The Immersive Continuity of Roma

In Gravity (2013), Alfonso Cuarón introduced a fully three-dimensional sound design approach that was originally termed by Idrovo and Pauletto (2019) as ‘immersive point-of-audition’. More recently, in Netflix’s Roma (2018), Cuarón not only perfected such treatment of sound, but consolidated an audio-visual style that stands out for its capacity to enhance our sensation of ‘presence’ in the narrative world, a style that is referred here to as immersive continuity. Grounded on the spatiotemporal continuity of the long take, Cuarón’s immersive continuity allows sound objects to flow all around the 3-D space, and hence opens a giant window of opportunity for the exploitation of Dolby Atmos. Through an extensive analysis of Roma, this article describes the aesthetics of such audio-visual style, and beyond, it explores the methods and workflows that permitted Cuarón’s sound team to fully exploit sound three-dimensionality. Finally, I discuss the growing adoption of Netflix as one of the major challenges that the theatrical cinema industry has to face; and argue that embracing immersive continuity may be a powerful weapon for attracting audiences to a cinematic experience that cannot be found at home.

OPPORTUNITIES FOR TEACHING MATHEMATICS IN PRIMARY SCHOOLS THROUGH OPPORTUNITIES FOR TEACHING MATHEMATICS IN PRIMARY SCHOOLS THROUGH DIGITAL EDUCATIONAL RESOURCEDIGITAL EDUCATIONAL RESOURCE

The article describes the possible aspects of the organization of the methodology of teaching mathematics in primary classes through digital educational resources, content. The theoretical analysis is carried out and the content analysis of the conceptual and categorical apparatus of digital education in the concepts of "information competence, information technologies", "digital resource" is presented. The possibilities of "digital education" in primary classes are characterized generically in all the main subjects. There will also be samples of digital content prepared for the section "learning in parts" in the 4th grade according to the methodology of teaching mathematics in primary classes. In the section Research results, the article presents an algorithm for preparing digital resources. It is explained that the preparation of digital educational resources consists of text-based annimations, multimedia components (video clips, synthesizing images), and sound objects. A scenario for the preparation of digital content will be developed. The advantages of using digital resources in teaching mathematics in primary classes in the development of students ' cognitive abilities are analyzed. For example, the advantages of accessibility of education, personality-oriented learning, creation of an information educational environment, the possibility of choosing an individual trajectory, creative activity, motivational breakthrough, demonstration situation, etc. are described.

Orienting Auditory Attention through Vision: the Impact of Monaural Listening

The understanding of linguistic messages can be made extremely complex by the simultaneous presence of interfering sounds, especially when they are also linguistic in nature. In two experiments, we tested if visual cues directing attention to spatial or temporal components of speech in noise can improve its identification. The hearing-in-noise task required identification of a five-digit sequence (target) embedded in a stream of time-reversed speech. Using a custom-built device located in front of the participant, we delivered visual cues to orient attention to the location of target sounds and/or their temporal window. In Exp. 1 (), we validated this visual-to-auditory cueing method in normal-hearing listeners, tested under typical binaural listening conditions. In Exp. 2 (), we assessed the efficacy of the same visual cues in normal-hearing listeners wearing a monaural ear plug, to study the effects of simulated monaural and conductive hearing loss on visual-to-auditory attention orienting. While Exp. 1 revealed a benefit of both spatial and temporal visual cues for hearing in noise, Exp. 2 showed that only the temporal visual cues remained effective during monaural listening. These findings indicate that when the acoustic experience is altered, visual-to-auditory attention orienting is more robust for temporal compared to spatial attributes of the auditory stimuli. These findings have implications for the relation between spatial and temporal attributes of sound objects, and when planning devices to orient audiovisual attention for subjects suffering from hearing loss.

Auditory Streaming Complexity and Renaissance Mass Cycles

How did Renaissance listeners experience the polyphonic mass ordinary cycle in the soundscape of the church? We hypothesize that the textural differences in complexity between mass movements allowed listeners to track the progress of the service, regardless of intelligibility of the text or sophisticated musical knowledge. Building on the principles of auditory scene analysis, this article introduces the Auditory Streaming Complexity Estimate, a measure to evaluate the blending or separation of each part in polyphony, resulting in a moment-by-moment tally of how many independent streams or sound objects might be heard. When applied to symbolic scores for a corpus of 216 polyphonic mass ordinary cycles composed between c. 1450 and 1600, we show that the Streaming Complexity Estimate captures information distinct from the number of parts in the score or the distribution of voices active through the piece. While composers did not all follow the same relative complexity strategy for mass ordinary movements, there is a robust hierarchy emergent from the corpus as a whole: a shallow V shape with the Credo as the least complex and the Agnus Dei as the most. The streaming complexity of masses also significantly increased over the years represented in this corpus.

Sound as Signifier: Communication and Expression Through the Sound of Clothing

Fashion, clothing, and dress have traditionally been evaluated on visual characteristics. This paper focuses on the aural qualities of clothing and on what is being communicated through sound. Semiotic theory, in particular denotation and connotation, discusses the ability of clothing to communicate through sound. Philosophical ideas of expression through music and sound emphasized the significance of feeling and experience in art and fashion. Five garments were designed as sound objects to explore this link between sound and clothing. The garments are featured in a video in which two musicians dance in the pieces. Musician Born Gold created an original film score from the recorded sounds of the pieces. These works attempted to direct the focus of fashion experience towards sound, without disregarding the cultural emphasis on visual aesthetics. The intention is to shift the way individuals relate to their clothing, to a fuller and more cognizant sensory experience.

Sound as Signifier: Communication and Expression Through the Sound of Clothing

Fashion, clothing, and dress have traditionally been evaluated on visual characteristics. This paper focuses on the aural qualities of clothing and on what is being communicated through sound. Semiotic theory, in particular denotation and connotation, discusses the ability of clothing to communicate through sound. Philosophical ideas of expression through music and sound emphasized the significance of feeling and experience in art and fashion. Five garments were designed as sound objects to explore this link between sound and clothing. The garments are featured in a video in which two musicians dance in the pieces. Musician Born Gold created an original film score from the recorded sounds of the pieces. These works attempted to direct the focus of fashion experience towards sound, without disregarding the cultural emphasis on visual aesthetics. The intention is to shift the way individuals relate to their clothing, to a fuller and more cognizant sensory experience.

Perceiving Sound Objects in the Musique Concrète

In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our perceptual images of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music.

Sound objects in creativity and theoretical works by Pierre Schaeffer

The purpose of the article is to study the specifics of the sound object as a central element of creativity and the theoretical concept of P. Schaeffer. The methodological basis of the work is a structural-functional methods that helps to identify the elements of sound matter and trace the features of their deployment and mutual location. The scientific novelty lies in the fact that for the first time in Ukrainian musicology the provisions of P. Schaeffer's theory of sound objects are systematized, the specifics of the functioning of electronic complexes in «Railway Etude», which is one of the representative works of concrete music. Conclusions. Analysis of P. Schaeffer's «Railway Etude», based on the terminological apparatus proposed by the composer, showed the presence of two groups of sound objects united by a common source: for the first group such a source is a locomotive horn, and for the second – a train. According to the spectral characteristics, these objects are differentiated into noise and sound bands concentrated in a certain area of ​​the frequency range. It was found that a sound object, the specificity of which is determined by the set of physical characteristics of the acoustic signal, in a certain musical context can acquire the properties of the thematic or structural element of the composition. The sound object is considered in terms of pitch, duration and intensity, their location outside the generally accepted discrete scales is indicated. It was found that the disclosure of the creative potential of a sound object is inextricably linked with the specific conditions of perception of concrete music (acousmatic situation and reduced listening).

Live 4 Life: A spatial performance tool to play the ephemeral and improvise with space and playback speeds

This article describes my own way to improvise with space using a computer-based tool implemented in SuperCollider. The objective of this spatial performance tool is to have an ergonomic spatio-temporal and spectral control over numerous sound objects in real time, in order to alternate between spatialised polyrhythms and textures. After a brief review of spatial audio context, the spatial performance tool is summarised and detailed here by focusing on one of the core parameters: the playback speeds, which can act both on rhythm and space and enable among others the spatio-temporal articulation of the performance. As well as discussing the word ‘comprovisation’ and my conception of human–computer improvisation, the possibilities and approach of the tool in terms of improvisation and controllerism are illustrated through the use and combination of different controllers (computer keyboard, tactile interfaces, force touch sensors). Whereas some controllers are more dedicated to the selection and triggering of streams of spatialised sound events, others have their own mappings and ways of acting on some parameters (depending on the temporality of the sounds: playing or future events).