Incorporating Affective Computing Into an Interactive System With MakeyMakey

People's motions or behaviors often ensue from these positive or negative emotions. Set off either subconsciously or intentionally, these fragmentary responses also represent people's emotional vacillations at different times, albeit rarely noted or discovered. This system incorporates affective computing into an interactive installation: While a user is performing an operation, the system instantaneously and randomly generates corresponding musical instrument sound effects and special effects. The system is intended to enable users to interact with emotions through the interactive installation to yield a personalized digital artwork as well learning about how emotions affect the causative factors of consciousness and personal behaviors. At the end of the process, this project design renders three questionnaires for users to fill in as a means to enhance the integrity and richness of the system with a survey and to further increase the stability and precision of the system through progressive modifications aligned with user suggestions.

Technological processes of creating soundtrack in an audiovisual work

The purpose of the article is to study the main components of the technological process in the formation of the soundtrack of the audiovisual space. The research methodology is based on the use of methods of source search, systematization, and comparative analysis. The scientific novelty lies in the representation of the attempt to create a theoretical concept concerning the importance of technological processes in creating the sound design of works. Conclusions. The article presents the concept of technological processes for creating sound in the audiovisual context, as a scientific and practical phenomenon, in the form of a panoramic figure. The research will serve as an incentive to search for updated options for combining existing elements of the background composition, as well as to create previously unused sound effects. Keywords: sound design skills, background composition, sound field unit, sound recording techniques, sound design.

Different contra-sound effects between noise and music stimuli seen in N1m and psychophysical responses

Auditory-evoked responses can be affected by the sound presented to the contralateral ear. The different contra-sound effects between noise and music stimuli on N1m responses of auditory-evoked fields and those on psychophysical response were examined in 12 and 15 subjects, respectively. In the magnetoencephalographic study, the stimulus to elicit the N1m response was a tone burst of 500 ms duration at a frequency of 250 Hz, presented at a level of 70 dB, and white noise filtered with high-pass filter at 2000 Hz and music stimuli filtered with high-pass filter at 2000 Hz were used as contralateral noise. The contralateral stimuli (noise or music) were presented in 10 dB steps from 80 dB to 30 dB. Subjects were instructed to focus their attention to the left ear and to press the response button each time they heard burst stimuli presented to the left ear. In the psychophysical study, the effects of contralateral sound presentation on the response time for detection of the probe sound of a 250 Hz tone burst presented at a level of 70 dB were examined for the same contra-noise and contra-music used in the magnetoencephalographic study. The amplitude reduction and latency delay of N1m caused by contra-music stimuli were significantly larger than those by contra-noise stimuli in bilateral hemisphere, even for low level of contra-music near the psychophysical threshold. Moreover, this larger suppressive effect induced by contra-music effects was also observed psychophysically; i.e., the change in response time for detection of the probe sound was significantly longer by adding contralateral music stimuli than by adding contra-noise stimuli. Regarding differences in effect between contra-music and contra-noise, differences in the degree of saliency may be responsible for their different abilities to disturb auditory attention to the probe sound, but further investigation is required to confirm this hypothesis.

Indigenous Cosmopolitanisms of Music in Sámi Theatre

Which kinds of Sáminess are expressed and engaged with music in Sámi theatre? Through descriptions of the kinds of musical genres and sounds presented, the article argue that the music of Sámi theatre can typically be described as cosmopolitan. As the musical expressions and engagements convey what is Sáminess, they present cosmopolitan versions of Sáminess. The author interprets performance moments as presenting types of Indigenous cosmopolitanism, in other words, Indigenous cosmopolitanisms. The article approaches music as musicking, which refers to all of the social interactions that go into creating a musical experience. Because this is theatre, this includes the social processes of staging other theatre values that relate with the music during theatrical performances. Other theatre values include costumes, set design, props, lighting, sound effects beyond music and movement such as dance and blocking. Overall, the productions perform a dynamic and fluid Sáminess that incorporates sounds, sights and movements from around the world, while often being “rooted” in what it is to be Sámi today and historically. Although most productions include identifiably Sámi music genres such as joik, it is worthwhile to note that some don’t. In these productions, the author identifies specific varieties of cosmopolitanism, such as vernacular cosmopolitanism, different forms of rooted cosmopolitanism and pan-Indigenous cosmopolitanism. The article examines case studies from Sámi theatre companies in Norway, Beaivváš Sámi Našunálateáhter and Åarjelhsaemien Teatere. The cases, among other productions, are the joik operas The Frost Haired and the Dream Seer and Allaq; the dance theatre productions Eatnemen Vuelieh and Gïeje; and the stage plays Silbajárviand Almmiriika.

Experimental sound exposure modifies swimming activities and increases food handling error in zebrafish (Danio rerio)

Anthropogenic sound is currently recognized as a source of environmental pollution in terrestrial and aquatic habitats. Elevated sound levels may cause a broad range of impacts on aquatic organisms among taxa. Sound is an important sensory stimulus for aquatic organisms and it may cause fluctuations in stress-related physiological indices and in a broader extent induce behavioural effects such as driving as a distracting stimulus, masking important relevant acoustic signals and cues in a range of marine and freshwater species. However, sound exposure may also induce changes in swimming activities, feed efficiency and productivity of available food sources in fish. Here, we experimentally tested sound effects on swimming activities and foraging performance in thirty adult Zebrafish (Danio rerio) individually in captivity. We used adult zebrafish and water flea (Daphnia magna) as model predator prey, respectively. We also used four sound treatments with different temporal patterns (all in the same frequency range and moderate exposure level). Our results constitute strong evidence for clear sound-related effects on zebrafish behaviour. All sound treatments induced a significant increase in the number of startle response, brief and prolonged swimming speed for zebrafish (P<0.05). Zebrafish reached to the baseline swimming speed after 60 seconds in all treatments. We found partially brief and prolonged sound effects on spatial distribution of zebrafish; Although we did not find any significant sound-related behavioural changes for horizontal spatial displacement in all treatments (P>0.05), zebrafish swam significantly more in the lower layer of the fish tank except irregular intermittent 1:1-7 in brief sound exposure (P<0.05). The results of foraging performance showed that food discrimination error was low for the zebrafish and unaffected by sound treatments (P>0.05). However, food handling error was affected by sound treatments; all treatments caused a rise in handling error (P<0.001). This study highlights the impact of sound on zebrafish swimming activities, and that more attacks are needed to consume the same number of prey items under noisy conditions.

Optimal Method of Vision Sensor Digital Image Edge Detection for Commercial Investment in Film Field

With the rapid development of the national economy, the film industry has risen rapidly under these conditions, and the development of film occupies a more important position in this process, which has led to the development of investment in the film field, an internationally recognized cultural space. This paper studies the commercial investment in the film field based on the edge detection of the digital image of the visual sensor. The purpose of the research is to point out the direction of commercial investment in the film industry by studying the effect of the edge detection of the digital image of the visual sensor on the application of the film object. The image edge detection algorithm based on wavelet transform and morphology and the application of these image edge detection algorithms such as wavelet theory analyze the shortcomings of movie, sound effects, and pictures and make a comparison before and after the improvement. Audiences, as the direct enjoyers of the cultural product of the film, their opinions, and evaluations of the film, largely determine the quality of the work. On the contrary, a good work can attract the public’s attention and bring a large impact. The data acquisition in this process is mainly based on the questionnaire survey of the audience. The experimental results show that before applying digital image edge detection to transform the clip, 7 people thought that the clip needed to be further improved to improve the quality of the film itself, and only 1 person affirmed the film; after the modification, 9 people proposed the film praise; in addition, 15 people audience watched the film processed by the edge detection method and gave high evaluations to the three aspects of sound effects, special effects, and editing, especially the editing part, with a score of 8.9.

The Soundtrack of the Sinister Trailer

In this article, I analyse the soundtrack of the green band trailer for Sinister (Scott Derrickson, 2012), combining quantitative methods to analyse the soundtrack with formal analysis. I show that, even though Sinister is a narrative about a demon who lives in images, the horror in the soundtrack of this trailer is articulated through the sound design. I describe the structure of the soundtrack and analyse the distribution and organisation of dialogue, the use of different types of sound effects to create a connection between the viewer and the characters onscreen, as well as the use of specific localised sound events to organise attention and to frighten the viewer. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on reactions to a stimulus and the presence of nonlinear features in the sound envelopes of localised affective events. The sound design of this trailer is consistent with the principles of contemporary sound design in horror cinema, but also demonstrates some variation in its use of sound as a paratext to its parent film.

Enhancing Audio Description: Inclusive Cinematic Experiences Through Sound Design

This paper explores the creation of an alternative to traditional Audio Description for visually impaired film and television audiences. The Enhanced Audio Description (EAD) methods utilise sound design as the main vehicle for accessibility and advocate for the integration of accessibility practices to filmmaking workflows. Moreover, this integrated strategy results in an organic form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. The present article reflects on the discussions held during focus groups in which mixed audiences of visually impaired and sighted people watched the same film, with the same EAD soundtrack over headphones. The discussions highlight the potential of the format as an example of universal design and accessible filmmaking, which can be enjoyed regardless of audience’s sight condition and can be offered alongside traditional Audio Description (AD) in order to cater for different aesthetic preferences. Lay summary Audio Description (AD) is a third person commentary added to film and television productions to make them accessible for visually impaired audiences. Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production. This paper explores an alternative to traditional AD, called Enhanced Audio Description (EAD), whose methods are integrated to filmmaking workflows. EAD moves away from a focus on verbal descriptions and instead focuses on sound design strategies. In EAD the traditional third person commentary is replaced by the combination of three techniques. The first is the addition of sound effects to provide information on actions, convey abstract scenes as well as indicate time, place, and the presence of characters. The second is the use of binaural audio (3D audio over headphones) to convey the position of characters and objects portrayed on the screen. Finally, first-person narration is used to portray feelings, gestures, colours as well as certain actions. The application of EAD methods results in a form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. Focus groups with audiences of visually impaired and sighted people demonstrated the potential of the format to be widely enjoyed, and to be offered alongside traditional Audio Description (AD) in order to provide accessible experiences which cater for different aesthetic preferences.