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Books on the topic 'Audiovisual Interaction'

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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Consult the top 31 books for your research on the topic 'Audiovisual Interaction.'

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1

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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2

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

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3

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

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4

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

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5

ITunes. Paris: Micro Application, 2009.

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6

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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7

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

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8

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

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9

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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10

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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11

Romiszowski, A. J. The selection and use of instructional media: For improved classroom teaching and for interactive, individualised instruction. 2nd ed. London: Kogan Page, 1992.

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12

The Selection and use of instructional media: For improved classroom teaching and for interactive, individualized instruction. 2nd ed. London: KoganPage, 1988.

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13

1973-, Collins Karen, ed. From Pac-Man to pop music: Interactive audio in games and new media. Aldershot, Hampshidre, England: Ashgate, 2008.

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14

Romiszowski, A. J. Selection and use of instructional Media: For improved classroom teaching and for interactive , individual instruction. 2nd ed. London: Kogan Page, 1992.

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15

Fabre, Patrick, (1971- ...)., Traduction, ed. HTML5 [video]: Le guide complet de la vidéo et de l'audio en HTML5. Paris: Pearson, 2012.

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16

Developing auto-instructional materials: From programmed texts to CAL and interactive video. London: Kogan Page, 1986.

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17

Organization of multimedia resources: Principles and practice of information retrieval. Aldershot, Hampshire, England: Gower, 1999.

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18

Primal 3D interactive series: Interactive hip, interactive foot & ankle, interactive knee 1.1, interactive hand, interactive shoulder, interactive spine, interactive head & neck. Williston, Vt: Primal Pictures Ltd., 1999.

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19

Lewis, Hannah. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0008.

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The conclusion summarizes the book’s main points and themes, particularly the range of diverse responses to the arrival of synchronized sound film in France, and music’s significant role within those responses. It further suggests that examining the interaction between music and cinema during the critical technological juncture of the early 1930s not only nuances our understanding of 1930s French musical and artistic culture more broadly but also provides a new perspective on the development of poetic realist audiovisual practices, revealing “classic French” cinematic conventions as one among many possible directions that sound cinema might have taken. We can additionally reconsider postwar French cinematic innovations, particularly those of the New Wave, as outgrowths and developments out of these earlier audiovisual experiments. Lastly, it encourages a nonteleological approach to examining moments of technological transition, which can help us better understand artistic responses to contemporary and future media transitions.

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20

Interacting: Multimedia and Health. Health Education Authority, 1994.

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21

Security Arabic Includes Cd Of Audio Files Online Interactive Audiovisual Eflashcards. Edinburgh University Press, 2012.

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22

Patricia, San Martín, ed. Hacia un dispositivo hipermedial dinámico: Educación e investigación para el campo audiovisual interactivo. Bernal: Universidad Nacional de Quilmes Editorial, 2007.

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23

Patricia, San Martín, ed. Hacia un dispositivo hipermedial dinámico: Educación e investigación para el campo audiovisual interactivo. Bernal: Universidad Nacional de Quilmes Editorial, 2007.

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24

Hacia un dispositivo hipermedial dinámico: Educación e investigación para el campo audiovisual interactivo. Bernal: Universidad Nacional de Quilmes Editorial, 2007.

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25

Cook, Nicholas. Beyond Music. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0005.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. “Multimedia” is not simply a genre category but also a mentality. Aesthetic thinking has been conditioned by text-based approaches according to which meaning is inherent. By contrast, multimedia practice and theory are predicated on dynamic interaction of media and generation of emergent meaning in real time. Digital and Internet technologies have enabled significant extension of multimedia practices, transforming principles of montage and extreme intertextuality into a core cultural practice. The chapter illustrates this through a case study of the remix trio Eclectic Method, whose work ranges from Web-based multimedia to live performance and from subversion of copyright to innovative forms of marketing for multinational corporations. The chapter also considers the collision between such practices and intellectual property law, which identifies creativity with individual authorship. The media business has been based on the exploitation of intellectual property, but aesthetic and technological developments suggest that it is becoming a service industry.

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26

Korsgaard, Mathias Bonde. Music Video Transformed. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.015.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter asks what music video has become today and how its audiovisual aesthetics have changed online. It suggests that music videos generally through process of remediation content more actively than any other media form, performing the dual function of “visualizing music” (by recasting a song visually) and “musicalizing vision” (by structuring images according to musical logic). The discussion identifies and provides an overview of several new music video types that have come into existence online, placing them in five categories. In particular, the chapter focuses on interactive music videos and music video apps through close analyses of both Arcade Fire’s interactive video “We Used to Wait” and Björk’s interactive “app album”Biophilia. Both of these actively challenge what we have come to expect of music videos while still performing some familiar functions, prompting us to consider whether they are even music videos.

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27

Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.

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28

Brown, Richard H. Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.001.0001.

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Through the Looking Glass examines John Cage’s interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage’s career. As the commercially dominant media form in the 20th century, cinema transformed the way listeners were introduced to and consumed music. Cage’s quest to redefine music, intentionality, and expression reflects the similar transformation of music within the larger audiovisual experience of sound film. This study covers a wide variety of topics, ranging from Cage’s father, John Cage Sr.’s patents in infrared and military technology during World War II, theories of dance aesthetics, film and television theory, visual music, information technology, copyright, and the postwar position of the American Neo-Avant-Garde. This volume examines key moments in Cage’s career in which cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage’s own consideration of the musical artwork, pointing to new-found collision points that have a significant and heretofore unacknowledged role in Cage’s notions of the audiovisual experience and the medium-specific ontology of a work of art.

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29

Collins, Karen. Implications of Interactivity. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0011.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores concepts of interactivity as they relate to sound production in video games. A guiding assumption of the chapter is that interactivity is a definitive paper of new digital aesthetics in general and gaming in particular. And yet, the question of interactivity has not been addressed with sufficient stringency in scholarly research. At the heart of the chapter are these questions: What makes interactive sound different from noninteractive sound? Where doesinteracting withsound fit into our understanding of our experience of sound and music in media? How do we begin to approach interactive sound from a theoretical perspective? The implications of interactivity are examined, specifically the notion of sound as a feedback device and as a control mechanism. . In these ways the chapter works toward a more comprehensive understanding of sounds in new media contexts that addresses their particularity in interactive contexts rather than resting on previous assumptions about the primacy of sounds as narrative devices.

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30

Bridgett, Rob. Contextualizing Game Audio Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.008.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter is a reflective discourse on the aesthetics and production processes of sound in video games, not only from a technological perspective, but also from the viewpoint that video games are part of an ongoing cultural continuum that deeply involves cinema, music, and other media. The chapter takes the form of a meditative discussion on the practice, process, and craft of designing and directing interactive sound for a game, providing insight into some of the collaborative work that is involved in creating the overall effect of a finished soundtrack for a modern video game. The article makes specific reference to the role and thought processes of the audio director on the video gameScarface: The World is Yours(2006).

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31

Meyer, Petra Maria. Sound, Image, Dance, and Space in Intermedial Theatre. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.42.

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The chapter focuses philosophically on theatre as one of the acoustic spaces for staging in which sound design acquires an ever higher status in an advanced technical intermedia interplay. Theatre-dramaturgy is transformed into intermedial dramaturgy. The author notes a fundamental “acoustic turn” in theatre, which locates compositional processes within new audiovisual interplays. “ICH2 Intermedial Dance Performance for Planetaria” (2005–2006)—a cutting-edge hybrid form of theatre using advanced digital technologies—is discussed. The performance combines expressive body movements, 360° interactive motion graphics, and sound. In this way “ICH²” is a unique piece of the emerging genre called digital theatre, in which technology enables alterable and immersive stage settings and a new acoustic space. The author explores Merleau Ponty’s conception of embodiment, Lacan’s conception of the “imaginary turn,” and aesthetic innovations in the domain of scenography, thus reflecting historical, theoretical, aesthetical, and practical aspects.

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