital media in relation to production, distribution, marketing and consumption / O objetivo desta tese é o de apresentar os pontos relevantes no caminho da consolidação da indústria fonográfica, especificamente no Brasil. Mostrar a constituição da cena musical brasileira entre 1998-2008. Período que coincide com novos movimentos dentro mercado fonográfico com o surgimento das novas tecnologias digitais e o crescimento da pirataria dos produtos musicais. Com base nesse cenário, analisar o posicionamento dos agentes produtores do campo fonográfico e as novas dinâmicas inseridas pelos novos meios digitais na relação de produção distribuição consumo

Made available in DSpace on 2016-04-26T14:57:26Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis presents the relevant points concerning the consolidation of the Brazilian music industry and its effect on the music scene between 1998 and 2008 caused by the introduction of new digital technology, music piracy and illegal Internet downloading. This thesis also analyzes the position of music producers towards new digital media in relation to production, distribution, marketing and consumption / O objetivo desta tese é o de apresentar os pontos relevantes no caminho da consolidação da indústria fonográfica, especificamente no Brasil. Mostrar a constituição da cena musical brasileira entre 1998-2008. Período que coincide com novos movimentos dentro mercado fonográfico com o surgimento das novas tecnologias digitais e o crescimento da pirataria dos produtos musicais. Com base nesse cenário, analisar o posicionamento dos agentes produtores do campo fonográfico e as novas dinâmicas inseridas pelos novos meios digitais na relação de produção distribuição consumo

This dissertation explores Mobile Media Technologies (MMT’s) namely, cellphones, laptops and MP3 players, and their prevalence in public space as well as how they are being used within the space. Much of my research analyses the impact of MMT’s on social behaviour and the extent to which they can be seen as the harbingers of a new “postmodern” form of social organisation. My research is predominantly an observational study which is conducted within the postmodern space of the shopping mall. Through my research I discuss the multiple spaces within the shopping mall environment and I explore how humans behave, interact and construct their identities within this space; these ideas are evaluated in terms of the “modern” and the “postmodern” paradigms. “Postmodernity” and “modernity” are not mutually exclusive and as a result there are ambivalences in terms of how individuals relate to how MMT’s are being used in public space. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

The Australian music industry is growing and developing yet specific information about the ways in which distribution systems develop is limited. In this study I examined the growth and change of the Australian music value chain. This includes the development of digital distribution systems and the effect that peer-to-peer technology has on system development, specifically the disintermediation between consumers and artists to the detriment of the multinational value chains. The drivers of this change are broken into social and technical elements in order to describe the growth and change occurring. The method used included a comprehensive literature review and use of secondary data from key music industry associations. The Australian music industry is a subset of the global industry and is led by foreign markets and their methods in which music content moves from the creators to the consumers. The consumption patterns of Australian music consumers are changing. The overall value of the music industry is dropping as the new digital downloads market emerges and the overall volume of sales increases; this reflects similar trends in foreign markets. CD single sales have dropped and digital single sales (in MP3 format) have increased. However, there needs to be a balance in the future development of Australian music distribution systems between the needs of music consumers and the sustainability of music companies, where there is both connectivity and steady revenue flow. There are technical elements that have caused a movement away from the traditional forms of music distribution as new technologies facilitate the change, such as Apple's iPod and broadband Internet connections. Advancement of distribution systems has increased piracy levels and the response has been the implementation of digital rights management (DRM), which prevents connectivity. There are also social elements that affect growth and change such as connectivity, or the consumers freedom to choose when, where and how to listen to their music. When music product has a restriction placed upon it its value to the consumer drops. Multinational music companies have failed to recognise the value users place on the freedom to pick and choose and have tried to control rather than to co-develop systems that meets both parties needs.

This thesis deals with the history records and charts its development through history to the present. It shows readers the first attempts of recording and reproducing apparatus , describes the history of the devices to play music and invented the phonograph . It outlines the creation of packaging design as a separate art disciplines and maps it over time to the present. The conclusion is devoted to contemporary music media. It outlines the emergence of followers technical revolution , cassettes and compact discs.

The work deals with verification of the metadata of audio recordings in an environment of mobile phones running Android. The text work is divided into three main parts. The first part is focused more on theoretical basis, where the main emphasis on the description of Android, application structure, description of the audio MP3 file and theoretical basis of Fourier transform in signal processing. The second part is devoted to solution design, analysis and implementation. The third part deals with testing.

This work deals with module of the FITkit platform, which makes it able to play sound files like mp3, ogg, etc. The module also adds to FITkit some new peripherals: color LCD display with touch screen and USB interface, by which we can connect flash drive.

No description available.

<p dir="ltr">The rapid development of machine learning techniques makes it possible to manipulate or synthesize video and audio information while introducing nearly indetectable artifacts. Most media forensics methods analyze the high-level data (e.g., pixels from videos, temporal signals from audios) decoded from compressed media data. Since media manipulation or synthesis methods usually aim to improve the quality of such high-level data directly, acquiring forensic evidence from these data has become increasingly challenging. In this work, we focus on media forensics techniques using the metadata in media formats, which includes container metadata and coding parameters in the encoded bitstream. Since many media manipulation and synthesis methods do not attempt to hide metadata traces, it is possible to use them for forensics tasks. First, we present a video forensics technique using metadata embedded in MP4/MOV video containers. Our proposed method achieved high performance in video manipulation detection, source device attribution, social media attribution, and manipulation tool identification on publicly available datasets. Second, we present a transformer neural network based MP3 audio forensics technique using low-level codec information. Our proposed method can localize multiple compressed segments in MP3 files. The localization accuracy of our proposed method is higher compared to other methods. Third, we present an H.264-based video device matching method. This method can determine if the two video sequences are captured by the same device even if the method has never encountered the device. Our proposed method achieved good performance in a three-fold cross validation scheme on a publicly available video forensics dataset containing 35 devices. Fourth, we present a Graph Neural Network (GNN) based approach for the analysis of MP4/MOV metadata trees. The proposed method is trained using Self-Supervised Learning (SSL), which increased the robustness of the proposed method and makes it capable of handling missing/unseen data. Fifth, we present an efficient approach to compute the spectrogram feature with MP3 compressed audio signals. The proposed approach decreases the complexity of speech feature computation by ~77.6% and saves ~37.87% of MP3 decoding time. The resulting spectrogram features lead to higher synthetic speech detection performance.</p>