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audiovisual</title> <meta name="description" content="Search results for: audiovisual"> <meta name="keywords" content="audiovisual"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="audiovisual"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 63</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: audiovisual</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">63</span> The Spatial Circuit of the Audiovisual Industry in Argentina: From Monopoly and Geographic Concentration to New Regionalization and Democratization Policies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andr%C3%A9%20Pasti">André Pasti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Historically, the communication sector in Argentina is characterized by intense monopolization and geographical concentration in the city of Buenos Aires. In 2000, the four major media conglomerates in operation – Clarín, Telefónica, America and Hadad – controlled 84% of the national media market. By 2009, new policies were implemented as a result of civil society organizations demands. Legally, a new regulatory framework was approved: the law 26,522 of Audiovisual Communications Services. Supposedly, these policies intend to create new conditions for the development of the audiovisual economy in the territory of Argentina. The regionalization of audiovisual production and the democratization of channels and access to media were among the priorities. This paper analyses the main changes and continuities in the organization of the spatial circuit of the audiovisual industry in Argentina provoked by these new policies. These new policies aim at increasing the diversity of audiovisual producers and promoting regional audiovisual industries. For this purpose, a national program for the development of audiovisual centers within the country was created. This program fostered a federalized production network, based on nine audiovisual regions and 40 nodes. Each node has created technical, financial and organizational conditions to gather different actors in audiovisual production – such as SMEs, social movements and local associations. The expansion of access to technical networks was also a concern of other policies, such as ‘Argentina connected’, whose objective was to expand access to broadband Internet. The Open Digital Television network also received considerable investments. Furthermore, measures have been carried out in order to impose limits on the concentration of ownership as well as to eliminate the oligopolies and to ensure more competition in the sector. These actions intended to force a divide of the media conglomerates into smaller groups. Nevertheless, the corporations that compose these conglomerates resist strongly, making full use of their economic and judiciary power. Indeed, the absence of effective impact of such measures can be testified by the fact that the audiovisual industry remains strongly concentrated in Argentina. Overall, these new policies were designed properly to decentralize audiovisual production and expand the regional diversity of the audiovisual industry. However, the effective transformation of the organization of the audiovisual circuit in the territory faced several resistances. This can be explained firstly and foremost by the ideological and economic power of the media conglomerates. In the second place, there is an inherited inertia from the unequal distribution of the objects needed for the audiovisual production and consumption. Lastly, the resistance also relies on financial needs and in the excessive dependence of the state for the promotion of regional audiovisual production. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Argentina" title="Argentina">Argentina</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20industry" title=" audiovisual industry"> audiovisual industry</a>, <a href="https://publications.waset.org/abstracts/search?q=communication%20policies" title=" communication policies"> communication policies</a>, <a href="https://publications.waset.org/abstracts/search?q=geographic%20concentration" title=" geographic concentration"> geographic concentration</a>, <a href="https://publications.waset.org/abstracts/search?q=regionalization" title=" regionalization"> regionalization</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20circuit" title=" spatial circuit"> spatial circuit</a> </p> <a href="https://publications.waset.org/abstracts/60979/the-spatial-circuit-of-the-audiovisual-industry-in-argentina-from-monopoly-and-geographic-concentration-to-new-regionalization-and-democratization-policies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60979.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">217</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> Linguistic Accessibility and Audiovisual Translation: Corpus Linguistics as a Tool for Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juan-Pedro%20Rica-Peromingo">Juan-Pedro Rica-Peromingo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The important change taking place with respect to the media and the audiovisual world in Europe needs to benefit all populations, in particular those with special needs, such as the deaf and hard-of-hearing population (SDH) and blind and partially-sighted population (AD). This recent interest in the field of audiovisual translation (AVT) can be observed in the teaching and learning of the different modes of AVT in the degree and post-degree courses at Spanish universities, which expand the interest and practice of AVT linguistic accessibility. We present a research project led at the UCM which consists of the compilation of AVT activities for teaching purposes and tries to analyze the creation and reception of SDH and AD: the AVLA Project (Audiovisual Learning Archive), which includes audiovisual materials carried out by the university students on different AVT modes and evaluations from the blind and deaf informants. In this study, we present the materials created by the students. A group of the deaf and blind population has been in charge of testing the student's SDH and AD corpus of audiovisual materials through some questionnaires used to evaluate the students’ production. These questionnaires include information about the reception of the subtitles and the audio descriptions from linguistic and technical points of view. With all the materials compiled in the research project, a corpus with both the students’ production and the recipients’ evaluations is being compiled: the CALING (Corpus de Accesibilidad Lingüística) corpus. Preliminary results will be presented with respect to those aspects, difficulties, and deficiencies in the SDH and AD included in the corpus, specifically with respect to the length of subtitles, the position of the contextual information on the screen, and the text included in the audio descriptions and tone of voice used. These results may suggest some changes and improvements in the quality of the SDH and AD analyzed. In the end, demand for the teaching and learning of AVT and linguistic accessibility at a university level and some important changes in the norms which regulate SDH and AD nationally and internationally will be suggested. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title="audiovisual translation">audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=corpus%20linguistics" title=" corpus linguistics"> corpus linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=linguistic%20accessibility" title=" linguistic accessibility"> linguistic accessibility</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a> </p> <a href="https://publications.waset.org/abstracts/143995/linguistic-accessibility-and-audiovisual-translation-corpus-linguistics-as-a-tool-for-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143995.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> Multimodal Data Fusion Techniques in Audiovisual Speech Recognition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hadeer%20M.%20Sayed">Hadeer M. Sayed</a>, <a href="https://publications.waset.org/abstracts/search?q=Hesham%20E.%20El%20Deeb"> Hesham E. El Deeb</a>, <a href="https://publications.waset.org/abstracts/search?q=Shereen%20A.%20Taie"> Shereen A. Taie</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the big data era, we are facing a diversity of datasets from different sources in different domains that describe a single life event. These datasets consist of multiple modalities, each of which has a different representation, distribution, scale, and density. Multimodal fusion is the concept of integrating information from multiple modalities in a joint representation with the goal of predicting an outcome through a classification task or regression task. In this paper, multimodal fusion techniques are classified into two main classes: model-agnostic techniques and model-based approaches. It provides a comprehensive study of recent research in each class and outlines the benefits and limitations of each of them. Furthermore, the audiovisual speech recognition task is expressed as a case study of multimodal data fusion approaches, and the open issues through the limitations of the current studies are presented. This paper can be considered a powerful guide for interested researchers in the field of multimodal data fusion and audiovisual speech recognition particularly. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal%20data" title="multimodal data">multimodal data</a>, <a href="https://publications.waset.org/abstracts/search?q=data%20fusion" title=" data fusion"> data fusion</a>, <a href="https://publications.waset.org/abstracts/search?q=audio-visual%20speech%20recognition" title=" audio-visual speech recognition"> audio-visual speech recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20networks" title=" neural networks"> neural networks</a> </p> <a href="https://publications.waset.org/abstracts/157362/multimodal-data-fusion-techniques-in-audiovisual-speech-recognition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157362.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> The Stylistic Representation of Subjectivity in Exemplary Written and Audiovisual Biographical Records about the Brazilian Modernist Artist Tarsila Do Amaral</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juliane%20Noack%20Napoles">Juliane Noack Napoles</a>, <a href="https://publications.waset.org/abstracts/search?q=Vivian%20Martins%20Nogueira%20Napoles"> Vivian Martins Nogueira Napoles</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper operates at the stylistic level of biographical records about the artist Tarsila do Amaral (1886-1973) and the various biographical modes of representation of her subjectivity. Tarsila do Amaral was a Brazilian nationalistic painter, who took part in the first half of the last century in the Antoprofágico Moviment and in the Surrealistic Movement - artistic movements that emerged in the 1920’s. The paper will be developed in the field of Cultural and Media Science and based on an understanding of biography as a subgenre of historical records that will be discussed. Doing that, the theoretical principles about the history genre will also be discussed. In this context, the analytical focus of the present project is the stylistic forms of representation of subjectivity in the postmodern period as expressed in written and audiovisual biographical representation of Tarsila do Amaral. Some exemplary audiovisual biographical records about Tarsila do Amaral will be first analyzed on their own. Then, they will be related to some written biographical records about the painter. At the end, both written and audiovisual records and their stylistic forms of representation of Tarsila do Amaral’s subjectivity are going be analyzed. Tarsila do Amaral will be considered as a Subject Form, following actual concepts about this term in Cultural Studies. For these purposes, it will also be discussed about cultural identity – gender and national identity – and developed a heuristic model so that different understandings and conceptual proposals correlate, including those pertaining to the terms biography, gender, identity, mediality, style, subject and subjectivity. This model will finally be used for the analysis of the selected biographical records. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biography" title="biography">biography</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=modernism" title=" modernism"> modernism</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodernism" title=" postmodernism"> postmodernism</a>, <a href="https://publications.waset.org/abstracts/search?q=style" title=" style"> style</a>, <a href="https://publications.waset.org/abstracts/search?q=subject" title=" subject"> subject</a>, <a href="https://publications.waset.org/abstracts/search?q=subjectivity" title=" subjectivity"> subjectivity</a>, <a href="https://publications.waset.org/abstracts/search?q=surrealism" title=" surrealism"> surrealism</a>, <a href="https://publications.waset.org/abstracts/search?q=Tarsila%20do%20Amaral" title=" Tarsila do Amaral"> Tarsila do Amaral</a> </p> <a href="https://publications.waset.org/abstracts/79249/the-stylistic-representation-of-subjectivity-in-exemplary-written-and-audiovisual-biographical-records-about-the-brazilian-modernist-artist-tarsila-do-amaral" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79249.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> Experimenting the Influence of Input Modality on Involvement Load Hypothesis </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Hassanzadeh">Mohammad Hassanzadeh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As far as incidental vocabulary learning is concerned, the basic contention of the Involvement Load Hypothesis (ILH) is that retention of unfamiliar words is, generally, conditional upon the degree of involvement in processing them. This study examined input modality and incidental vocabulary uptake in a task-induced setting whereby three variously loaded task types (marginal glosses, fill-in-task, and sentence-writing) were alternately assigned to one group of students at Allameh Tabataba’i University (n=2l) during six classroom sessions. While one round of exposure was comprised of the audiovisual medium (TV talk shows), the second round consisted of textual materials with approximately similar subject matter (reading texts). In both conditions, however, the tasks were equivalent to one another. Taken together, the study pursued the dual objectives of establishing a litmus test for the ILH and its proposed values of ‘need’, ‘search’ and ‘evaluation’ in the first place. Secondly, it sought to bring to light the superiority issue of exposure to audiovisual input versus the written input as far as the incorporation of tasks is concerned. At the end of each treatment session, a vocabulary active recall test was administered to measure their incidental gains. Running a one-way analysis of variance revealed that the audiovisual intervention yielded higher gains than the written version even when differing tasks were included. Meanwhile, task 'three' (sentence-writing) turned out the most efficient in tapping learners' active recall of the target vocabulary items. In addition to shedding light on the superiority of audiovisual input over the written input when circumstances are relatively held constant, this study for the most part, did support the underlying tenets of ILH. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Keywords%E2%80%94%20Evaluation" title="Keywords— Evaluation">Keywords— Evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=incidental%20vocabulary%20learning" title=" incidental vocabulary learning"> incidental vocabulary learning</a>, <a href="https://publications.waset.org/abstracts/search?q=input%20mode" title=" input mode"> input mode</a>, <a href="https://publications.waset.org/abstracts/search?q=Involvement%20Load%20Hypothesis" title=" Involvement Load Hypothesis"> Involvement Load Hypothesis</a>, <a href="https://publications.waset.org/abstracts/search?q=need" title=" need"> need</a>, <a href="https://publications.waset.org/abstracts/search?q=search." title=" search."> search.</a> </p> <a href="https://publications.waset.org/abstracts/46016/experimenting-the-influence-of-input-modality-on-involvement-load-hypothesis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46016.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">280</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">58</span> Manipulation of Ideological Items in the Audiovisual Translation of Voiced-Over Documentaries in the Arab World </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Chabbak">S. Chabbak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a widely globalized world, the influence of audiovisual translation on the culture and identity of audiences is unmistakable. However, in the Arab World, there is a noticeable disproportion between this growing influence and the research carried out in the field. As a matter of fact, the voiced-over documentary is one of the most abundantly translated genres in the Arab World that carries lots of ideological elements which are in many cases rendered by manipulation. However, voiced-over documentaries have hardly received any focused attention from researchers in the Arab World. This paper attempts to scrutinize the process of translation of voiced-over documentaries in the Arab World, from French into Arabic in the present case study, by sub-categorizing the ideological items subject to manipulation, identifying the techniques utilized in their translation and exploring the potential extra-linguistic factors that prompt translation agents to opt for manipulative translation. The investigation is based on a corpus of 94 episodes taken from a series entitled <em>360° GEO Reports</em>, produced by the French German network ARTE in French, and acquired, translated and aired by Al Jazeera Documentary Channel for Arab audiences. The results yielded 124 cases of manipulation in four sub-categories of ideological items, and the use of 10 different oblique procedures in the process of manipulative translation. The study also revealed that manipulation is in most of the instances dictated by the editorial line of the broadcasting channel, in addition to the religious, geopolitical and socio-cultural peculiarities of the target culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title="audiovisual translation">audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=ideological%20items" title=" ideological items"> ideological items</a>, <a href="https://publications.waset.org/abstracts/search?q=manipulation" title=" manipulation"> manipulation</a>, <a href="https://publications.waset.org/abstracts/search?q=voiced-over%20documentaries" title=" voiced-over documentaries"> voiced-over documentaries</a> </p> <a href="https://publications.waset.org/abstracts/103254/manipulation-of-ideological-items-in-the-audiovisual-translation-of-voiced-over-documentaries-in-the-arab-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103254.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">212</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">57</span> Analysis of Feminist Translation in Subtitling from Arabic into English: A Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ghada%20Ahmed">Ghada Ahmed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Feminist translation is one of the strategies adopted in the field of translation studies when a gendered content is being rendered from one language to another, and this strategy has been examined in previous studies on written texts. This research, however, addresses the practice of feminist translation in audiovisual texts that are concerned with the screen, dialogue, image and visual aspects. In this thesis, the objectives are studying feminist translation and its adaptation in subtitling from Arabic into English. It addresses the connections between gender and translation as one domain and feminist translation practices with particular consideration of feminist translation strategies in English subtitles. It examines the visibility of the translator throughout the process, assuming that feminist translation is a product directed by the translator’s feminist position, culture, and ideology as a means of helping unshadow women. It also discusses how subtitling constraints impact feminist translation and how the image that has a narrative value can be integrated into the content of the English subtitles. The reasons for conducting this research project are to study language sexism in English and look into Arabic into English gendered content, taking into consideration the Arabic cultural concepts that may lose their connotations when they are translated into English. This research is also analysing the image in an audiovisual text and its contribution to the written dialogue in subtitling. Thus, this research attempts to answer the following questions: To what extent is there a form of affinity between a gendered content and translation? Is feminist translation an act of merely working on a feminist text or feminising the language of any text, by incorporating the translator’s ideology? How can feminist translation practices be applied in an audiovisual text? How likely is it to adapt feminist translation looking into visual components as well as subtitling constraints? Moreover, the paper searches into the fields of gender and translation; feminist translation, language sexism, media studies, and the gap in the literature related to feminist translation practice in visual texts. For my case study, the "Speed Sisters" film has been chosen so as to analyze its English subtitles for my research. The film is a documentary that was produced in 2015 and directed by Amber Fares. It is about five Palestinian women who try to break the stereotypes about women, and have taken their passion about car-racing forward to be the first all-women car-racing driving team in the Middle East. It tackles the issue of gender in both content and language and this is reflected in the translation. As the research topic is semiotic-channelled, the choice for the theoretical approaches varies and combines between translation studies, audiovisual translation, gender studies, and media studies. Each of which will contribute to understanding a specific field of the research and the results will eventually be integrated to achieve the intended objectives in a way that demonstrates rendering a gendered content in one of the audiovisual translation modes from a language into another. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title="audiovisual translation">audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20translation" title=" feminist translation"> feminist translation</a>, <a href="https://publications.waset.org/abstracts/search?q=films%20gendered%20content" title=" films gendered content"> films gendered content</a>, <a href="https://publications.waset.org/abstracts/search?q=subtitling%20conventions%20and%20constraints" title=" subtitling conventions and constraints"> subtitling conventions and constraints</a> </p> <a href="https://publications.waset.org/abstracts/123981/analysis-of-feminist-translation-in-subtitling-from-arabic-into-english-a-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123981.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">56</span> Teaching Audiovisual Translation (AVT):Linguistic and Technical Aspects of Different Modes of AVT</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juan-Pedro%20Rica-Peromingo">Juan-Pedro Rica-Peromingo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Teachers constantly need to innovate and redefine materials for their lectures, especially in areas such as Language for Specific Purposes (LSP) and Translation Studies (TS). It is therefore essential for the lecturers to be technically skilled to handle the never-ending evolution in software and technology, which are necessary elements especially in certain courses at university level. This need becomes even more evident in Audiovisual Translation (AVT) Modules and Courses. AVT has undergone considerable growth in the area of teaching and learning of languages for academic purposes. We have witnessed the development of a considerable number of masters and postgraduate courses where AVT becomes a tool for L2 learning. The teaching and learning of different AVT modes are components of undergraduate and postgraduate courses. Universities, in which AVT is offered as part of their teaching programme or training, make use of professional or free software programs. This paper presents an approach in AVT withina specific university context, in which technology is used by means of professional and nonprofessional software. Students take an AVT subject as part of their English Linguistics Master’s Degree at the Complutense University (UCM) in which they are using professional (Spot) and nonprofessional (Subtitle Workshop, Aegisub, Windows Movie Maker) software packages. The students are encouraged to develop their tasks and projects simulating authentic professional experiences and contexts in the different AVT modes: subtitling for hearing and deaf and hard of hearing population, audio description and dubbing. Selected scenes from TV series such as X-Files, Gossip girl, IT Crowd; extracts from movies: Finding Nemo, Good Will Hunting, School of Rock, Harry Potter, Up; and short movies (Vincent) were used. Hence, the complexity of the audiovisual materials used in class as well as the activities for their projects were graded. The assessment of the diverse tasks carried out by all the students are expected to provide some insights into the best way to improve their linguistic accuracy and oral and written productions with the use of different AVT modes in a very specific ESP university context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ESP" title="ESP">ESP</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title=" audiovisual translation"> audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=university%20teaching" title=" university teaching"> university teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a> </p> <a href="https://publications.waset.org/abstracts/26518/teaching-audiovisual-translation-avtlinguistic-and-technical-aspects-of-different-modes-of-avt" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26518.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">518</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">55</span> Electroencephalography Correlates of Memorability While Viewing Advertising Content</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Victor%20N.%20Anisimov">Victor N. Anisimov</a>, <a href="https://publications.waset.org/abstracts/search?q=Igor%20E.%20Serov"> Igor E. Serov</a>, <a href="https://publications.waset.org/abstracts/search?q=Ksenia%20M.%20Kolkova"> Ksenia M. Kolkova</a>, <a href="https://publications.waset.org/abstracts/search?q=Natalia%20V.%20Galkina"> Natalia V. Galkina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The problem of memorability of the advertising content is closely connected with the key issues of neuromarketing. The memorability of the advertising content contributes to the marketing effectiveness of the promoted product. Significant directions of studying the phenomenon of memorability are the memorability of the brand (detected through the memorability of the logo) and the memorability of the product offer (detected through the memorization of dynamic audiovisual advertising content - commercial). The aim of this work is to reveal the predictors of memorization of static and dynamic audiovisual stimuli (logos and commercials). An important direction of the research was revealing differences in psychophysiological correlates of memorability between static and dynamic audiovisual stimuli. We assumed that static and dynamic images are perceived in different ways and may have a difference in the memorization process. Objective methods of recording psychophysiological parameters while watching static and dynamic audiovisual materials are well suited to achieve the aim. The electroencephalography (EEG) method was performed with the aim of identifying correlates of the memorability of various stimuli in the electrical activity of the cerebral cortex. All stimuli (in the groups of statics and dynamics separately) were divided into 2 groups – remembered and not remembered based on the results of the questioning method. The questionnaires were filled out by survey participants after viewing the stimuli not immediately, but after a time interval (for detecting stimuli recorded through long-term memorization). Using statistical method, we developed the classifier (statistical model) that predicts which group (remembered or not remembered) stimuli gets, based on psychophysiological perception. The result of the statistical model was compared with the results of the questionnaire. Conclusions: Predictors of the memorability of static and dynamic stimuli have been identified, which allows prediction of which stimuli will have a higher probability of remembering. Further developments of this study will be the creation of stimulus memory model with the possibility of recognizing the stimulus as previously seen or new. Thus, in the process of remembering the stimulus, it is planned to take into account the stimulus recognition factor, which is one of the most important tasks for neuromarketing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=memory" title="memory">memory</a>, <a href="https://publications.waset.org/abstracts/search?q=commercials" title=" commercials"> commercials</a>, <a href="https://publications.waset.org/abstracts/search?q=neuromarketing" title=" neuromarketing"> neuromarketing</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=branding" title=" branding"> branding</a> </p> <a href="https://publications.waset.org/abstracts/91017/electroencephalography-correlates-of-memorability-while-viewing-advertising-content" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91017.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">251</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">54</span> Effects of Audiovisual Contextualization of L2 Idioms on Enhancing Students’ Comprehension and Retention</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monica%20Karlsson">Monica Karlsson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The positive effect of a supportive written context on comprehension and retention when faced with a previously unknown idiomatic expression is today an indisputable fact, especially if relevant clues are given in close proximity of the item in question. Also, giving learners a chance of visualizing the meaning of an idiom by offering them its source domain and/or by elaborating etymologically, i.e. providing a mental picture in addition to the spoken/written form (referred to as dual coding), seems to enhance comprehension and retention even further, especially if the idiom is of a more transparent kind. For example, by explaining that walk the plank has a maritime origin and a canary in a coal mine comes from the time when canaries were kept in cages to warn miners if gas was leaking out at which point the canaries succumbed immediately, learners’ comprehension and retention have been shown to increase. The present study aims to investigate whether contextualization of an audiovisual kind could help increase comprehension and retention of L2 idioms. 40 Swedish first-term university students studying English as part of their education to become middle-school teachers participated in the investigation, which tested 24 idioms, all of which were ascertained to be previously unknown to the informants. While half of the learners were subjected to a test in which they were asked to watch scenes from various TV programmes, each scene including one idiomatic expression in a supportive context, the remaining 20 students, as a point of reference, were only offered written contexts, though equally supportive. Immediately after these sessions, both groups were given the same idioms in a decontextualized form and asked to give their meaning. After five weeks, finally, the students were subjected to yet another decontextualized comprehension test. Furthermore, since mastery of idioms in one’s L1 appears to correlate to a great extent with a person’s ability to comprehend idioms in an L2, all the informants were also asked to take a test focusing on idioms in their L1. The result on this test is thus seen to indicate each student’s potential for understanding and memorizing various idiomatic expressions from a more general perspective. Preliminary results clearly show that audiovisual contextualization indeed has a positive effect on learners’ retention. In addition, preliminary results also show that those learners’ who were able to recall most meanings were those who had a propensity for idiom comprehension in their L1. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=English" title="English">English</a>, <a href="https://publications.waset.org/abstracts/search?q=L2" title=" L2"> L2</a>, <a href="https://publications.waset.org/abstracts/search?q=idioms" title=" idioms"> idioms</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20context" title=" audiovisual context"> audiovisual context</a> </p> <a href="https://publications.waset.org/abstracts/38543/effects-of-audiovisual-contextualization-of-l2-idioms-on-enhancing-students-comprehension-and-retention" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/38543.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">347</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">53</span> Biofeedback-Driven Sound and Image Generation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Claudio%20Burguez">Claudio Burguez</a>, <a href="https://publications.waset.org/abstracts/search?q=Mar%C3%ADa%20Castell%C3%B3"> María Castelló</a>, <a href="https://publications.waset.org/abstracts/search?q=Mikaela%20Pisani"> Mikaela Pisani</a>, <a href="https://publications.waset.org/abstracts/search?q=Marcos%20Umpi%C3%A9rrez"> Marcos Umpiérrez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> BIOFEEDBACK exhibition offers a unique experience for each visitor, combining art, neuroscience, and technology in an interactive way. Using a headband that captures the bioelectric activity of the brain, the visitors are able to generate sound and images in a sequence loop, making them an integral part of the artwork. Through this interactive exhibit, visitors gain a deeper appreciation of the beauty and complexity of the brain. As a special takeaway, visitors will receive an NFT as a present, allowing them to continue their engagement with the exhibition beyond the physical space. We used the EEG Biofeedback technique following a closed-loop neuroscience approach, transforming EEG data captured by a Muse S headband in real-time into audiovisual stimulation. PureData is used for sound generation and Generative Adversarial Networks (GANs) for image generation. Thirty participants have experienced the exhibition. For some individuals, it was easier to focus than others. Participants who said they could focus during the exhibit stated that at one point, they felt that they could control the sound, while images were more abstract, and they did not feel that they were able to control them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual" title=" audiovisual"> audiovisual</a>, <a href="https://publications.waset.org/abstracts/search?q=biofeedback" title=" biofeedback"> biofeedback</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=NFT" title=" NFT"> NFT</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/161610/biofeedback-driven-sound-and-image-generation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161610.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">73</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">52</span> The Challenges of Intercultural Transfer: The Italian Reception of Aotearoa/New Zealand Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Martina%20Depentor">Martina Depentor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While the cinematic medium contributes to bringing images of a culture to foreign audiences, Audiovisual Translation contributes to deciphering those cultural representations to those same audiences. Through Audiovisual Translation, in fact, elements permeate the reception system and contribute to forging a cultural image of the original/source system in the target/reception system. By analyzing a number of Italian critical reviews, blogs and forum posts, this paper examines the impact and reception in Italy of five of the most successful and influential New Zealand films of the last two decades - An Angel at my Table (1990), The Piano (1993), Heavenly Creatures (1994), Once Were Warriors (1994), Whale Rider (2002) - with the aim of exploring how the adaptation of New Zealand films might condition the representation of New Zealand in the Italian imaginary. The analysis seeks to identify whether a certain degree of cultural loss results from the 'translation' of these films. The films selected share common ground in that they all reveal cultural, social and historical characteristics of New Zealand, from aspects that are unique to this country and that on the surface may render it difficult to penetrate (unfamiliar landscapes, aspects of indigenous culture) to more universal themes (intimate family stories, dysfunctional relationship). They contributed to situating New Zealand on an international stage and to bringing images of the country to many audiences, the Italian one included, with little previous cultural knowledge of the social and political history of New Zealand. Differences in film types pose clearly different levels of interpretative challenges to non-New Zealander audiences, and examples from the films will show how these challenges are or are not overcome if the adaptations display misinterpretations or rendition gaps, and how the process of intercultural transfer further 'domesticates' or 'exoticises' the source culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title="audiovisual translation">audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20representation" title=" cultural representation"> cultural representation</a>, <a href="https://publications.waset.org/abstracts/search?q=intercultural%20transfer" title=" intercultural transfer"> intercultural transfer</a>, <a href="https://publications.waset.org/abstracts/search?q=New%20Zealand%20Films" title=" New Zealand Films"> New Zealand Films</a> </p> <a href="https://publications.waset.org/abstracts/63066/the-challenges-of-intercultural-transfer-the-italian-reception-of-aotearoanew-zealand-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63066.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">302</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">51</span> The Relation between Subtitling and General Translation from a Didactic Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonia%20Gonzalez%20Cruz">Sonia Gonzalez Cruz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Subtitling activities allow for acquiring and developing certain translation skills, and they also have a great impact on the students' motivation. Active subtitling is a relatively recent activity that has generated a lot of interest particularly in the field of second-language acquisition, but it is also present within both the didactics of general translation and language teaching for translators. It is interesting to analyze the level of inclusion of these new resources into the existent curricula and observe to what extent these different teaching methods are being used in the translation classroom. Although subtitling has already become an independent discipline of study and it is considered to be a type of translation on its own, it is necessary to do further research on the different didactic varieties that this type of audiovisual translation offers. Therefore, this project is framed within the field of the didactics of translation, and it focuses on the relationship between the didactics of general translation and active subtitling as a didactic tool. Its main objective is to analyze the inclusion of interlinguistic active subtitling in general translation curricula at different universities. As it has been observed so far, the analyzed curricula do not make any type of reference to the use of this didactic tool in general translation classrooms. However, they do register the inclusion of other audiovisual activities such as dubbing, script translation or video watching, among others. By means of online questionnaires and interviews, the main goal is to confirm the results obtained after the observation of the curricula and find out to what extent subtitling has actually been included into general translation classrooms. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=subtitling" title="subtitling">subtitling</a>, <a href="https://publications.waset.org/abstracts/search?q=general%20translation" title=" general translation"> general translation</a>, <a href="https://publications.waset.org/abstracts/search?q=didactics" title=" didactics"> didactics</a>, <a href="https://publications.waset.org/abstracts/search?q=translation%20competence" title=" translation competence"> translation competence</a> </p> <a href="https://publications.waset.org/abstracts/83484/the-relation-between-subtitling-and-general-translation-from-a-didactic-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83484.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">50</span> Study of Multimodal Resources in Interactions Involving Children with Autistic Spectrum Disorders</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fernanda%20Miranda%20da%20Cruz">Fernanda Miranda da Cruz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to systematize, descriptively and analytically, the relations between language, body and material world explored in a specific empirical context: everyday co-presence interactions between children diagnosed with Autistic Spectrum Disease ASD and various interlocutors. We will work based on 20 hours of an audiovisual corpus in Brazilian Portuguese language. This analysis focuses on 1) the analysis of daily interactions that have the presence/participation of subjects with a diagnosis of ASD based on an embodied interaction perspective; 2) the study of the status and role of gestures, body and material world in the construction and constitution of human interaction and its relation with linguistic-cognitive processes and Autistic Spectrum Disorders; 3) to highlight questions related to the field of videoanalysis, such as: procedures for recording interactions in complex environments (involving many participants, use of objects and body movement); the construction of audiovisual corpora for linguistic-interaction research; the invitation to a visual analytical mentality of human social interactions involving not only the verbal aspects that constitute it, but also the physical space, the body and the material world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autism%20spectrum%20disease" title="autism spectrum disease">autism spectrum disease</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodality" title=" multimodality"> multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20interaction" title=" social interaction"> social interaction</a>, <a href="https://publications.waset.org/abstracts/search?q=non-verbal%20interactions" title=" non-verbal interactions"> non-verbal interactions</a> </p> <a href="https://publications.waset.org/abstracts/121698/study-of-multimodal-resources-in-interactions-involving-children-with-autistic-spectrum-disorders" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/121698.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">115</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">49</span> Influence of Auditory Visual Information in Speech Perception in Children with Normal Hearing and Cochlear Implant</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sachin">Sachin</a>, <a href="https://publications.waset.org/abstracts/search?q=Shantanu%20Arya"> Shantanu Arya</a>, <a href="https://publications.waset.org/abstracts/search?q=Gunjan%20Mehta"> Gunjan Mehta</a>, <a href="https://publications.waset.org/abstracts/search?q=Md.%20Shamim%20Ansari"> Md. Shamim Ansari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The cross-modal influence of visual information on speech perception can be illustrated by the McGurk effect which is an illusion of hearing of syllable /ta/ when a listener listens one syllable, e.g.: /pa/ while watching a synchronized video recording of syllable, /ka/. The McGurk effect is an excellent tool to investigate multisensory integration in speech perception in both normal hearing and hearing impaired populations. As the visual cue is unaffected by noise, individuals with hearing impairment rely more than normal listeners on the visual cues.However, when non congruent visual and auditory cues are processed together, audiovisual interaction seems to occur differently in normal and persons with hearing impairment. Therefore, this study aims to observe the audiovisual interaction in speech perception in Cochlear Implant users compares the same with normal hearing children. Auditory stimuli was routed through calibrated Clinical audiometer in sound field condition, and visual stimuli were presented on laptop screen placed at a distance of 1m at 0 degree azimuth. Out of 4 presentations, if 3 responses were a fusion, then McGurk effect was considered to be present. The congruent audiovisual stimuli /pa/ /pa/ and /ka/ /ka/ were perceived correctly as ‘‘pa’’ and ‘‘ka,’’ respectively by both the groups. For the non- congruent stimuli /da/ /pa/, 23 children out of 35 with normal hearing and 9 children out of 35 with cochlear implant had a fusion of sounds i.e. McGurk effect was present. For the non-congruent stimulus /pa/ /ka/, 25 children out of 35 with normal hearing and 8 children out of 35 with cochlear implant had fusion of sounds.The children who used cochlear implants for less than three years did not exhibit fusion of sound i.e. McGurk effect was absent in this group of children. To conclude, the results demonstrate that consistent fusion of visual with auditory information for speech perception is shaped by experience with bimodal spoken language during early life. When auditory experience with speech is mediated by cochlear implant, the likelihood of acquiring bimodal fusion is increased and it greatly depends on the age of implantation. All the above results strongly support the need for screening children for hearing capabilities and providing cochlear implants and aural rehabilitation as early as possible. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cochlear%20implant" title="cochlear implant">cochlear implant</a>, <a href="https://publications.waset.org/abstracts/search?q=congruent%20stimuli" title=" congruent stimuli"> congruent stimuli</a>, <a href="https://publications.waset.org/abstracts/search?q=mcgurk%20effect" title=" mcgurk effect"> mcgurk effect</a>, <a href="https://publications.waset.org/abstracts/search?q=non-congruent%20stimuli" title=" non-congruent stimuli"> non-congruent stimuli</a> </p> <a href="https://publications.waset.org/abstracts/52237/influence-of-auditory-visual-information-in-speech-perception-in-children-with-normal-hearing-and-cochlear-implant" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52237.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">308</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">48</span> Using Audio-Visual Aids and Computer-Assisted Language Instruction to Overcome Learning Difficulties of Vocabulary in Students of Special Needs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sadeq%20Al%20Yaari">Sadeq Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayman%20Al%20Yaari"> Ayman Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Adham%20Al%20Yaari"> Adham Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Montaha%20Al%20Yaari"> Montaha Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Aayah%20Al%20Yaari"> Aayah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Sajedah%20Al%20Yaar"> Sajedah Al Yaar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objectives: To assess the effect of using audio-visual aids and computer-assisted/ aided language instruction (CALI) in the performance of students of special needs studying vocabulary course. Methods: The performance of forty students of special needs (males and females) who used audiovisual aids and CALI in their vocabulary course at al-Malādh school for students of special needs was compared to that of another group (control group) of the same number and age (8-18). Again, subjects in the experimental group were given lessons using audio-visual aids and CALI, while those in the control group were given lessons using ordinary educational aids only, although both groups almost shared the same features (class environment, speech language therapist (SLT), etc.). Pre-andposttest was given at the beginning and end of the semester and a qualitative and quantitative analysis followed. Results & conclusions: Results of the present experimental study's pre-and-posttests indicated that the performance of the students in the first group was higher than that of those of the second group (34.27%, 73.82% vs. 33.57%, 34.92%, respectively). Compared with females, males’ performance was higher (1515 scores vs. 1438 scores). Such findings suggest that the presence of these audiovisual aids and CALI in the classes of students of special needs, especially if they are studying vocabulary building course is very important due to their usefulness in the improvement of performance of the students of special needs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language%20components" title="language components">language components</a>, <a href="https://publications.waset.org/abstracts/search?q=vocabulary" title=" vocabulary"> vocabulary</a>, <a href="https://publications.waset.org/abstracts/search?q=audio-visual%20aids" title=" audio-visual aids"> audio-visual aids</a>, <a href="https://publications.waset.org/abstracts/search?q=CALI" title=" CALI"> CALI</a>, <a href="https://publications.waset.org/abstracts/search?q=special%20needs" title=" special needs"> special needs</a>, <a href="https://publications.waset.org/abstracts/search?q=students" title=" students"> students</a>, <a href="https://publications.waset.org/abstracts/search?q=SLTs" title=" SLTs"> SLTs</a> </p> <a href="https://publications.waset.org/abstracts/186621/using-audio-visual-aids-and-computer-assisted-language-instruction-to-overcome-learning-difficulties-of-vocabulary-in-students-of-special-needs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186621.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">55</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">47</span> Telemedicine for Telerehabilitation in Areas Affected by Social Conflicts in Colombia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lilia%20Edit%20Aparicio%20Pico">Lilia Edit Aparicio Pico</a>, <a href="https://publications.waset.org/abstracts/search?q=Paulo%20Cesar%20Coronado%20S%C3%A1nchez"> Paulo Cesar Coronado Sánchez</a>, <a href="https://publications.waset.org/abstracts/search?q=Roberto%20Ferro%20Escobar"> Roberto Ferro Escobar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents the implementation of telemedicine services for physiotherapy, occupational therapy, and speech therapy rehabilitation, utilizing telebroadcasting of audiovisual content to enhance comprehensive patient recovery in rural areas of San Vicente del Caguán municipality, characterized by high levels of social conflict in Colombia. The region faces challenges such as dysfunctional problems, physical rehabilitation needs, and a high prevalence of hearing diseases, leading to neglect and substandard health services. Limited access to healthcare due to communication barriers and transportation difficulties exacerbates these issues. To address these challenges, a research initiative was undertaken to leverage information and communication technologies (ICTs) to improve healthcare quality and accessibility for this vulnerable population. The primary objective was to develop a tele-rehabilitation system to provide asynchronous online therapies and teleconsultation services for patient follow-up during the recovery process. The project comprises two components: Communication systems and human development. A technological component involving the establishment of a wireless network connecting rural centers and the development of a mobile application for video-based therapy delivery. Communications systems will be provided by a radio link that utilizes internet provided by the Colombian government, located in the municipality of San Vicente del Caguán to connect two rural centers (Pozos and Tres Esquinas) and a mobile application for managing videos for asynchronous broadcasting in sidewalks and patients' homes. This component constitutes an operational model integrating information and telecommunications technologies. The second component involves pedagogical and human development. The primary focus is on the patient, where performance indicators and the efficiency of therapy support were evaluated for the assessment and monitoring of telerehabilitation results in physical, occupational, and speech therapy. They wanted to implement a wireless network to ensure audiovisual content transmission for tele-rehabilitation, design audiovisual content for tele-rehabilitation based on services provided by the ESE Hospital San Rafael in physiotherapy, occupational therapy, and speech therapy, develop a software application for fixed and mobile devices enabling access to tele-rehabilitation audiovisual content for healthcare personnel and patients and finally to evaluate the technological solution's contribution to the ESE Hospital San Rafael community. The research comprised four phases: wireless network implementation, audiovisual content design, software application development, and evaluation of the technological solution's impact. Key findings include the successful implementation of virtual teletherapy, both synchronously and asynchronously, and the assessment of technological performance indicators, patient evolution, timeliness, acceptance, and service quality of tele-rehabilitation therapies. The study demonstrated improved service coverage, increased care supply, enhanced access to timely therapies for patients, and positive acceptance of teletherapy modalities. Additionally, the project generated new knowledge for potential replication in other regions and proposed strategies for short- and medium-term improvement of service quality and care indicators <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=e-health" title="e-health">e-health</a>, <a href="https://publications.waset.org/abstracts/search?q=medical%20informatics" title=" medical informatics"> medical informatics</a>, <a href="https://publications.waset.org/abstracts/search?q=telemedicine" title=" telemedicine"> telemedicine</a>, <a href="https://publications.waset.org/abstracts/search?q=telerehabilitation" title=" telerehabilitation"> telerehabilitation</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20therapy" title=" virtual therapy"> virtual therapy</a> </p> <a href="https://publications.waset.org/abstracts/185817/telemedicine-for-telerehabilitation-in-areas-affected-by-social-conflicts-in-colombia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185817.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">46</span> Neural Network Based Control Algorithm for Inhabitable Spaces Applying Emotional Domotics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sergio%20A.%20Navarro%20Tuch">Sergio A. Navarro Tuch</a>, <a href="https://publications.waset.org/abstracts/search?q=Martin%20Rogelio%20Bustamante%20Bello"> Martin Rogelio Bustamante Bello</a>, <a href="https://publications.waset.org/abstracts/search?q=Leopoldo%20Julian%20Lechuga%20Lopez"> Leopoldo Julian Lechuga Lopez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent years, Mexico’s population has seen a rise of different physiological and mental negative states. Two main consequences of this problematic are deficient work performance and high levels of stress generating and important impact on a person’s physical, mental and emotional health. Several approaches, such as the use of audiovisual stimulus to induce emotions and modify a person’s emotional state, can be applied in an effort to decreases these negative effects. With the use of different non-invasive physiological sensors such as EEG, luminosity and face recognition we gather information of the subject’s current emotional state. In a controlled environment, a subject is shown a series of selected images from the International Affective Picture System (IAPS) in order to induce a specific set of emotions and obtain information from the sensors. The raw data obtained is statistically analyzed in order to filter only the specific groups of information that relate to a subject’s emotions and current values of the physical variables in the controlled environment such as, luminosity, RGB light color, temperature, oxygen level and noise. Finally, a neural network based control algorithm is given the data obtained in order to feedback the system and automate the modification of the environment variables and audiovisual content shown in an effort that these changes can positively alter the subject’s emotional state. During the research, it was found that the light color was directly related to the type of impact generated by the audiovisual content on the subject’s emotional state. Red illumination increased the impact of violent images and green illumination along with relaxing images decreased the subject’s levels of anxiety. Specific differences between men and women were found as to which type of images generated a greater impact in either gender. The population sample was mainly constituted by college students whose data analysis showed a decreased sensibility to violence towards humans. Despite the early stage of the control algorithm, the results obtained from the population sample give us a better insight into the possibilities of emotional domotics and the applications that can be created towards the improvement of performance in people’s lives. The objective of this research is to create a positive impact with the application of technology to everyday activities; nonetheless, an ethical problem arises since this can also be applied to control a person’s emotions and shift their decision making. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=data%20analysis" title="data analysis">data analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20domotics" title=" emotional domotics"> emotional domotics</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20improvement" title=" performance improvement"> performance improvement</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20network" title=" neural network"> neural network</a> </p> <a href="https://publications.waset.org/abstracts/91269/neural-network-based-control-algorithm-for-inhabitable-spaces-applying-emotional-domotics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91269.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">45</span> The Expression of the Social Experience in Film Narration: Cinematic ‘Free Indirect Discourse’ in the Dancing Hawk (1977) by Grzegorz Krolikiewicz</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robert%20Birkholc">Robert Birkholc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the basic issues related to the creation of characters in media, such as literature and film, is the representation of the characters' thoughts, emotions, and perceptions. This paper is devoted to the social perspective (or the focalization) expressed in film narration. The aim of the paper is to show how social point of view of the hero –conditioned by his origin and the environment from which he comes– can be created by using non-verbal, purely audiovisual means of expression. The issue will be considered on the example of the little-known polish movie The Dancing Hawk (1977) by Grzegorz Królikiewicz, based on the novel by Julian Kawalec. The thesis of the paper is that the polish director uses a narrative figure, which is somewhat analogous to literary form of free indirect discourse. In literature, free indirect discourse is formally ‘spoken’ by the external narrator, but the narration is clearly filtered through the language and thoughts of the character. According to some scholars (such as Roy Pascal), the narrator in this form of speech does not cite the character's words, but uses his way of thinking and imitates his perspective – sometimes with a deep irony. Free indirect discourse is frequently used in Julian Kawalec’s novel. Through the linguistic stylization, the author tries to convey the socially determined perspective of a peasant who migrates to the big city after the Second World War. Grzegorz Królikiewicz expresses the same social experience by pure cinematic form in the adaptation of the book. Both Kawalec and Królikiewicz show the consequences of so-called ‘social advancement’ in Poland after 1945, when the communist party took over political power. On the example of the fate of the main character, Michał Toporny, the director presents the experience of peasants who left their villages and had to adapt to new, urban space. However, the paper is not focused on the historical topic itself, but on the audiovisual form of the movie. Although Królikiewicz doesn’t use frequently POV shots, the narration of The Dancing Hawk is filtered through the sensations of the main character, who feels uprooted and alienated in the new social space. The director captures the hero's feelings through very complex audiovisual procedures – high or low points of view (representing the ‘social position’), grotesque soundtrack, expressionist scenery, and associative editing. In this way, he manages to create the world from the perspective of a socially maladjusted and internally split subject. The Dancing Hawk is a successful attempt to adapt the subjective narration of the book to the ‘language’ of the cinema. Mieke Bal’s notion of focalization helps to describe ‘free indirect discourse’ as a transmedial figure of representing of the characters’ perceptions. However, the polysemiotic medium of the film also significantly transforms this figure of representation. The paper shows both the similarities and differences between literary and cinematic ‘free indirect discourse.’ <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20and%20literature" title="film and literature">film and literature</a>, <a href="https://publications.waset.org/abstracts/search?q=free%20indirect%20discourse" title=" free indirect discourse"> free indirect discourse</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20experience" title=" social experience"> social experience</a>, <a href="https://publications.waset.org/abstracts/search?q=subjective%20narration" title=" subjective narration"> subjective narration</a> </p> <a href="https://publications.waset.org/abstracts/122805/the-expression-of-the-social-experience-in-film-narration-cinematic-free-indirect-discourse-in-the-dancing-hawk-1977-by-grzegorz-krolikiewicz" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122805.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">44</span> Elderly Blacks: Exception Narrative in Soap Operas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Valmir%20Moratelli">Valmir Moratelli</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses the construction of the narrative of television fiction from the point of view of the invisibility of the representation of elderly black characters. Through the appointment of social and contemporary elements, we analyze why the theme of old age of black people is practically non-existent in brazilian soap operas of TV Globo. By raising characteristic aspects of the leaflet narrative, we want to discuss how the cancellation of identity discourses about elderly blacks and their relationship with aspects of social life is constructed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual" title="audiovisual">audiovisual</a>, <a href="https://publications.waset.org/abstracts/search?q=black" title=" black"> black</a>, <a href="https://publications.waset.org/abstracts/search?q=erderly" title=" erderly"> erderly</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/120530/elderly-blacks-exception-narrative-in-soap-operas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/120530.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">149</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">43</span> Freedom of Expression and Its Restriction in Audiovisual Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sevil%20Yildiz">Sevil Yildiz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Audio visual communication is a type of collective expression. Collective expression activity informs the masses, gives direction to opinions and establishes public opinion. Due to these characteristics, audio visual communication must be subjected to special restrictions. This has been stipulated in both the Constitution and the European Human Rights Agreement. This paper aims to review freedom of expression and its restriction in audio visual media. For this purpose, the authorisation of the Radio and Television Supreme Council to impose sanctions as an independent administrative authority empowered to regulate the field of audio visual communication has been reviewed with regard to freedom of expression and its limits. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio%20visual%20media" title="audio visual media">audio visual media</a>, <a href="https://publications.waset.org/abstracts/search?q=freedom%20of%20expression" title=" freedom of expression"> freedom of expression</a>, <a href="https://publications.waset.org/abstracts/search?q=its%20limits" title=" its limits"> its limits</a>, <a href="https://publications.waset.org/abstracts/search?q=radio%20and%20television%20supreme%20council" title=" radio and television supreme council"> radio and television supreme council</a> </p> <a href="https://publications.waset.org/abstracts/39325/freedom-of-expression-and-its-restriction-in-audiovisual-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39325.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">328</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">42</span> Comparison of Dubbing and Subtitling through Critical Discourse Analysis: Detecting Lexical Differences and Similarities in the Movie 'The Girl with the Dragon Tattoo'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saber%20Noie">Saber Noie</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Jafarpour"> F. Jafarpour</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Translation of the movies was one of important issues of the translators. In this study, the notions of ‘foreignization’, ‘domestication’, and ‘critical discourse analysis’ (CDA) in translation studies were discussed. This study is a comparative study and attempts towards clarifying the lexical differences and similarities between dubbing and subtitling in audiovisual translation through CDA. The strategies proposed by Venuti (1995) and Newmark (1988) used first by researcher and then, the researcher went back to the Van Dijk’s CDA (1995), in the part dominance. This study shows that according to CDA, the dominant strategy in subtitling is foreignization and dominant strategy in dubbing is domestication. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=critical%20discourse%20analysis" title="critical discourse analysis">critical discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=CDA" title=" CDA"> CDA</a>, <a href="https://publications.waset.org/abstracts/search?q=dub" title=" dub"> dub</a>, <a href="https://publications.waset.org/abstracts/search?q=subtitle" title=" subtitle"> subtitle</a>, <a href="https://publications.waset.org/abstracts/search?q=foreignization" title=" foreignization"> foreignization</a>, <a href="https://publications.waset.org/abstracts/search?q=domestication" title=" domestication"> domestication</a> </p> <a href="https://publications.waset.org/abstracts/87932/comparison-of-dubbing-and-subtitling-through-critical-discourse-analysis-detecting-lexical-differences-and-similarities-in-the-movie-the-girl-with-the-dragon-tattoo" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87932.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">278</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">41</span> Work Experience and Employability: Results and Evaluation of a Pilot Training Course on Skills for Company Tutors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Javier%20Barraycoa">Javier Barraycoa</a>, <a href="https://publications.waset.org/abstracts/search?q=Olga%20Lasaga"> Olga Lasaga</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Work experience placements are one of the main routes to employment and acquiring professional experience for recent graduates. The effectiveness of these work experience placements is conditioned to the training in skills, especially teaching skills, of company tutors. For this reason, a manual specifically designed for training company tutors in these skills has been developed. Similarly, a pilot semi-attendance course to provide the resources that enable tutors to improve their role as instructors was carried out. The course was quantitatively and qualitatively evaluated with the aim of assessing its effectiveness, detecting shortcomings and areas to be improved, and revising the manual contents. One of the biggest achievements was the raising of awareness in the participating tutors of the importance of their work and of the need to develop teaching skills. As a result of this project, we have detected a need to design specific training supplements according to knowledge areas and sectors, to collate good practices and to create easily accessible audiovisual materials. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=company%20tutors" title="company tutors">company tutors</a>, <a href="https://publications.waset.org/abstracts/search?q=employability" title=" employability"> employability</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20skills" title=" teaching skills"> teaching skills</a>, <a href="https://publications.waset.org/abstracts/search?q=work%20experience" title=" work experience"> work experience</a> </p> <a href="https://publications.waset.org/abstracts/61376/work-experience-and-employability-results-and-evaluation-of-a-pilot-training-course-on-skills-for-company-tutors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61376.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">250</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">40</span> Voice Signal Processing and Coding in MATLAB Generating a Plasma Signal in a Tesla Coil for a Security System</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juan%20Jimenez">Juan Jimenez</a>, <a href="https://publications.waset.org/abstracts/search?q=Erika%20Yambay"> Erika Yambay</a>, <a href="https://publications.waset.org/abstracts/search?q=Dayana%20Pilco"> Dayana Pilco</a>, <a href="https://publications.waset.org/abstracts/search?q=Brayan%20Parra"> Brayan Parra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents an investigation of voice signal processing and coding using MATLAB, with the objective of generating a plasma signal on a Tesla coil within a security system. The approach focuses on using advanced voice signal processing techniques to encode and modulate the audio signal, which is then amplified and applied to a Tesla coil. The result is the creation of a striking visual effect of voice-controlled plasma with specific applications in security systems. The article explores the technical aspects of voice signal processing, the generation of the plasma signal, and its relationship to security. The implications and creative potential of this technology are discussed, highlighting its relevance at the forefront of research in signal processing and visual effect generation in the field of security systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=voice%20signal%20processing" title="voice signal processing">voice signal processing</a>, <a href="https://publications.waset.org/abstracts/search?q=voice%20signal%20coding" title=" voice signal coding"> voice signal coding</a>, <a href="https://publications.waset.org/abstracts/search?q=MATLAB" title=" MATLAB"> MATLAB</a>, <a href="https://publications.waset.org/abstracts/search?q=plasma%20signal" title=" plasma signal"> plasma signal</a>, <a href="https://publications.waset.org/abstracts/search?q=Tesla%20coil" title=" Tesla coil"> Tesla coil</a>, <a href="https://publications.waset.org/abstracts/search?q=security%20system" title=" security system"> security system</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20effects" title=" visual effects"> visual effects</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20interaction" title=" audiovisual interaction"> audiovisual interaction</a> </p> <a href="https://publications.waset.org/abstracts/170828/voice-signal-processing-and-coding-in-matlab-generating-a-plasma-signal-in-a-tesla-coil-for-a-security-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170828.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">95</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">39</span> Modes of Seeing in Interactive Exhibitions: A Study on How Technology Can Affect the Viewer and Transform the Exhibition Spaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Renata%20P.%20Lopes">Renata P. Lopes</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current art exhibit scenario presents a multitude of visualization features deployed in experiences that instigate a process of art production and design. The exhibition design through multimedia devices - from the audiovisual to the touch screen - has become a medium from which art can be understood and contemplated. Artistic practices articulated, during the modern period, the spectator's perception in the exhibition space, often challenging the architecture of museums and galleries. In turn, the museum institution seeks to respond to the challenge of welcoming the viewer whose experience is mediated by technological artifacts. When the beholder, together with the technology, interacts with the exhibition space, important displacements happen. In this work, we will analyze the migrations of the exhibition space to the digital environment through mobile devices triggered by the viewer. Based not on technological determinism, but on the conditions of the appearance of this spectator, this work is developed, with the aim of apprehending the way in which technology demarcates the differences between what the spectator was and what becomes in the contemporary atmosphere of the museums and galleries. These notions, we believe, will contribute to the formation of an exhibition design space in conformity with this participant. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition" title="exhibition">exhibition</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=exhibition%20design" title=" exhibition design"> exhibition design</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20media" title=" digital media"> digital media</a> </p> <a href="https://publications.waset.org/abstracts/96231/modes-of-seeing-in-interactive-exhibitions-a-study-on-how-technology-can-affect-the-viewer-and-transform-the-exhibition-spaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96231.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">139</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">38</span> Digital Musical Organology: The Audio Games: The Question of “A-Musicological” Interfaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Herv%C3%A9%20Z%C3%A9nouda">Hervé Zénouda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article seeks to shed light on an emerging creative field: "Audio games," at the crossroads between video games and computer music. Indeed, many applications, which propose entertaining audio-visual experiences with the objective of musical creation, are available today for different supports (game consoles, computers, cell phones). The originality of this field is the use of the gameplay of video games applied to music composition. Thus, composing music using interfaces but also cognitive logics that we qualify as "a-musicological" seem to us particularly interesting from the perspective of musical digital organology. This field raises questions about the representation of sound and musical structures and develops new instrumental gestures and strategies of musical composition. We will try in this article to define the characteristics of this field by highlighting some historical milestones (abstract cinema, game theory in music, actions, and graphic scores) as well as the novelties brought by digital technologies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio-games" title="audio-games">audio-games</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20games" title=" video games"> video games</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20generated%20music" title=" computer generated music"> computer generated music</a>, <a href="https://publications.waset.org/abstracts/search?q=gameplay" title=" gameplay"> gameplay</a>, <a href="https://publications.waset.org/abstracts/search?q=interactivity" title=" interactivity"> interactivity</a>, <a href="https://publications.waset.org/abstracts/search?q=synesthesia" title=" synesthesia"> synesthesia</a>, <a href="https://publications.waset.org/abstracts/search?q=sound%20interfaces" title=" sound interfaces"> sound interfaces</a>, <a href="https://publications.waset.org/abstracts/search?q=relationships%20image%2Fsound" title=" relationships image/sound"> relationships image/sound</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20music" title=" audiovisual music"> audiovisual music</a> </p> <a href="https://publications.waset.org/abstracts/152518/digital-musical-organology-the-audio-games-the-question-of-a-musicological-interfaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152518.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">113</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">37</span> The Role of Creative Works Dissemination Model in EU Copyright Law Modernization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tomas%20Linas%20%C5%A0epetys">Tomas Linas Šepetys</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In online content-sharing service platforms, the ability of creators to restrict illicit use of audiovisual creative works has effectively been abolished, largely due to specific infrastructure where a huge volume of copyrighted audiovisual content can be made available to the public. The European Union legislator has attempted to strengthen the positions of creators in the realm of online content-sharing services. Article 17 of the new Digital Single Market Directive considers online content-sharing service providers to carry out acts of communication to the public of any creative content uploaded to their platforms by users and posits requirements to obtain licensing agreements. While such regulation intends to assert authors‘ ability to effectively control the dissemination of their creative works, it also creates threats of parody content overblocking through automated content monitoring. Such potentially paradoxical outcome of the efforts of the EU legislator to deliver economic safeguards for the creators in the online content-sharing service platforms leads to presume lack of informity on legislator‘s part regarding creative works‘ economic exploitation opportunities provided to creators in the online content-sharing infrastructure. Analysis conducted in this scientific research discloses that the aforementioned irregularities of parody and other creative content dissemination are caused by EU legislators‘ lack of assessment of value extraction conditions for parody creators in the online content-sharing service platforms. Historical and modeling research method application reveals the existence of two creative content dissemination models and their unique mechanisms of commercial value creation. Obligations to obtain licenses and liability over creative content uploaded to their platforms by users set in Article 17 of the Digital Single Market Directive represent technological replication of the proprietary dissemination model where the creator is able to restrict access to creative content apart from licensed retail channels. The online content-sharing service platforms represent an open dissemination model where the economic potential of creative content is based on the infrastructure of unrestricted access by users and partnership with advertising services offered by the platform. Balanced modeling of proprietary dissemination models in such infrastructure requires not only automated content monitoring measures but also additional regulatory monitoring solutions to separate parody and other types of creative content. An example of the Digital Single Market Directive proves that regulation can dictate not only the technological establishment of a proprietary dissemination model but also a partial reduction of the open dissemination model and cause a disbalance between the economic interests of creators relying on such models. The results of this scientific research conclude an informative role of the creative works dissemination model in the EU copyright law modernization process. A thorough understanding of the commercial prospects of the open dissemination model intrinsic to the online content-sharing service platform structure requires and encourages EU legislators to regulate safeguards for parody content dissemination. Implementing such safeguards would result in a common application of proprietary and open dissemination models in the online content-sharing service platforms and balanced protection of creators‘ economic interests explicitly based on those creative content dissemination models. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=copyright%20law" title="copyright law">copyright law</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20works%20dissemination%20model" title=" creative works dissemination model"> creative works dissemination model</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20single%20market%20directive" title=" digital single market directive"> digital single market directive</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20content-sharing%20services" title=" online content-sharing services"> online content-sharing services</a> </p> <a href="https://publications.waset.org/abstracts/156264/the-role-of-creative-works-dissemination-model-in-eu-copyright-law-modernization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156264.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">36</span> The Influence of Screen Translation on Creative Audiovisual Writing: A Corpus-Based Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20D.%20Sanderson">John D. Sanderson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The popularity of American cinema worldwide has contributed to the development of sociolects related to specific film genres in other cultural contexts by means of screen translation, in many cases eluding norms of usage in the target language, a process whose result has come to be known as 'dubbese'. A consequence for the reception in countries where local audiovisual fiction consumption is far lower than American imported productions is that this linguistic construct is preferred, even though it differs from common everyday speech. The iconography of film genres such as science-fiction, western or sword-and-sandal films, for instance, generates linguistic expectations in international audiences who will accept more easily the sociolects assimilated by the continuous reception of American productions, even if the themes, locations, characters, etc., portrayed on screen may belong in origin to other cultures. And the non-normative language (e.g., calques, semantic loans) used in the preferred mode of linguistic transfer, whether it is translation for dubbing or subtitling, has diachronically evolved in many cases into a status of canonized sociolect, not only accepted but also required, by foreign audiences of American films. However, a remarkable step forward is taken when this typology of artificial linguistic constructs starts being used creatively by nationals of these target cultural contexts. In the case of Spain, the success of American sitcoms such as Friends in the 1990s led Spanish television scriptwriters to include in national productions lexical and syntactical indirect borrowings (Anglicisms not formally identifiable as such because they include elements from their own language) in order to target audiences of the former. However, this commercial strategy had already taken place decades earlier when Spain became a favored location for the shooting of foreign films in the early 1960s. The international popularity of the then newly developed sub-genre known as Spaghetti-Western encouraged Spanish investors to produce their own movies, and local scriptwriters made use of the dubbese developed nationally since the advent of sound in film instead of using normative language. As a result, direct Anglicisms, as well as lexical and syntactical borrowings made up the creative writing of these Spanish productions, which also became commercially successful. Interestingly enough, some of these films were even marketed in English-speaking countries as original westerns (some of the names of actors and directors were anglified to that purpose) dubbed into English. The analysis of these 'back translations' will also foreground some semantic distortions that arose in the process. In order to perform the research on these issues, a wide corpus of American films has been used, which chronologically range from Stagecoach (John Ford, 1939) to Django Unchained (Quentin Tarantino, 2012), together with a shorter corpus of Spanish films produced during the golden age of Spaghetti Westerns, from una tumba para el sheriff (Mario Caiano; in English lone and angry man, William Hawkins) to tu fosa será la exacta, amigo (Juan Bosch, 1972; in English my horse, my gun, your widow, John Wood). The methodology of analysis and the conclusions reached could be applied to other genres and other cultural contexts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dubbing" title="dubbing">dubbing</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20genre" title=" film genre"> film genre</a>, <a href="https://publications.waset.org/abstracts/search?q=screen%20translation" title=" screen translation"> screen translation</a>, <a href="https://publications.waset.org/abstracts/search?q=sociolect" title=" sociolect"> sociolect</a> </p> <a href="https://publications.waset.org/abstracts/102436/the-influence-of-screen-translation-on-creative-audiovisual-writing-a-corpus-based-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102436.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">172</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">35</span> Affective Communities of Women in the Classic Spanish-Mexican-Argentinian Cinema. A Comparative Perspective from a South-South Gaze</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Invernizzi%20Agostina">Invernizzi Agostina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> From the 1930s, it is possible to find a phenomenon that persists through to the sixties in the national filmographies of different southern latitudes (Spain, Mexico, Argentina): the proliferation of ensemble films of groups of women who serve base to elaborate broader social conflicts and to construct imaginaries of the nation and of genders. This paper will address the modes of figuration of some affective imaginaries among women where the forms of sociability and the bonds of sisterhood are determined by the spaces in which the women are grouped. In these films, there are forms of affectivity that dispute the meanings of the patriarchal order of the time. One of the hypotheses is that these films formulate communities of women that carry out a reconfiguration of affective and transnational spaces. This research presents a multidisciplinary approach that simultaneously combines film and audiovisual studies, gender studies, decolonial feminist theories, and affects theories. The study of this phenomenon will provide us with keys for articulating with current problematics, such as the genealogies of women's movements, of which the cinema offers echoes and is a privileged medium for reflection and social change, as well as the international contact flows between these three geographical points, their migratory processes and cultural exchanges, transnationalism and integration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=affects" title="affects">affects</a>, <a href="https://publications.waset.org/abstracts/search?q=feminisms" title=" feminisms"> feminisms</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a> </p> <a href="https://publications.waset.org/abstracts/147122/affective-communities-of-women-in-the-classic-spanish-mexican-argentinian-cinema-a-comparative-perspective-from-a-south-south-gaze" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147122.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">108</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">34</span> A Study on Explicitation Strategies Employed in Persian Subtitling of English Crime Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hossein%20Heidari%20Tabrizi">Hossein Heidari Tabrizi</a>, <a href="https://publications.waset.org/abstracts/search?q=Azizeh%20Chalak"> Azizeh Chalak</a>, <a href="https://publications.waset.org/abstracts/search?q=Hossein%20Enayat"> Hossein Enayat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study seeks to investigate the application of expansion strategy in Persian subtitles of English crime movies. More precisely, this study aims at classifying the different types of expansion used in subtitles as well as investigating the appropriateness or inappropriateness of the application of each type. To achieve this end, three English movies; namely, The Net (1995), Contact (1997) and Mission Impossible 2 (2000), available with Persian subtitles, were selected for the study. To collect the data, the above mentioned movies were watched and those parts of the Persian subtitles in which expansion had been used were identified and extracted along with their English dialogs. Then, the extracted Persian subtitles were classified based on the reason that led to expansion in each case. Next, the appropriateness or inappropriateness of using expansion in the extracted Persian subtitles was descriptively investigated. Finally, an equivalent not containing any expansion was proposed for those cases in which the meaning could be fully transferred without this strategy. The findings of the study indicated that the reasons range from explicitation (explicitation of visual, co-textual and contextual information), mistranslation and paraphrasing to the preferences of subtitlers. Furthermore, it was found that the employment of expansion strategy was inappropriate in all cases except for those caused by explicitation of contextual information since correct and shorter equivalents which were equally capable of conveying the intended meaning could be posited for the original dialogs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title="audiovisual translation">audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20crime%20movies" title=" English crime movies"> English crime movies</a>, <a href="https://publications.waset.org/abstracts/search?q=expansion%20strategies" title=" expansion strategies"> expansion strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=Persian%20subtitles" title=" Persian subtitles"> Persian subtitles</a> </p> <a href="https://publications.waset.org/abstracts/34785/a-study-on-explicitation-strategies-employed-in-persian-subtitling-of-english-crime-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34785.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">470</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=audiovisual&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=audiovisual&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=audiovisual&page=2" 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