Nos últimos anos tem ocorrido uma necessidade crescente de métodos que possam lidar com conteúdo multimídia em larga escala, e com busca de tais informações de maneira eficiente e efetiva. Os objetos de interesse são representados por vetores descritivos (e. g. cor, textura, geometria, timbre) extraídos do conteúdo, associados a pontos de um espaço multidimensional. Um processo de busca visa, então, encontrar dados similares a uma dada amostra, tipicamente medindo distância entre pontos. Trata-se de um problema comum a uma ampla variedade de aplicações incluindo som, imagens, vídeo, bibliotecas digitais, imagens médicas, segurança, entre outras. Os maiores desafios dizem respeito às dificuldades inerentes aos espaços de alta dimensão, conhecidas por curse of dimensionality, que restringem significativamente a aplicação dos métodos comuns de busca. A literatura recente contém uma variedade de métodos de redução de dimensão que são altamente dependentes do tipo de dado considerado. Constata-se também certa carência de métodos gerais de análise que possam prever com precisão o desempenho dos algoritmos propostos. O presente trabalho contém uma análise geral dos princípios aplicáveis aos sistemas de busca em espaços de alta dimensão. Tal análise permite estabelecer de maneira precisa o compromisso existente entre robustez, refletida principalmente na imunidade a ruído, a taxa de erros de reconhecimento e a dimensão do espaço de observação. Além disto, mostra-se que é possível conceber um método geral de mapeamento, para fins de reconhecimento, que independe de especificidades do conteúdo. Para melhorar a eficiência de busca, um novo método de busca em espaços de alta dimensão é introduzido e analisado. Por fim, descreve-se sumariamente uma realização prática, desenvolvida segundo os princípios discutidos e que atende eficientemente aplicações comerciais de monitoramento de exibição de conteúdo em rádio e TV. / In the last few years there has been an increasing need for methods to deal with large scale multimedia content, and to search such information efficiently and effectively. The objects of interest are represented by feature vectors (e. g. color, texture, geometry, timbre) extracted from the content, associated to points in a multidimensional space. A search process aims, therefore, to find similar data to a given sample, typically measuring distance between points. It is a common problem to a wide range of applications that include sound, image, video, digital library, medical imagery, security, amongst others. The major challenges refer to the difficulties, inherent to the high dimension spaces, known as curse of dimensionality that limit significantly the application of the most common search methods. The recent literature contains a number of dimension reduction methods that are highly dependent on the type of data considered. Besides, there has been a certain lack of general analysis methods that can predict accurately the performance of the proposed algorithms. The present work contains a general analysis of the principles applicable to high dimension space search systems. Such analysis allows establishing in a precise manner the existing tradeoff amongst the system robustness, reflected mainly in the noise immunity, the error rate and the dimension of the observation space. Furthermore, it is shown that it is possible to conceive a mapping method, for recognition purpose, that can be independent of the content specificities. To improve the search efficiency, a new high dimension space search method is introduced and analyzed. Finally, a practical realization is briefly described, which has been developed in accordance with the principles discussed, and that addresses efficiently commercial applications relative to radio and TV content broadcasting monitoring.

Este trabalho apresenta uma ferramenta para conferência de áudio 3D (espacial) implementando conceitos de Realidade Aumentada (RA). O objetivo desta ferramenta é aprimorar a sensação de presença e melhorar a interatividade entre seus participantes remotos, por meio de benefícios proporcionados pela utilização de técnicas de áudio espacial (implementadas em avatares de áudio) pela: maior facilidade de concentração e atenção em um único participante e pelos efeitos positivos na memorização dos conteúdos pelos participantes como conseqüência da melhor inteligibilidade e compreensão. A motivação desta implementação reside em sua utilização como ferramenta de comunicação síncrona no ambiente de aprendizagem eletrônica Tidia-Ae, auxiliando na realização de atividades colaborativas e, possivelmente, nos processos de ensino e aprendizagem à distância. A ferramenta implementada foi integrada ao sistema Tidia-Ae e os resultados dos experimentos realizados demonstraram sua efetividade com relação às melhorias proporcionadas pelo processamento de áudio espacial. / This work presents a 3D (spatial) audio conference tool implementing Augmented Reality (AR) concepts. The main intent of this tool is to enhance the sense of presence and increase the interactivity among remote participants, by implementing spatial audio techniques in audio avatars. The use of such techniques facilitates focusing the attention on anyone specific participant of the conference and enables a positive effect on memory retention, resulting in a better intelligibility and comprehension. The motivation of this implementation lies on its appliance as a synchronous communication tool within the Tidia-Ae e-Learning system, thus aiding on collaborative activities realization and, possibly, on teaching and learning processes. The results of the experiments showed the effectiveness provided by the spatial audio processing when applied in such environment.

Este trabalho tem como proposta discutir a restauração sonora de filmes no Brasil. Através de entrevistas realizadas com profissionais da área de som que já participaram de diversos projetos com este objetivo, da pesquisa de textos sobre o assunto e da experiência do seu autor nessa área, o texto busca oferecer um panorama acerca das questões técnicas e dos procedimentos de trabalho envolvidos nas etapas da restauração sonora, bem como um histórico de alguns dos trabalhos já realizados e das principais dificuldades encontradas pelos profissionais que atuam nesse campo. Como resultado, o presente trabalho busca apresentar as diferentes filosofias de trabalho que tendem a ser assumidas para o processo de restauração sonora e como cada escolha pode afetar a originalidade e o conceito da obra. Assim, mais do que na discussão teórica sobre a restauração, o viés desse trabalho incide na relação entre técnica e postura conceitual do restaurador, bem como no modo como essa relação afeta o resultado da restauração descrito pelas experiências práticas destes profissionais. / This work aims at discussing movie audio restoration in Brazil. By means of interviews with audio professionals who have previously worked on such projects, research on writings about the subject, and the author\'s own experience in the field of sound restoration, this work tries to offer a panorama of the technical questions and operating procedures involved in sound restoration. It also offers a history of previously performed work and expounds the main difficulties faced by professionals working in this area. As a result, this study presents the different work philosophies that are most commonly adopted during the sound restoration process, and how each choice can affect the originality and conception of the work. Thus, more than a theoretical discussion on restoration, this work concentrates on the relationship between the technique and the conceptual posture of the restorer, as well as the way this relationship influences the restoration results as described by these professionals practical experience.

A representação dos elementos básicos da música - tais como notas, ornamentos e estruturas intervalares - em termos do som discretizado é bastante utilizada em software e rotinas para criação musical e tratamento sonoro. Não há, entretanto, uma abordagem concisa que relacione estes elementos às amostras sonoras. Nesta dissertação, cada elemento musical é descrito por equações que resultam diretamente nas sequências temporais do som em sua representação discretizada. O elemento fundamental, a nota musical básica com duração, volume, altura e timbre, é relacionado quantitativamente às características do sinal digital. As variações internas, como tremolos, vibratos e flutuações espectrais, também são contempladas, o que permite sintetizar notas com inspiração nos instrumentos musicais reais além de sonoridades novas. A partir desta representação das notas, dispomos de recursos para a geração de estruturas musicais, como a métrica rítmica, os intervalos de altura e os ciclos. As equações deram origem a uma caixa de ferramentas computacionais: scripts que realizam cada equação e geram exemplos sonoros simples. Nomeamos MASSA, Música e Áudio em Sequências e Séries Amostrais, este ferramental e sua eficácia foi comprovada com a síntese de pequenas peças usando notas básicas, notas incrementadas e notas em música. É possível, também, sintetizar álbuns inteiros através de colagens dos scripts e parametrização especificada pelo usuário. Com o paradigma de implementação em código aberto, a (caixa de ferramentas) MASSA pode ser expandida em processos de co-autoria e usada livremente por músicos, engenheiros e outros interessados. De fato, o sistema já foi empregado por usuários externos para a produção de músicas, apresentações artísticas, experimentos psico-acústicos e a difusão da linguagem computacional através do apelo lúdico dos artefatos audiovisuais. / The representation of the basic elements of music - such as notes, ornaments and intervalar structures - in terms of discrete audio signal is often used in software for music creation and design. Nevertheless, there is no unified approach that relates these elements to the sound discrete samples. In this dissertation, each musical element is described by equations that represent the sonic time samples, which are then implemented in scripts within a software toolbox, referred to as MASSA (Music and Audio in Sequences and Samples). The fundamental element, the musical note with duration, volume, pitch and timbre, is related quantitatively to the characteristics of the digital signal. Internal variations, such as tremolos, vibratos and spectral fluctuations, are also considered, which enables the synthesis of notes inspired by real instruments and new sonorities. With this representation of notes, resources are provided for the generation of musical structures, such as rhythmic meter, pitch intervals and cycles. The efficacy of MASSA was confirmed by the synthesis of small musical pieces using basic notes, incremented notes and notes in music. It is possible to synthesize whole albums through collage of the scripts and parameterization specified by the user. With the paradigm of open source implementation, MASSAtoolbox can be expanded in co-authorship processes and used freely by musicians, engineers and other interested parties. In fact, MASSAhas already been employed by external users for diverse purposes which include music production, artistic presentations, psychoacoustic experiments and computer language diffusion where the appeal of audiovisual artifacts is exploited.

Dans le contexte général de la résolution de problèmes inverses en acoustique et traitement du signal audio les défis sont nombreux. Pour la résolution de ces problèmes, leur caractère souvent mal posé nécessite de considérer des modèles de signaux appropriés. Les travaux de cette thèse montrent sur la base d'un cadre algorithmique générique polyvalent comment les différentes formes de parcimonie (à l'analyse ou à la synthèse, simple, structurée ou sociale) sont particulièrement adaptées à la reconstruction de signaux sonores dans un cadre mono ou multicanal. Le cœur des travaux de thèse permet de mettre en évidence les limites des conditions d'évaluation de l'état de l'art pour le problème de désaturation et de mettre en place un protocole rigoureux d'évaluation à grande échelle pour identifier les méthodes les plus appropriées en fonction du contexte (musique ou parole, signaux fortement ou faiblement dégradés). On démontre des améliorations de qualité substantielles par rapport à l'état de l'art dans certains régimes avec des configurations qui n'avaient pas été précédemment considérées, nous obtenons également des accélérations conséquentes. Enfin, un volet des travaux aborde la localisation de sources sonores sous l'angle de l'apprentissage statistique « virtuellement supervisé ». On montre avec cette méthode des résultats encourageants sur l'estimation de directions d'arrivée et de distance. / Today's challenges in the context of audio and acoustic signal processing inverse problems are multiform. Addressing these problems often requires additional appropriate signal models due to their inherent ill-posedness. This work focuses on designing and evaluating audio reconstruction algorithms. Thus, it shows how various sparse models (analysis, synthesis, plain, structured or “social”) are particularly suited for single or multichannel audio signal reconstruction. The core of this work notably identifies the limits of state-of-the-art methods evaluation for audio declipping and proposes a rigourous large-scale evaluation protocol to determine the more appropriate methods depending on the context (music or speech, moderately or highly degraded signals). Experimental results demonstrate substantial quality improvements for some newly considered testing configurations. We also show computational efficiency of the different methods and considerable speed improvements. Additionally, a part of this work is dedicated to the sound source localization problem. We address it with a “virtually supervised” machine learning technique. Experiments show with this method promising results on distance and direction of arrival estimation.

Denna studie tar upp forskning kring tillgänglighet inom data/tv-spel och fokuserar främst på ljudspel, en genre som särskilt uppstått för synnedsatta. Texten tar upp frågeställningen kring seende personers upplevelser av ljudspel och att kvalitativ data ska samlas in för denna studie. Metoden diskuteras och relevant forskning för denna studie nämns därefter. Genom att lyfta fram viktiga designval för genren ljudspel har en artefakt skapats dedikerad till studien. Denna artefakt består av ett enkelt spel med syfte att undersöka seende personers förmåga att navigera i en okänd 3D-miljö utan grafik, samt undersöka deras mentala representation av 3D-miljön. Undersökningen visade resultat som gav förståelse för personers upplevelse av ljudspel och hur deras mentala bild ser ut. För framtida arbeten borde även synnedsatta ta del av artefakten för att se om den mentala representationen skiljer sig mellan grupperna.

<div> <div> <div> <p>This paper introduced a near real-time acoustic unmanned aerial vehicle detection system with multiple listening nodes using machine learning models. An audio dataset was collected in person by recording the sound of an unmanned aerial vehicle flying around as well as the sound of background noises. After the data collection phase, support vector machines and convolutional neural networks were built with two features, Mel-frequency cepstral coefficients and short-time Fourier transform. Considering the near real-time environment, the features were calculated after cutting the audio stream into chunks of two, one or half seconds. There are four combinations of features and models as well as three versions per combination based on the chunk size, returning twelve models in total. To train support vector machines, the exhaustive search method was used to find the best parameter while convolutional neural networks were built by selecting the parameters manually. Four node configurations were devised to find the best way to place six listening nodes. Twelve models were run for each configuration, generating color maps to show the paths of the unmanned aerial vehicle flying along the nodes. The model of short-time Fourier transform and support vector machines showed the path most clearly with the least false negatives with 2-second chunk size. Among the four configurations, the configuration for experiment 3 showed the best results in terms of the distance of detection results on the color maps. Web-based monitoring dashboards were provided to enable users to monitor detection results. </p> </div> </div> </div>

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-04T11:46:19Z No. of bitstreams: 1 Felipe Antunes de Oliveira Rodrigues.pdf: 2502573 bytes, checksum: b9be7ad020151fc8cbad343711414219 (MD5) / Made available in DSpace on 2018-12-04T11:46:19Z (GMT). No. of bitstreams: 1 Felipe Antunes de Oliveira Rodrigues.pdf: 2502573 bytes, checksum: b9be7ad020151fc8cbad343711414219 (MD5) Previous issue date: 2018-09-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation has the objective of analyzing the experience of immersive audio in digital games, as perceived by the player as a listener and agent in the soundscape of virtual reality. The first chapter seeks to briefly examine and define the concepts of immersion and presence, in order to allow a deeper study of immersive audio to be possible. It also presents considerations about the coupling devices through which immersion in digital games is possible, in particular headphones, so common in the gamer routine. The second chapter is dedicated to the analysis of sound elements found in the virtual reality of digital games through the crossing of concepts and theories by authors such as Schafer, Meneguette, Huiberts, Droumeva among others. By doing so it seeks a comprehensive understanding of what can typically be heard in this medium in order to stimulate the immersive experience. The chapter also deals with problems and solutions that might interfere in the immersion in positive or negative ways, in order to clarify the relevance of the minutiae with respect to immersive audio. The third chapter approaches the subject from another angle, seeking an understanding of how the immersive experience of audio em digital games presents itself to the player. Next, analysis of of the game can hear the soundscape in the game are made. At the end of the chapter the concepts are reviewed, aiming to presenting an understanding of how the player is given the immersive experience of audio in digital games. The fourth and last chapter consists of a case study, in order to demonstrate, in a practical way, the immersive experience of audio studied so far / Esta dissertação tem como objetivo a análise da experiência do áudio imersivo em jogos digitais, como percebida pelo jogador enquanto ouvinte e agente na paisagem sonora da realidade virtual. O primeiro capítulo busca examinar e definir brevemente os conceitos de imersão e presença, de forma a permitir que um estudo mais aprofundado sobre o áudio imersivo seja possível. Também apresenta considerações sobre aparatos de acoplamento através dos quais a imersão em jogos digitais é possível, em particular os fones de ouvido, tão comuns na rotina gamer. O segundo capítulo é dedicado a análise dos elementos sonoros encontrados na realidade virtual dos jogos digitais através do cruzamento de conceitos de teorias de autores como Schafer, Meneguette, Huiberts, Droumeva entre outros. Busca-se assim um entendimento abrangente daquilo que tipicamente pode ser ouvido nessa mídia de forma a estimular a experiência imersiva. O capítulo também trata de problemas e soluções que possam interferir na imersão de forma positiva ou negativa, de forma a clarificar a relevância das minúcias no que diz respeito ao áudio imersivo. O terceiro capítulo aborda o assunto de outro ângulo, buscando um entendimento das formas como o áudio é apresentado ao jogador através de convenções e escolhas de design. Em seguida são feitas análises das diferentes formas como o jogador pode ouvir a paisagem sonora do jogo. Ao fim do capítulo são revisados os conceitos estudados, visando apresentar um entendimento de como se dá para o jogador a experiência imersiva do áudio em jogos digitais. O quarto e último capítulo consiste em um estudo de caso, com a finalidade de demonstrar, de forma prática, a experiência imersiva do áudio, estudada até então

O trabalho envolve a pesquisa de técnicas para espacialização sonora musical e o desenvolvimento de um sistema de espacialização sonora sobre uma arquitetura de áudio multicanal aberta (AUDIENCE) para a auralização imersiva. Utilizando-se a técnica Ambisonics, o sistema construído permite a recriação de um campo sonoro tridimensional. O sistema reproduz virtualmente peças musicais espacializadas, por meio de um arranjo de alto-falantes em torno do ouvinte, onde as fontes sonoras podem assumir posições incomuns e movimentar-se no espaço. Através dos resultados dos experimentos musicais realizados com o sistema, chega-se a conclusão de que o sistema pode ser utilizado por compositores, regentes e produtores para a tarefa de espacialização musical. / This work involves the research of techniques for musical spatialization, and the development of a spatialization system, based on an open multichannel audio architecture (AUDIENCE) for immersive auralization. The constructed system uses the Ambisonics technique, which allows the recreation of a three-dimensional sound field. The system reproduces spatial music through an arrangement of loudspeakers around the listener where sound sources can assume some uncommon positions, and also be put into motion. From the results of experiments with a musical piece it follows that the system can be used by composers, conductors, and producers to the musical spatialization task.

Ng Wai Chuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 123-126). / Abstracts in English and Chinese. / ABSTRACT (English version) / ABSTRACT (Chinese version) / ACKNOWLEDGMENTS / Chapter CHAPTER 1 --- INTRODUCTION / Chapter 1.1 --- Overview --- p.1 / Chapter 1.2 --- Significance of the study --- p.3 / Chapter 1.3 --- Organization of the thesis --- p.4 / Chapter CHAPTER 2 --- LITERATURE REVIEW / Chapter 2.1 --- Introduction --- p.5 / Chapter 2.2 --- Theory: Video and L2 acquisition --- p.5 / Chapter 2.3 --- Selection and preparation of lesson materials --- p.8 / Chapter 2.4 --- Film in the L1 classroom --- p.10 / Chapter 2.5 --- Film in the L2 classroom --- p.11 / Chapter 2.5.1 --- Listening comprehension --- p.11 / Chapter 2.5.2 --- Oral skills --- p.14 / Chapter 2.5.3 --- Writing --- p.15 / Chapter 2.5.4 --- Critical thinking --- p.17 / Chapter 2.5.5 --- "Language: Vocabulary, idioms, slang" --- p.21 / Chapter 2.5.6 --- Communicative performance --- p.22 / Chapter 2.5.7 --- Cross-cultural issues --- p.24 / Chapter 2.5.8 --- Complementing literary works --- p.25 / Chapter 2.5.9 --- Movie tie-in novels --- p.26 / Chapter 2.6 --- The Hong Kong context --- p.27 / Chapter 2.7 --- Conclusion: The need for further study --- p.30 / Chapter CHAPTER 3 --- METHODOLOGY / Chapter 3.1 --- Research design: The case study approach --- p.33 / Chapter 3.2 --- Research questions --- p.34 / Chapter 3.3 --- Subjects --- p.35 / Chapter 3.3.1 --- The course ELT 3104 --- p.35 / Chapter 3.3.2 --- Instructor A --- p.37 / Chapter 3.3.3 --- The students --- p.37 / Chapter 3.4 --- Data collection --- p.38 / Chapter 3.4.1 --- Questionnaire survey --- p.38 / Chapter 3.4.2 --- Semi-structured interviews --- p.39 / Chapter 3.4.3 --- Naturalistic classroom observation --- p.40 / Chapter 3.4.4 --- Text analysis --- p.41 / Chapter 3.5 --- The pilot study --- p.41 / Chapter 3.5.1 --- Classroom observation --- p.42 / Chapter 3.5.2 --- Pilot questionnaire survey --- p.43 / Chapter 3.6 --- Conclusion --- p.44 / Chapter CHAPTER 4 --- RESULTS / Chapter 4.1 --- Questionnaire survey --- p.45 / Chapter 4.1.1 --- Pre-course questionnaire --- p.45 / Chapter 4.1.2 --- Post-course questionnaire --- p.47 / Chapter 4.2 --- Interviews --- p.48 / Chapter 4.2.1 --- Instructor A's interviews --- p.48 / Chapter 4.2.2 --- Brief student profiles and interview summaries --- p.50 / Chapter 4.3 --- Classroom observation --- p.55 / Chapter 4.4 --- Text analysis --- p.57 / Chapter 4.4.1 --- Course syllabus and schedule --- p.57 / Chapter 4.4.2 --- Lecture handouts --- p.57 / Chapter 4.4.3 --- Presentation handouts --- p.58 / Chapter 4.4.4 --- Final term paper --- p.59 / Chapter 4.5 --- Conclusion --- p.59 / Chapter CHAPTER 5 --- ANALYSIS AND DISCUSSION / Chapter 5.1 --- Revised research questions --- p.60 / Chapter 5.2 --- Film and ESL: Students' past experience --- p.61 / Chapter 5.2.1 --- Authentic and natural language --- p.62 / Chapter 5.2.2 --- Benefits of using English captions --- p.63 / Chapter 5.2.3 --- "Listening, speaking, and conversation" --- p.65 / Chapter 5.2.4 --- Doorway to other cultures --- p.65 / Chapter 5.2.5 --- Analytical and critical thinking --- p.67 / Chapter 5.3 --- The course ELT 3104: Factors affecting the learning process --- p.68 / Chapter 5.3.1 --- The instructor --- p.69 / Chapter 5.3.1.1 --- "Personality, interest, philosophy, and approach" --- p.69 / Chapter 5.3.1.2 --- The role of the facilitator --- p.70 / Chapter 5.3.1.3 --- Students' views of Instructor A --- p.71 / Chapter 5.3.2 --- The students --- p.73 / Chapter 5.3.2.1 --- Cinematic sophistication --- p.73 / Chapter 5.3.2.2 --- English proficiency --- p.74 / Chapter 5.3.2.3 --- Personal interests --- p.75 / Chapter 5.3.2.4 --- Grouping --- p.77 / Chapter 5.3.2.5 --- Motivation --- p.80 / Chapter 5.3.3 --- Student-centered approach --- p.83 / Chapter 5.3.4 --- Choice of film --- p.86 / Chapter 5.3.5 --- Cultural differences --- p.90 / Chapter 5.3.6 --- Film knowledge covered --- p.94 / Chapter 5.3.7 --- Workload and other classroom factors --- p.98 / Chapter 5.3.7.1 --- Assignments --- p.98 / Chapter 5.3.7.2 --- Classroom atmosphere --- p.99 / Chapter 5.3.7.3 --- Lesson time --- p.100 / Chapter 5.4 --- The effectiveness of the course --- p.102 / Chapter 5.4.1 --- Students' self-assessment --- p.103 / Chapter 5.4.2 --- Instructor A's comments --- p.107 / Chapter 5.4.3 --- Students' term papers --- p.110 / Chapter 5.5 --- Conclusion --- p.114 / Chapter CHAPTER 6 --- IMPLICATIONS & CONCLUSION / Chapter 6.1 --- Summary of research questions and findings --- p.115 / Chapter 6.2 --- Pedagogical implications --- p.116 / Chapter 6.3 --- Limitations of the present study --- p.118 / Chapter 6.4 --- Recommendations for further studies & conclusion --- p.121 / BIBLIOGRAPHY --- p.123 / APPENDICES --- p.127