Relevant bibliographies by topics / Audiovisual Interaction

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Audiovisual Interaction'

Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Audiovisual Interaction"

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Kitagawa, Norimichi. "Audiovisual interaction." Japanese journal of ergonomics 35 (1999): 136–37. http://dx.doi.org/10.5100/jje.35.2supplement_136.

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Chen, Kuan-Ming, and Su-Ling Yeh. "Audiovisual Interaction in Time Perception." i-Perception 2, no. 8 (October 2011): 833. http://dx.doi.org/10.1068/ic833.

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Yi, Long, and Robert Sekuler. "Audiovisual interaction with rate-varying signals." i-Perception 13, no. 6 (November 2022): 204166952211166. http://dx.doi.org/10.1177/20416695221116653.

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A task-irrelevant, amplitude-modulating sound influences perception of a size-modulating visual stimulus. To probe the limits of this audiovisual interaction we vary the second temporal derivative of object size and of sound amplitude. In the study’s first phase subjects see a visual stimulus size-modulating with [Formula: see text]0, 0, or <0, and judge each one’s rate as increasing, constant, or decreasing. Visual stimuli are accompanied by a steady, non-modulated auditory stimulus. The novel combination of multiple stimuli and multi-alternative responses allows subjects’ similarity space to be estimated from the stimulus-response confusion matrix. In the study’s second phase, rate-varying visual stimuli are presented in concert with auditory stimuli whose second derivative also varied. Subjects identified each visual stimuli as one of the three types, while trying to ignore the accompanying sound. Unlike some previous results with [Formula: see text] fixed at 0, performance benefits relatively little when visual and auditory stimuli share the same directional change in modulation. However, performance does drop when visual and auditory stimului differ in their directions of rate change. Our task’s computational demands may make it particularly vulnerable to the effects of a dynamic task-irrelevant stimulus.
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Yepes, Alfonso López. "Audiovisual en línea en la universidad española: bibliotecas y servicios especializados (una panorámica)." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 2 (July 1, 2014): 338–61. http://dx.doi.org/10.7195/ri14.v12i2.689.

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Situación que presenta la información audiovisual en línea en el ámbito de las bibliotecas y servicios audiovisuales universitarios españoles, con ejemplos de aplicaciones y desarrollos concretos. Se destaca la presencia del audiovisual fundamentalmente en blogs, canales IPTV, portales bibliotecarios propios y en actuaciones concretas como “La Universidad Responde”, a cargo de los servicios audiovisuales de las universidades españolas, que supone sin duda un marco de referencia y de difusión informativa muy destacado también para el ámbito bibliotecario; así como en redes sociales, mencionándose una propuesta de modelo de red social de biblioteca universitaria. Se remite a la participación de bibliotecas y servicios en proyectos colaborativos de investigación y desarrollo social, presencia ya efectiva en el marco del proyecto “Red iberoamericana de patrimonio sonoro y audiovisual”, que apuesta por la construcción social del conocimiento audiovisual basado en la interacción entre distintos grupos multidisciplinarios de profesionales con diferentes comunidades de usuarios e instituciones.A situation presenting audiovisual information online in the field of libraries and audiovisual university spanish services, with examples of applications and specific developments. The presence of the audiovisual in blogs and IPTV channels librarians and specific actions as The University Respond, in charge of the audiovisual services of the spanish universities, a very important reference and information dissemination for the field librarian and in social networks, mentioning a model of social network of University Library. Participation of libraries and services in collaborative research and social development projects in the Ibero-American network of sound and audiovisual heritage project, for the social construction of the audiovisual knowledge based on the interaction between various multidisciplinary groups of professionals with different communities of users and institutions.
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Bezruchko, Oleksandr, and Olha Anikina. "Modern Audiovisual Art within the Space of Internet Network: New Aspects of Interaction." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 43–51. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235076.

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The purpose of the research is to review all types of modern audiovisual art, understand its components and novelty, which it offers. The article also analyzes the interactions of an audiovisual artist with the audience together with the new aspects of the interaction of the consumer with the artistic content. Moreover, it is important to understand the influence of this type of art on human consciousness as well as the changes it brings with it into long known forms such as films and video games. The methodology of the research consists in using the following methods: theoretical (regarding the scientific articles, which conduct the discussion concerning audiovisual art within theoretical plain) and empirical (consideration and analysis of various media materials to receive information on the latest audiovisual art products). Scientific novelty. Considering that audiovisual art appeared fairly recently, there is not a big quantity of researches, which would analyze the components of audiovisual art in-depth as well as the elements of novelty, which the said type of art offers. It has to be noted that the scientific novelty abroad is present to a lesser extent, however, within the space of Ukrainian scientific thought, this type of art is still not being researched thoroughly. Conclusions. Throughout the research, we have established the primary traits of audiovisual art, regarded in detail the relationships and interactions of the audiovisual artist with his audience and the degree of control available to the consumer over the artistic idea. The article also established the possibility of using audiovisual art as a therapeutic method for healing mental traumas.
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Zheliezniak, Serafym. "Interaction of sound and image in modern audiovisual culture." Culturology Ideas, no. 20 (2'2021) (2021): 171–78. http://dx.doi.org/10.37627/2311-9489-20-2021-2.171-178.

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The article analyzes the possible types of combination of sound track components with the visual track, namely diegetic and non-diegetic sound, actual, commentative sound, etc., reveals the main positions and opinions of foreign and Ukrainian authors studying the problem, types of sound in screen projects, and their significance and features in the context of audiovisual culture are indicated. Examples of creative application of audio track in modern Ukrainian and foreign audiovisual culture are considered. The following methods were used during the study: analysis was used for consideration of the components of the sound track and certain types of interaction of sound and image, comparative method was used to study different concepts of scientists to more fully present the issue, systematic approach was used to study a set of types of the combination of sound and image in audiovisual projects. The scientific novelty of the article is to highlight the current state of theoretical approaches to the interaction of sound and image in audiovisual culture. The results of the study are of practical importance to scholars studying film, audiovisual culture, as well as to sound engineers and other creative professionals working on screen projects, in order to be able to master possible techniques to combine sound with the visual component of the project.
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Vroomen, Jean, and Jeroen J. Stekelenburg. "Visual Anticipatory Information Modulates Multisensory Interactions of Artificial Audiovisual Stimuli." Journal of Cognitive Neuroscience 22, no. 7 (July 2010): 1583–96. http://dx.doi.org/10.1162/jocn.2009.21308.

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The neural activity of speech sound processing (the N1 component of the auditory ERP) can be suppressed if a speech sound is accompanied by concordant lip movements. Here we demonstrate that this audiovisual interaction is neither speech specific nor linked to humanlike actions but can be observed with artificial stimuli if their timing is made predictable. In Experiment 1, a pure tone synchronized with a deformation of a rectangle induced a smaller auditory N1 than auditory-only presentations if the temporal occurrence of this audiovisual event was made predictable by two moving disks that touched the rectangle. Local autoregressive average source estimation indicated that this audiovisual interaction may be related to integrative processing in auditory areas. When the moving disks did not precede the audiovisual stimulus—making the onset unpredictable—there was no N1 reduction. In Experiment 2, the predictability of the leading visual signal was manipulated by introducing a temporal asynchrony between the audiovisual event and the collision of moving disks. Audiovisual events occurred either at the moment, before (too “early”), or after (too “late”) the disks collided on the rectangle. When asynchronies varied from trial to trial—rendering the moving disks unreliable temporal predictors of the audiovisual event—the N1 reduction was abolished. These results demonstrate that the N1 suppression is induced by visual information that both precedes and reliably predicts audiovisual onset, without a necessary link to human action-related neural mechanisms.
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Carvalho, Rodrigo. "The magical features of immersive audiovisual environments." Interactions 20, no. 5 (September 2013): 32–37. http://dx.doi.org/10.1145/2500096.

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Stekelenburg, Jeroen J., and Jean Vroomen. "Neural Correlates of Multisensory Integration of Ecologically Valid Audiovisual Events." Journal of Cognitive Neuroscience 19, no. 12 (December 2007): 1964–73. http://dx.doi.org/10.1162/jocn.2007.19.12.1964.

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A question that has emerged over recent years is whether audiovisual (AV) speech perception is a special case of multi-sensory perception. Electrophysiological (ERP) studies have found that auditory neural activity (N1 component of the ERP) induced by speech is suppressed and speeded up when a speech sound is accompanied by concordant lip movements. In Experiment 1, we show that this AV interaction is not speech-specific. Ecologically valid nonspeech AV events (actions performed by an actor such as handclapping) were associated with a similar speeding-up and suppression of auditory N1 amplitude as AV speech (syllables). Experiment 2 demonstrated that these AV interactions were not influenced by whether A and V were congruent or incongruent. In Experiment 3 we show that the AV interaction on N1 was absent when there was no anticipatory visual motion, indicating that the AV interaction only occurred when visual anticipatory motion preceded the sound. These results demonstrate that the visually induced speeding-up and suppression of auditory N1 amplitude reflect multisensory integrative mechanisms of AV events that crucially depend on whether vision predicts when the sound occurs.
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Psarras, Vasillis, Andreas Floros, Konstantinos Drosos, and Marianne Strapatsakis. "Emotional control and visual representation using advanced audiovisual interaction." International Journal of Arts and Technology 4, no. 4 (2011): 480. http://dx.doi.org/10.1504/ijart.2011.043446.

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Dissertations / Theses on the topic "Audiovisual Interaction"

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Albornoz, Arbieto Claudia Samanta. "La interrelación de youtubers peruanos con sus seguidores en Youtube: Caso del vlogger Kenrovlogs." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653159.

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El presente trabajo analiza al youtuber e influencer Kenrovlogs con la finalidad de explicar las interacciones con sus seguidores en Youtube e Instagram. Se describirán las características narrativas de sus videos que funcionan como detonante de las interacciones con sus fans, se explicarán las formas de interacción digital que surgen entre él y sus seguidores a partir de la publicación de estos vlogs; finalmente se identificará el perfil de los usuarios peruanos que consumen y se fidelizan a sus vlogs. La investigación sigue un diseño cualitativo, se empleará la técnica de entrevista semiestructurada al youtuber Kenrovlogs, realizando preguntas abiertas sobre su canal, sus vlogs, su personaje y la interacción que tiene con sus seguidores. Asimismo, se realizará un análisis de contenido de los vlogs del mencionado youtuber, estableciendo categorías por temática, tales como “familia”, “amigos” y “k-pop”. El contenido ha sido seleccionado en base a la cantidad de visualizaciones, revisándose los 5 videos más vistos respecto a cada temática, en total 15 videos serán analizados. Por último, se empleará la técnica del focus group aplicada en fans, seleccionadas por su medio a alto nivel de interacción con el youtuber y su participación en el club de fans.
This paper analyzes the youtuber and influencer Kenrovlogs in order to explain the interactions with his followers on YouTube and Instagram. The narrative characteristics of his videos that act as a trigger for interactions with his fans will be described, the forms of digital interaction that arise between him and his followers from the publication of these vlogs will be explained and the profile of the Peruvian users who consume his vlogs will be identified. The research follows a qualitative design, a semi-structured interview technique will be used with Kenrovlogs, asking open-ended questions about his channel, his vlogs, his character and the interaction he has with his followers. Also a content analysis of the vlogs of the mentioned youtuber will be carried out, establishing categories by theme, such as "family", "friends" and "k-pop". The content has been selected based on the number of views, reviewing the 5 most viewed videos on each theme, in total 15 videos will be analyzed. Finally, a focus group technique applied to fans will be used, selected for their high level of interaction with the youtuber and their participation in the fan club.
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Chen, Yuxiao. "Multimodal Perception of Auditoria: Influence of Auditory and Visual Factors on Preference." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29773.

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The enjoyment of a music performance is a multisensory experience, of which auditory and visual senses play the most important parts in conveying the content of the concerts. This thesis investigates the effects of and relationships between various auditory and visual factors on subjective preference, with an emphasis on the rarely-studied visual preference. The thesis includes four subjective evaluation experiments (all using head-mounted virtual reality display and headphones audio playback, 30 to 33 volunteers each) and one online survey (153 responses). The experimental method of virtual reality display and digital audio playback allows each factor to be individually controlled and tested, which was never possible with traditional methods, but still provides a reasonable sense of space and realism. Auditory factors considered in the thesis include sound pressure level and reverberation time, while visual factors include interior design colour, distance from the stage, lateral angle from the concert hall mid-plane, vertical angle from stage level, and visual obstruction. The effects of factors were studied using orthogonal control, and verified with realistic models and alternative methods with larger sample. Results include a prediction model that accounts for the effects and relationships of all investigated factors, and a practical tool for design/evaluation of auditorium seating layout.
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Luz, Inez Pereira da. "O cinema audiovisual: um formato configurado na interação teatro/cinema e TV." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4887.

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The culture of the audiovisual has since 1980 been expanding as a circulating space for a set of old and new creative expressions. This movement promotes significant changes in the practices within the systems of signs and means, originating new formats whose compositions unveil the convergence of languages, regardless of the means which originate them and where they are inserted in. We start out from the hypothesis that the current Brazilian cinema is part of the audiovisual culture dynamics as a productive sphere where the hybridity of techniques and languages is predominant and, as a whole, the movement of feature films is not restricted to movie theater rooms, but rather flows through the space as a net, along with other audiovisual formats. The corpus of the research is formed by a few films made in Brazil between 1994/2004, resulting from the interaction cinema/TV and theater, and our objective was to survey the updating process of those expressions in their language compositions. Our method of analysis originates from the interlacing of the theories of I. Lotman (1996-1969), Jacques Aumont (2003, 2004), Noel Burch (1969), Gilles Deleuze (1990), M. McLuhan (1911-1980) and Umberto Eco (1987). Some of them point to languages as productions that are born from dialectical languages between the technical development and the cultural universe that shelters them, promoting the advances and ruptures of the systems of signs, from the aesthetics perspective and the knowledge production. Our research starts with some films shot by modern moviemakers, Orson Welles and Jean-Luc Godard, where we identify a thinking and a method on language interaction. We see how present they are in some contemporary formats created for the circulation in the TV medium. In the composition assessment of the film language of our corpus, we saw that they recreate the uniqueness of the systems of signs that originate them, mingling visual and audio references while the word is treated as a body where multiple expressions of literature, TV, comics, theater and songs are embedded. When making their sets visible, the films convey the creative process and one of the contemporary culture and thought perceptions, a writing that expands the dialogic thinking of cultural practices. The audiovisual formats configured by TV/cinema media to circulate in the network spaces bring in the pragmatic expression of the language, evidencing its extreme importance for the contemporary culture
A cultura do audiovisual desde 1980, tem se ampliado como espaço de circulação de um conjunto de expressões criativas antigas e novas. Esse movimento promove mudanças significativas nas práticas dentro dos sistemas de signos e meios, originando alguns formatos cujas composições revelam a convergência das linguagens, independente dos meios nos quais elas se originaram e estão inseridas. Partimos da hipótese de que o cinema brasileiro contemporâneo faz parte da dinâmica da cultura do audiovisual como uma esfera produtiva onde a hibridez de técnicas e linguagens é predominante, e no geral, o movimento dos filmes não se reduz às salas de cinema, mas passa pelo espaço em rede, junto com outros formatos audiovisuais. O corpus da pesquisa é constituído por alguns filmes produzidos no Brasil entre 1994/2004, resultados da interação cinema/TV e teatro e o nosso objetivo foi investigar o processo de atualização dessas expressões em suas composições de linguagens. O nosso método de análise tem origem no entrelaçamento de teorias de I. Lotman (1996-1969), Jacques Aumont (2003, 2004) Noel Burch (1969) Gilles Deleuze (1990), M. McLuhan (1980:220) e Umberto Eco (1987). Algumas delas apontam para as linguagens como produções que nascem das relações dialéticas entre o desenvolvimento técnico e o universo cultural que as abriga, promovendo os avanços e rupturas dos sistemas de signos, do ponto de vista estético e de produção de conhecimento. Nossa investigação tem início com alguns filmes dos cineastas modernos, Orson Welles e Jean-Luc Godard, onde localizamos um pensamento e um método sobre a interação de linguagens. Vimos como eles se encontram presentes em alguns formatos contemporâneos criados para circulação no médium TV. Na análise da composição das linguagens dos filmes do nosso corpus, vimos que elas recriam as singularidades dos sistemas de signos que lhes deram origem, misturam referências visuais e de áudio, e a palavra é tratada como um corpo onde se encontram embutidas várias expressões: literatura, TV, história em quadrinhos, teatro e canção. Ao fazer visível o conjunto delas, os filmes comunicam o processo criativo e uma das percepções e pensamento da cultura contemporânea, uma escritura que amplia o pensar dialógico das práticas culturais. Os formatos audiovisuais, configurados pelas mídias TV/cinema para circular nos espaços das redes, trazem a dimensão pragmática da linguagem, evidenciando a sua extrema relevância na cultura contempo
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Pedroso, Rafael Guimarães [UNESP]. "Interação com objetos digitais 3D em estúdios virtuais." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/137808.

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O estúdio virtual é um sistema para a criação de cenas com objetos virtuais integrados digitalmente – e em tempo real – a imagens capturadas em estúdio. Seu emprego flexibiliza a produção audiovisual, permitindo a utilização de objetos e efeitos difíceis de serem recriados fisicamente. Diferente da forma clássica de produção, em que os efeitos são inseridos somente na pós-produção, o estúdio virtual insere o conteúdo digital na fase on set, facilitando direção e fotografia. Considerando este contexto, o objeto deste trabalho é a interação de atores com objetos virtuais utilizando técnicas de Realidade Aumentada em estúdios virtuais. O objetivo principal deste trabalho consiste na verificação da interação de atores com elementos virtuais 3D sob dois aspectos: o primeiro trata da aplicação de técnicas baseadas em interfaces tangíveis associadas ao uso de marcadores fiduciais; e o segundo foca-se na utilização da interação via gestos por meio de dispositivo de detecção de profundidade (Kinect). Para a comprovação do segundo aspecto procedeu-se na implementação, na forma de um protótipo, de um Módulo de Interação para o ambiente do ARSTUDIO, um ambiente de estúdio virtual que está em desenvolvimento na Unesp/Bauru, o qual permite a geração de cenas com Realidade Aumentada e associação de objetos virtuais por meio de marcadores fiduciais.
The virtual studio is a system for creating scenes with digitally integrated virtual objects - in real time - to images captured in the studio. Its use eases the audiovisual production, allowing the use of difficult physically rebuilt objects and effects. Unlike the classic production process, in which inserted effects just in post-production, the virtual studio inserts the digital content in the on set phase, facilitating direction and photography. Considering this context, the object of this research is the interaction of actors with virtual objects using Augmented Reality techniques in virtual studios. The main goal is to verify interaction between actors and 3D elements under two aspects: the first is about the application of based tangible interfaces and markers techniques; and the second is about gesture interaction by depth camera device (Kinect). To prove the second aspect it was made the implementation, in prototype, of a Interaction Module for the ARSTUDIO, a virtual studio environment under development in Unesp/Bauru, that allows generating of Augmented Reality scenes and association of virtual objects with markers.
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Lins, Guilherme Ranoya Seixas. "A intuitividade nas mídias interativas." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-22082013-083632/.

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Esta tese contribui com o conhecimento sobre as mídias interativas localizando os mecanismos que as tornam intuitivas. A pesquisa, para tanto, teve como objetivo decifrar o que consiste a intuitividade como elemento presente nas mídias interativas. Norteando o desenvolvimento ou oferecendo benefícios de uso, a intuitividade é sempre eleita como critério para determinar se uma mídia interativa (websites, quiosques, videogames, softwares, aparelhos, serviços digitais, etc.) é boa ou ruim, contudo, muito pouco se sabe sobre sua natureza, seja para providenciá-la na construção destes objetos, ou para questionar sua relação de uso.
This thesis contribuites to the knowledge about interactive media finding the mechanics of intuitivity. The research, for this purpose, aimed to unveil what is intuitivity as an elemental part of the interactive media. Guiding it\'s development or granting benefits of use, intuitivity is always selected as criteria to determine if an interactive media (websites, kiosks, videogames, software, digital services, gadgets, etc.) is good or bad, but, very little is know about it\'s own nature, to help the development of these products, or even to question it\'s use relationship.
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Gifreu, Castells Arnau. "El Documental interactiu com a nou gènere audiovisual : estudi de l'aparició del nou gènere, aproximació a la seva definició i proposta de taxonomia i d'un model d'anàlisi a efectes d'avaluació, disseny i producció." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/119606.

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L’objecte d’aquesta tesi doctoral és mostrar i demostrar com el documental interactiu es constitueix i es proposa en els últims anys com a nou gènere audiovisual amb característiques pròpies i específiques. Aquesta investigació argumenta com el mitjà digital interactiu ha afectat les lògiques de producció, exhibició i recepció audiovisuals del gènere documental tradicional. Durant els últims anys, aquestes noves dinàmiques han transformat els processos comunicatius i la naturalesa dels diferents actors implicats, donant lloc a un nou gènere que anomenem “documenal interactiu”. A partir d’una mostra de casos significatius, hem elaborat un marc conceptual original amb l’objectiu de caracteritzar el documental interactiu com a gènere audiovisual específic, diferenciant-lo alhora de les formes convencionals de documental i de no ficció interactives. La primera part de la recerca estableix els precedents i el context on es desenvolupa l’àmbit de l’audiovisual interactiu. A partir del plantejament d’un estat de la qüestió general sobre el gènere documental i el mitjà digital interactiu, descrivim el context principal on es desenvolupa aquest format, el web, i el tipus de producte en el que s’engloba, les aplicacions interactives. S’estableix també en aquesta part una introducció als principals gèneres de la no ficció interactiva, tot caracteritzant-los i diferenciant-los entre ells i entre els gèneres de la no ficció audiovisual. La segona part argumenta i justifica les raons per les quals podem considerar el documental interactiu com un nou gènere audiovisual, amb característiques pròpies i específiques. Per a situar-ne el context adequat, localitzem i descrivim l’aparició, consolidació i diversificació d’aquest nou gènere, per arribar a formular-ne una definició, una caracterització àmplia i una proposta taxonòmica originals. També ens centrarem en la transformació dels processos de producció i circulació, atenent a les noves lògiques i dinàmiques actuals. Amb l’objectiu d’establir i delimitar el marc conceptual de manera precisa i concreta, hem elaborat un model de categorització centrat en l’anàlisi del nou gènere, model que aspira a ser també útil per a la creació i producció d’aquest tipus de documental. La recerca inclou també una avaluació de l’estat de l’art del documental interactiu en relació a la temàtica tractada, la plataforma d’accés i l’experiència de l’usuari. I el capítol de conclusions resumeix les principals aportacions originals de la investigació, tot afirmant la pertinència de la identificació del documental interactiu com a nou i prometedor gènere audiovisual.
The objective of this doctoral thesis is to show and demonstrate what an interactive documentary consists of. In recent years this interactive medium has been proposed to be a new audiovisual genre with its own specific characteristics. This research discusses how interactive digital media have affected the logics of audiovisual production, exhibition and reception of the traditional documentary genre. In recent years, these new dynamics have transformed the communication processes and the nature of the different actors involved, giving rise to a new genre called “interactive documentary”. From a sample of significant cases we have developed an original conceptual framework with the aim of characterizing the interactive documentary as a specific audiovisual genre, while differentiating it from the conventional forms of documentary and interactive non-fiction. The first part of the study establishes the precedents and the context in which the interactive audiovisual environment is developed. Based on a general overview of the documentary genre and interactive digital media, we describe the main context in which this format is created, the Web, as well as the types of products that it includes, interactive applications. In this section we also introduce the main interactive non-fiction genres, characterizing them and differentiating them among each other and among audiovisual non-fiction genres. The second part discusses and justifies the reasons why we can consider the interactive documentary as a new audiovisual genre with its own specific characteristics. To place it in an appropriate context, we situate and describe the emergence, consolidation and diversification of this new genre, based on which we formulate an original definition, carry out an extensive characterization and propose a taxonomy. We also focus on the transformation of the production and dissemination processes according to the new logics and current dynamics. In order to establish and define the conceptual framework specifically and precisely we have developed a categorization model for analyzing the new genre, which is also useful for creating and producing this type of documentary. In addition, we evaluate the state-of-the-art of the interactive documentary in relation to the topics discussed, the access platform and the user's experience. The conclusions chapter summarizes the main original contributions of the research, affirming the relevance of identifying the interactive documentary as a new and promising audiovisual genre.
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Guimarães, Gustavo Côrtes. "TV na internet e internet que é TV narrativas, contextos e o caso NerdOffice." Niterói, 2017. https://app.uff.br/riuff/handle/1/3825.

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Essa pesquisa objetiva compreender as características das produções audiovisuais criadas e disponibilizadas em plataformas digitais, particularmente as narrativas denominadas por WEB TV. Para tanto, realizamos um mapeamento dos canais classificados com essa terminologia na plataforma de vídeo YouTube, em uma espécie de cartografia, seguida de análise descritiva, na intenção de verificar as principais permanências e/ou rupturas da linguagem realizada nesses programas. Além disso, o trabalho se propôs a levantar questões e discorrer sobre a presença e o papel de serviços de vídeo sob demanda, que se assemelham ao YouTube, como a produtora e distribuidora Netflix, na produção audiovisual online, apresentando uma pesquisa empírica, também por meio de análise descritiva, a partir do recorte NerdOffice, programa totalmente produzido para a Internet e encontrado na cartografia supracitada como um dos mais visualizados da web
This paper aims to understand the intrinsic characteristics of narratives of audiovisual productions created for and broadcasted through digital media, particularly those made for WebTVs. In order to achieve that, there is an observation on WebTV channels that we found on YouTube, that we present in this work as cartography of channels, following a descriptive analysis that intents to verify what keeps changes and what does not change in these shows’ language. Besides, also is presented some discussion about services such as Netflix and other important services of video on demand online that work with a monthly fee, presented in an empirical research and the paper also introduces an descritive analysis on a WebTV program called “NerdOffice”, that is produced by a website named “Jovem Nerd” and weekly available on YouTube
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Nguyen, Andy. "Sensing Sound And Space:Auditory And Visual Spatial ImpressionIn Three Auditoria." University of Sydney. Architecture, Design Science and Planning, 2005. http://hdl.handle.net/2123/697.

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In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.
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Abel, Andrew. "Towards an intelligent fuzzy based multimodal two stage speech enhancement system." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/15989.

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This thesis presents a novel two stage multimodal speech enhancement system, making use of both visual and audio information to filter speech, and explores the extension of this system with the use of fuzzy logic to demonstrate proof of concept for an envisaged autonomous, adaptive, and context aware multimodal system. The design of the proposed cognitively inspired framework is scalable, meaning that it is possible for the techniques used in individual parts of the system to be upgraded and there is scope for the initial framework presented here to be expanded. In the proposed system, the concept of single modality two stage filtering is extended to include the visual modality. Noisy speech information received by a microphone array is first pre-processed by visually derived Wiener filtering employing the novel use of the Gaussian Mixture Regression (GMR) technique, making use of associated visual speech information, extracted using a state of the art Semi Adaptive Appearance Models (SAAM) based lip tracking approach. This pre-processed speech is then enhanced further by audio only beamforming using a state of the art Transfer Function Generalised Sidelobe Canceller (TFGSC) approach. This results in a system which is designed to function in challenging noisy speech environments (using speech sentences with different speakers from the GRID corpus and a range of noise recordings), and both objective and subjective test results (employing the widely used Perceptual Evaluation of Speech Quality (PESQ) measure, a composite objective measure, and subjective listening tests), showing that this initial system is capable of delivering very encouraging results with regard to filtering speech mixtures in difficult reverberant speech environments. Some limitations of this initial framework are identified, and the extension of this multimodal system is explored, with the development of a fuzzy logic based framework and a proof of concept demonstration implemented. Results show that this proposed autonomous,adaptive, and context aware multimodal framework is capable of delivering very positive results in difficult noisy speech environments, with cognitively inspired use of audio and visual information, depending on environmental conditions. Finally some concluding remarks are made along with proposals for future work.
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Nguyen, Andy. "Sensing Sound And Space:Auditory And Visual Spatial ImpressionIn Three Auditoria." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/697.

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In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as 'spaciousness,' 'envelopment,' and 'intimacy.' These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.
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Books on the topic "Audiovisual Interaction"

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Interactive television and instruction: A guide to technology, technique, facilities design, and classroom management. Englewood Cliffs, N.J: Educational Technology Publications, 1993.

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John, Matthews. Interactive whiteboards. Ann Arbor, MI: Cherry Lake Pub., 2009.

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Hsieh-Yee, Ingrid. Organizing Audiovisual and Electronic Resources for Access. S.l: Libraries Unlimited, 2006.

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iTunes. 2nd ed. Paris: Micro application, 2011.

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ITunes. Paris: Micro Application, 2009.

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Scolari, Carlos Alberto, Guillermo Orozco Gómez, and Dominique Wolton. TVMORFOSIS 3: Audiencias audiovisuales : consumidores en movimiento. México, D.F: Productora de Contenidos Culturales Sagahón Repoll, 2014.

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Hsieh-Yee, Ingrid. Organizing audiovisual and electronic resources for access: A cataloging guide. Englewood, Colo: Libraries Unlimited, 2000.

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Organizing audiovisual and electronic resources for access: A cataloging guide. 2nd ed. Westport, Conn: Libraries Unlimited, 2006.

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Institut für Neue Musik und Musikerziehung Darmstadt., ed. Hören und Sehen: Musik audiovisuell : Wahrnehmung im Wandel : Produktion, Rezeption, Analyse, Vermittlung. Mainz: Schott, 2005.

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Romiszowski, A. J. The selection and use of instructional media: For improved classroom teaching and for interactive, individualized instruction. 2nd ed. London: K. Page, 1988.

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Book chapters on the topic "Audiovisual Interaction"

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Möttönen, Riikka, and Mikko Sams. "Audiovisual Interaction." In Handbook of Signal Processing in Acoustics, 731–45. New York, NY: Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-30441-0_37.

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Looms, Peter Olaf. "Standardization of Audiovisual Media Accessibility." In Human–Computer Interaction Series, 317–34. London: Springer London, 2015. http://dx.doi.org/10.1007/978-1-4471-6708-2_16.

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Looms, Peter Olaf. "Standardization of Audiovisual Media Accessibility." In Human–Computer Interaction Series, 237–53. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-5082-4_11.

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Evangelopoulos, Georgios, Konstantinos Rapantzikos, Petros Maragos, Yannis Avrithis, and Alexandros Potamianos. "Audiovisual Attention Modeling and Salient Event Detection." In Multimodal Processing and Interaction, 1–21. Boston, MA: Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-76316-3_8.

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Filimowicz, Michael. "Media Poetics and Cognition in Colocative Audiovisual Displays." In Human–Computer Interaction Series, 223–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73356-2_13.

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Becker, Valdecir, Daniel Gambaro, Rafael M. Toscano, Helder Bruno A. M. de Souza, Thayná dos S. Gomes, Maria C. D. Silva, and Ed Porto Bezerra. "Applying Designing Lines to Develop Audiovisual Systems." In Human-Computer Interaction. Design and User Experience, 3–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49059-1_1.

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Reiter, Ulrich, and Satu Jumisko-Pyykkö. "Watch, Press, and Catch – Impact of Divided Attention on Requirements of Audiovisual Quality." In Human-Computer Interaction. HCI Intelligent Multimodal Interaction Environments, 943–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-73110-8_104.

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Jokisch, Oliver, Uwe Koloska, Diane Hirschfeld, and Rüdiger Hoffmann. "Pronunciation Learning and Foreign Accent Reduction by an Audiovisual Feedback System." In Affective Computing and Intelligent Interaction, 419–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11573548_54.

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Toscano, Rafael, and Valdecir Becker. "Audiovisual Design of Learning Systems for Children with ASD." In Universal Access in Human-Computer Interaction. Methods, Technologies, and Users, 613–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92049-8_45.

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Becker, Valdecir, Daniel Gambaro, and Thais Saraiva Ramos. "Audiovisual Design and the Convergence Between HCI and Audience Studies." In Human-Computer Interaction. User Interface Design, Development and Multimodality, 3–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58071-5_1.

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Conference papers on the topic "Audiovisual Interaction"

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Hussen Abdelaziz, Ahmed, Anushree Prasanna Kumar, Chloe Seivwright, Gabriele Fanelli, Justin Binder, Yannis Stylianou, and Sachin Kajareker. "Audiovisual Speech Synthesis using Tacotron2." In ICMI '21: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3462244.3479883.

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Torok, A., K. K. Asboth, F. Honbolygo, and V. Csepe. "Intensity dependent interaction in audiovisual integration." In 2012 IEEE 3rd International Conference on Cognitive Infocommunications (CogInfoCom). IEEE, 2012. http://dx.doi.org/10.1109/coginfocom.2012.6422027.

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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.

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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition
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Bilakhia, Sanjay, Stavros Petridis, and Maja Pantic. "Audiovisual Detection of Behavioural Mimicry." In 2013 Humaine Association Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2013. http://dx.doi.org/10.1109/acii.2013.27.

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Petridis, Stavros, Maelle Leveque, and Maja Pantic. "Audiovisual Detection of Laughter in Human-Machine Interaction." In 2013 Humaine Association Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2013. http://dx.doi.org/10.1109/acii.2013.28.

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Taj, Murtaza, and Andrea Cavallaro. "Interaction recognition in wide areas using audiovisual sensors." In 2012 19th IEEE International Conference on Image Processing (ICIP 2012). IEEE, 2012. http://dx.doi.org/10.1109/icip.2012.6467059.

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Charitos, D., V. Bourdakis, and E. Gavrilou. "Embedding an audiovisual interactive installation environment in urban space for enhancing social interaction." In 2nd IET International Conference on Intelligent Environments (IE 06). IEE, 2006. http://dx.doi.org/10.1049/cp:20060630.

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Wang, Yanan, Jianming Wu, Panikos Heracleous, Shinya Wada, Rui Kimura, and Satoshi Kurihara. "Implicit Knowledge Injectable Cross Attention Audiovisual Model for Group Emotion Recognition." In ICMI '20: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3382507.3417960.

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Schroder, Marc, Elisabetta Bevacqua, Florian Eyben, Hatice Gunes, Dirk Heylen, Mark ter Maat, Sathish Pammi1, et al. "A demonstration of audiovisual sensitive artificial listeners." In 2009 3rd International Conference on Affective Computing and Intelligent Interaction and Workshops (ACII 2009). IEEE, 2009. http://dx.doi.org/10.1109/acii.2009.5349530.

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Melhart, David, Antonios Liapis, and Georgios N. Yannakakis. "PAGAN: Platform for Audiovisual General-purpose ANnotation." In 2019 8th International Conference on Affective Computing and Intelligent Interaction Workshops and Demos (ACIIW). IEEE, 2019. http://dx.doi.org/10.1109/aciiw.2019.8925149.

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Reports on the topic "Audiovisual Interaction"

1

Porto Renó, Denis. El montaje audiovisual como base narrativa para el cine documental interactivo: nuevos estudios. Revista Latina de Comunicación Social, 2008. http://dx.doi.org/10.4185/rlcs-63-2008-755-083-090.

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Nahorniak, Maya. Occupation of profession: Methodology of laboratory classes from practically-oriented courses under distance learning (on an example of discipline «Radioproduction»). Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11412.

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The article deals with the peculiarities of the use of verbal, visual and practical methods in the distance learning of professional practically-oriented discipline «Radioproduction», are offered new techniques for the use of these methods during the presentation of theoretical material and the creation of a media product (audiovisual content), due to the acquisition of a specialty in conditions online. It is proved that in distance learning, this discipline is inadmissible to absolutize the significance of verbal methods (narrative, explanation, conversation, discussion, lecture) and that all varieties of verbal methods require the intensification of an interactive factor. Based on its own experience, it has been demonstrated, as with the help of various educational platforms, the most appropriate use of visual learning methods. Particular attention is paid to the fact that practical teaching methods based on professional activities of students acquire priority in their professional training. It has been established that only when parity application of new receptions of verbal, visual and practical methods of online learning may have a proper pedagogical effect and will ensure the qualitative acquisition of the specialty. Training methods – verbal, visual, practical – are intended to provide all levels of assimilation of knowledge and skills to promote the full master of the radiojournalist specialist.
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Uchitel, Aleksandr D., Ilona V. Batsurovska, Nataliia A. Dotsenko, Olena A. Gorbenko, and Nataliia I. Kim. Implementation of future agricultural engineers' training technology in the informational and educational environment. [б. в.], June 2021. http://dx.doi.org/10.31812/123456789/4440.

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The article presents the implementation of future agricultural engineers’ training technology in the informational and educational environment. To train future agricultural engineers, it is advisable to form tutorials for the study of each discipline in the conditions of informational and educational environment. Such tutorials are an assistance in mastering both theoretical material and course navigation, where interactive electronic learning tools are presented to perform tasks in the informational and educational environment. Higher education applicants perform such tasks directly in the classroom with the help of gadgets or personal computers. The final grade is formed from the scores obtained in the classroom and the rating of higher education applicants while studying in the informational and educational environment. The outlined approach is able to help in the quality of learning content. The use of interactive audiovisual online tools allows to get acquainted with the theoretical, practical and experimental provisions clearly, it is important for the training of future agricultural engineers. At the end of the experiment, it can be argued that the developed technology increases the level of motivation and self-incentive to work in the informational and educational environment. The application of the presented technology provides an opportunity to combine the educational process in the classroom with learning in the informational and educational environment, forms analytical abilities and competencies in professional activity. The reliability of the obtained results was checked using the λ Kolmogorov-Smirnov criterion. It is determined that when using this technology in the educational process, the indicators in the experimental group increased, which displays the effectiveness of training bachelors in agricultural engineering in the conditions of informational and educational environment.
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