Made available in DSpace on 2016-12-08T16:18:51Z (GMT). No. of bitstreams: 1 113571.pdf: 5806963 bytes, checksum: 18f8dc75871836899d9a32f2b4b39685 (MD5) Previous issue date: 2013-07-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The survival and interpersonal relations between human beings depends on the most diverse factors, including their communication skills and their capability of understanding messages. These can be transmitted in different ways and by diverse sensorial stimuli, as contemporary messages are often sctructured from a whole set of articulated languages, such as television texts or digital media. Thus, in most cases, the contents are not communicated through a single language, such as verbal, for instance. With the purpose of offering subsidies to understand these syncretic messages, as well as a critical reading of audiovisual texts, this present work describes a serie of possible relationships that can be estabilished between visual and sound language, grouped into three major dimensions intersemioses, intertextuality and audiovisual. In the light of some concepts from semiotics, brought by Teixeira Coelho and Hjelmslev, some of the factors that comprise the languages are discussed, and then, the specific constitution of aesthetic languages, especially visual and sound languages, are conceptualized. In a second stage, an attempt to distinguish the relationships between sound and visual languages under two particular dimensions: the intersemioses, that is, the relationships between languages as systems, common phenomena among the constitutive elements and relational procedures of each language; and intertextuality, that is, relationships that can be established between specific texts of each language, such as paintings, symphonies and posters. The third dimension, the audiovisual, is discussed next, observing the articulations and juxtapositions between languages that can occur in such syncretic manifestations. An audiovisual piece, whose sound design was produced by Marcelo Baldin, is analyzed according to a method proposed by Chion. By comparing theory and analysis, it is possible to see the correspondences established between the expression plan and the content levels, as well as the mutual influence that the languages have on each other, merging into the structuring of meaning and expression in an audiovisual piece. / A sobrevivência e a convivência entre os seres humanos depende dos mais diversos fatores, entre eles, sua capacidade de comunicação e compreensão de mensagens. Estas podem ser transmitidas de diferentes modos e estímulos sensoriais, sendo que mensagens da contemporaneidade frequentemente são construídas a partir de um todo de linguagens articuladas, como os textos televisivos ou as mídias digitais. Na maioria das vezes, os conteúdos não são comunicados através de uma única linguagem, como a verbal. Na busca de oferecer subsídios para a compreensão dessas mensagens sincréticas e para uma leitura crítica das manifestações audiovisuais, o presente trabalho descreve uma série de possíveis relações passíveis de serem estabelecidas entre linguagem visual e linguagem sonora, agrupadas em três principais dimensões as intersemioses, as intertextualidades e o audiovisual. Através de conceitos da semiótica, trazidos por Teixeira Coelho e Hjelmslev, discorre-se sobre os fatores que constituem as linguagens, para em seguida conceituar a constituição específica das linguagens estéticas, destacandose entre elas a linguagem visual e a linguagem sonora. Procurou-se distinguir as relações entre linguagens visual e sonora sob duas dimensões particulares: as intersemioses, ou relações entre as linguagens como sistemas, fenômenos comuns entre os elementos constitutivos e os procedimentos relacionais de cada linguagem; e as intertextualidades, ou relações que podem se estabelecer entre textos específicos de cada linguagem, como pinturas, sinfonias e cartazes. A terceira dimensão, o audiovisual, é abordada observando-se as articulações e as justaposições que podem ocorrer entre essas manifestações sincréticas. A partir de um método de análise proposto por Chion, é feita análise de uma peça audiovisual, cujo sound design foi produzido por Marcelo Baldin. Confrontando teoria e análise, pode-se perceber as correspondências que se estabelecem entre o plano de expressão e o plano de conteúdo, bem como a influência que cada linguagem exerce na outra, participando mutuamente da construção de sentido e de expressão em uma peça audiovisual.

Detta kandidatarbete undersöker hur man med animering och ljuddesign i en designprocess kan illustrera en jämställd och ansvarsfull teknologisk framtid utifrån posthumanistiska teorier och filosofier. Under arbetets gång har vi undersökt animationsmetoder, deltagande design, ljuddesign och teknik samt den teknologiska utvecklingen. I detta kandidatarbetet presenterar vi processen och de metoder vi använt oss av för att skapa vår gestaltning som är en animerad kortfilm. / This Bachelor Thesis examines how animation and sound design in a design process can illustrate an equal and responsible technological future, based on post-humanist theories and philosophies. During the work we have examined animation methods, participatory design, sound design and technology as well as technological developments. In this thesis, we present the processes and methods we used to create our conformation, which is an animated short film.

This thesis aims to test if there is a connection between modern day fully automatic rifles rate of fire, used loop length in implementation and experienced realism in a first-person shooter game in first-person, fired by the players own character. With a background consisting of papers, books and lectures/conferences given by experienced people and other experts in the game industry regarding first person shooter games, a listening test was conducted and carried out on a computer using headphones with both trained and untrained subjects since players can be both. A simple firing-range was constructed in Unreal Engine 4 (Epic Games, 2017) where the subjects could switch between two weapons with different rates of fire and three versions of each with different loop lengths, 4, 8 and 16. The sounds were divided into layers, e.g. body, mechanical and bottom, played back using looping as implementation. The subjects were also asked to rate the sounds regarding gameplay and preference to see if the results would differ between the three categories. The results showed a tendency to choose the longer loop for all categories, but only four comparisons gave a significant result when doing t-tests.

“Ditt ljud är mitt ljud är vårt ljud.” - Brandon Labelle(2010) Allt ljud i vår omgivning bidrar och bildar en massa olika akustiska ljud ekologier, från naturliga ljud i en natur akustisk omgivning som består utav ljud från djur, vind & förändringar i vädret, till konstgjort ljud skapad av människor. Dessa ljud kan vara genom musikaliska sånger & konster, reklam, TV & andra vanliga aktiviteter som konversationer, arbetsljud & ljud ifrån mekanisk skapande apparater som används inom industrin & samhälle. Denna ljudmiljö som vi alla lever i, kallar vi för ljudlandskap. Syftet med det här arbetet är att undersöka ljudets betydelse för förståelsen av vår historia med fokus på den lokala historien. Kandidatarbetet består av en teoretisk del och en praktisk del. Till den teoretiska delen har jag använt mig av en litteraturstudie, där jag använt artiklar, både vetenskapliga och relevanta tidningsartiklar inom ämnet för få fram fakta och analysera mina frågeställningar. Till den praktiska delen har jag gjort en ljudmiljö som består av original inspelningar och modifierade ljud. Jag har visat på hur en ljudvandring kan hjälpa till och vara ett viktigt komplement till att få en fördjupad förståelse över vår lokalhistoria. Mitt val att göra en ljudvandring över Hestras historia föll sig naturligt då det är min hemort. / “Your sound is my sound is our sound.” - Brandon Labelle(2010) All the sounds in our surroundings contribute to a lot of different acoustic sound ecologies, from natural sounds in a natural acoustic environment that consist of the sounds of animals, winds and changes in the weather. To sound artificial created by us people, through musical songs & arts, advertising, TV & other common activities like conversations, work sounds & sounds from mechanically-creating devices used in industry & society. This sound environment we all live in we call for soundscapes. The purpose of this work is to investigate the importance of sound for understanding our history, focusing on local history. The candidate's work consists of a theoretical part and a practical part. To the theoretical part I have used a literature study, where I used articles, both scientific and relevant newspaper articles on the subject to get facts and analyze my questions. For the practical part, I have made an audio environment that consists of original recordings and modified sounds. I have shown how an audio migration can help and be an important complement to gaining a deeper understanding of our local history. My choice to make a soundtrack over Hestras history fell naturally, as it is my hometown.

A pesquisa propõe a construção de um possível conceito de trilha sonora no teatro, e a análise das funções dos profissionais responsáveis por ela, bem como das dificuldades encontradas por esses profissionais para a efetiva realização do seu ofício, em particular no que se refere ao seu papel criador e não apenas executor. Através de entrevistas com criadores de trilha sonora teatral que atuam em Porto Alegre, escolhidos por seus trabalhos diferenciados, buscam-se novas abordagens entre o teatro e a música. Ao problematizar a trilha sonora, o trabalho tem como principais referenciais as teorias de Murray Schafer, Giovanni Piana e Lívio Tragtenberg, no que dizem respeito ao som e à sonoridade no teatro. A investigação dialoga com duas acepções sobre trilha sonora teatral: trilha sonora total, em que todos os sons no espetáculo fazem parte do conceito, e trilha sonora musical, quando se trata diretamente das músicas cênicas da montagem teatral. / This research proposes the construction of a different theater sound design concept, and a sound designer function analyze, also difficulty on the creation to execution process, especially to sound designer creator and not just executor. Through interviews with theater sound designers that act in Porto Alegre, chosen by yours different works, we search new ideas between theater and music. Through writers as Murray Schafer, Giovanni Piana and Lívio Tragtenberg, this research dialogues about sound in theater. We learn about two definitions about theater sound design: total sound design, when every sound in the play is in the concept, and musical sound design, when we deal only with the music of the play.

A presente dissertação propõe uma abordagem da televisão brasileira através de um diálogo com os estudos do som, tendo como objeto a dimensão sonora das telenovelas. O estudo procura mapear as principais transformações ocorridas no aparato técnico sonoro televisivo, bem como a evolução dos processos da produção do som no período de 1950 até o início do século XXI. Posteriormente, visando investigar as funções desempenhadas pelos elementos sonoros - vozes, ruídos e músicas - na construção da narrativa das telenovelas, este trabalho apresenta uma análise da trilha sonora de cinco telenovelas da TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) e Avenida Brasil (2012). / This essay proposes an approach on Brazilian television through a dialogue with sound studies, having as object the soap operas\' sound aspects. It intends to map the main changes that occurred on television\'s audio technical apparatus, as well as the evolution on the sound production processes from 1950 until the beginning of the twenty first century. Subsequently, this work aims to investigate the functions performed by the sound elements - dialogues, sound effects, music - on the development of soap opera narratives and presents an analysis of the soundtracks of five soap operas produced by TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) and Avenida Brasil (2012).

Orientadores: Claudiney Rodrigues Carrasco, Eduardo Simões dos Santos Mendes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:35:33Z (GMT). No. of bitstreams: 1 PintonFilho_Nelson_D.pdf: 65846668 bytes, checksum: 970c3b3c5edef6766351e32b3bc7d1c1 (MD5) Previous issue date: 2014 / Resumo: Um olhar atento para os eventos que compõe a trilha sonora da Trilogia da Morte de Gus van Sant: Gerry (2002), Elephant (2003) e Last Days (2005). Os materiais sonoros são tratados como um aliado, auxiliando na construção narrativa. De maneira geral, incorporam músicas de paisagens sonoras, cujos fonogramas originais são combinados aos demais elementos da banda sonora, resultando numa mixagem particular e surpreendente que impacta na montagem fílmica, nos processos inerentes e complexos do tempo, nas tensões sonoras internas compostas de timbres e no resultado cognitivo para o espectador. Esta pesquisa auxilia na compreensão do processo de sound design, surgido em meados dos anos 70, e que se estabelece nos dias atuais como forma expressiva de tratar os sons nos filmes / Abstract: A closer look at the events that comprehend the soundtrack of Gus van Sant's Death Trilogy: Gerry (2002), Elephant (2003) and Last Days (2005). These films use the sound material as an ally, which helps the narrative construction. In general terms, they make use of pieces of soundscape music, the original phonograms are blended with other elements of the soundtrack, thus producing a new and surprising mix that impact in the film montage, e.g. the inherent and complex time, the inner sound tensions made of timbres and cognitive results in the audience. This research helps to understand the sound design process, which appeared in the mid 70¿s and establishes itself in the present days as an expressive form to treat sounds materials in movies / Doutorado / Multimeios / Doutor em Multimeios

Abstract Usability methodology has matured into a well-defined, industrially relevant field with its own findings, theories, and tools, with roots in applying information technology to user interfaces ranging from control rooms to computers, and more recently to mobile communications devices. The purpose is regularly to find out the users’ goals and to test whether a design fulfils the usability criteria. Properly applied, usability methods provide reliable and repeatable results, and are excellent tools in fine-tuning existing solutions The challenges of usability methodologies are in finding new concepts and predicting their characteristics before testing, especially when it comes to the relatively young field of mobile user interfaces. Current usability methods concentrate on utilising available user-interface technologies. They do not provide means to clearly identify, e.g., the potential of auditory or haptic output, or gestural input. Consequently, these new interaction techniques are rarely used, and the long-envisioned useful multimodal user interfaces are yet to appear, despite their assumed and existing potential in mobile devices. Even the most advocated and well-known multimodal interaction concepts, such as combined manual pointing and natural language processing, have not materialised in applications. An apparent problem is the lack of a way to utilise a usage environment analysis in finding out user requirements that could be met with multimodal user interfaces. To harness the full potential of multimodality, tools to identify both little or unused and overloaded modalities in current usage contexts are needed. Such tools would also help in putting possibly existing novel interaction paradigms in context and pointing out possible deficiencies in them. In this thesis, a novel framework for analysing the usage environment from a user-centric perspective is presented. Based on the findings, a designer can decide between offering a set of multiple devices utilising various user-interface modalities, or a single device that offers relevant modalities, perhaps by adapting to the usage environment. Furthermore, new techniques for creating mobile user interfaces utilising various modalities are proposed. The framework has evolved from the experiences gathered from the designs of experimental and actual product-level uni- and multimodal user interface solutions for mobile devices. It has generated novel multimodal interaction and interface techniques that can be used as building blocks in system designs.

With an ever increasing pool of theories designed to help the creator instill emotion, we’reapproaching a point where even the most stubborn audience can’t fully escape the grasp thatfilm can have on their feelings. Thanks to multidisciplinary research for the cognitive andsympathetic structures that make up emotions (Blincoe, 2011; Dolan, 2002; Ekman, 1973;Panksepp, 2004), a larger understanding for emotions has been built. In succession, anintegrative emotion model is becoming a realistic proposition (Loui & Harrison, 2014). Inthis thesis I’m suggesting that to make such a model a success, an understanding of the targetgroup is a requirement. I argue that each project has unique criteria found in the individual,rather than in the current general understanding of the human mind and body, and it’s appliedknowledge in modern design theories. This angle requires new tools, which I attempt tocreate based on Scherer’s (2001) Sequential Check Theory, in combination with establishedethnographic methods. In turn the tools will be tested on a local self-defined group as anintroduction to the workflow and data collection. To prove the model’s transdisciplinarypotential I attempt to apply this data in a real world sound design context, where this methodis hypothetically less effective than earlier stages in production, like writing. To generatequalitative data, the films, in the form of two pilot episodes of a series, will be shown to thetarget group. One episode without our theory applied, and the other with changes accordingto data collection and model directions. Rounding it out with a questionnaire regardingelicited emotion, and qualitative interviews, it stands as a sufficient base for discussion, albeitrather lacking as proof of concept. The thesis ends with a discussion of potential futureapplications where models like this one could be applied. / Med den ständigt ökande mängden teorier designade för att hjälpa skaparen att framhävakänslor börjar vi nå en punkt där till och med den mest envisa åskådaren inte kan undgågreppet som film har på våra känslor. Tack vare multidisciplinär forskning om de kognitivaoch sympatiska strukturerna som står för uppbyggnaden utav känslor (Blincoe, 2011; Dolan,2002; Ekman, 1973; Panksepp, 2004), så har det byggts en bättre förståelse kring ämnet.Därav har en integrativ känslomodell blivit en realistisk proposition (Loui & Harrison, 2014).I denna uppsats föreslår jag att för att göra en sådan modell en succé så är förståelse förmålgrupp ett krav. Jag argumenterar för att varje projekt har unika kriterier som hittas hosindividen, snarare än i den generella förståelse för sinne och kropp, och dess appliceradekunskap i moderna designteorier. Den här vinkeln kräver nya verktyg, som jag försöker skapabaserat på Scherers (2001) Sequential Check Theory, i kombination med etnografiskametoder. I sin tur så testas verktygen på en lokal egendefinerad grupp som en introduktion förarbetssättet och datasamlandet. För att bevisa modellens transdisciplinära potential försökerjag applicera datan i ett verkligt ljuddesignkontext, där metoden hypotetiskt sett är mindreeffektiv än i tidigare stadier inom produktion, som skrivandeprocessen. För att genererakvalitativ data så har filmerna, i form av två pilotavsnitt i en serie, visats för gruppen. Ettavsnitt utan applicerad teori, och ett med ändringar enligt den insamlade datan och modellensriktlinjer. Avrundas med ett frågeformulär som berör de framhävda känslorna utav avsnitten.Detta står som en tillräcklig bas för diskussion, om än aningen otillräcklig för konkreta bevis.Uppsatsen avslutas med diskussion om potentiella framtida applikationer där modeller somdenna kan florera. / HYENOR

In this study, the understanding about multimodal perception from previous studies has been used to create a perceptually demanding visual search task inside a game. Also, a subtle multimodal cue was created to be in-directly informative about the visual search target’s location by attracting subjects’ attention. 20 subjects were divided equally among the experiments two conditions, one where the subjects had no access to the multimodal information and one where the subjects did have access to the multimodal information. The multimodal information conveyed to the subjects in this experiment was temporal synchrony between a visual light pulsating and a sound being modulated using level and low-pass filtering. Results showed that the subjects that were given the multimodal information improved more on the search task than the group without multimodal information, but the subjects in the multimodal group also perceived the pace of the task as higher. However, it is unclear exactly how the multimodal cue helped the subjects since the playing subjects did not seem to change their search movement pattern to favor the location of the search target, as was expected. Further, the difficulties and considerations of testing in a game environment is discussed and it is concluded that the gamer population is a very varied group which has big impacts on methodology of in-game experiments. To identify sub-groups, further research could study why different players use different search behaviors.