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Disinformation is multiplied through social networks, and many hoaxes show Russian interests, to the extent that the US and the European Union qualify RT and Sputnik as media outlets for the circulation of false facts. This research aims to identify the disinformation generated by RT and Sputnik related to Ecuador in audiovisual media and social networks. The methodology is qualitative and quantitative, descriptive in scope. It is evident that Russian disinformation is present in the country, especially online. It is important to promote media literacy and open a debate on regulation that promotes freedom of expression. [ABSTRACT FROM AUTHOR]

Face-to-face speech communication is an audiovisual process during which the interlocuters use both the auditory speech signals as well as visual, oral articulations to understand the other. These sensory inputs are merged into a single, unified process known as multisensory integration. Audiovisual speech integration is known to be influenced by many factors, including listener experience. In this study, we investigated the roles of bilingualism and language experience on integration. We used a McGurk paradigm in which participants were presented with incongruent auditory and visual speech. This included an auditory utterance of ‘ba’ paired with visual articulations of ‘ga’ that often induce the perception of ‘da’ or ‘tha’, a fusion effect that is strong evidence of integration, as well as an auditory utterance of ‘ga’ paired with visual articulations of ‘ba’ that often induce the perception of ‘bga’, a combination effect that is weaker evidence of integration. We compared fusion and combination effects on three groups ( N = 20 each), English monolinguals, Spanish–English bilinguals, and Arabic–English bilinguals, with stimuli presented in all three languages. Monolinguals exhibited significantly stronger multisensory integration than bilinguals in fusion effects, regardless of the stimulus language. Bilinguals exhibited a nonsignificant trend by which greater experience led to increased integration as measured by fusion. These results held regardless of whether McGurk presentations were presented as stand-alone syllables or in the context of real words. [ABSTRACT FROM AUTHOR]

Pragmatic markers are recognised to be a fundamental aspect of spoken language, in particular conversation, as they allow the processing of information within a specific context by providing the addressee with cues on how to interpret utterances. As far as audiovisual dialogue is concerned, pragmatic markers are considered as a hallmark of naturalness and orality which is fundamental to ensure the audience's immersion in the world represented on screen. Thanks to both distributional and translation-oriented analysis of corpus data, the paper aims to compare the use of pragmatic markers in anglophone, dubbed Italian and original Italian film dialogues as well as highlight the strategies employed in translating English pragmatic markers into dubbed Italian. [ABSTRACT FROM AUTHOR]

OBJECTIVE: During the SARS-CoV-2 pandemic, hospital visitation restrictions hindered patients' access to vital social support. This study explores the impact and feasibility of a student-led program facilitating audiovisual communication between inpatient rehabilitation patients and their caregivers. METHODS: The study design employed a prospective observational approach, and convenience sampling enrolled 99 participants, including 33 patients, 33 caregivers, and 33 medical students. From September 2021 to March 2022, eligible patients admitted to an inpatient rehabilitation hospital identified a caregiver and participated in a 30-minute audiovisual call organized by a medical student. Post-visit surveys via RedCap were completed by all participants and covered limitations in video calls, program benefits, comfort levels in video conferencing, and overall program ratings. The study adopted a quantitative research paradigm for data analysis. Statistical analysis utilized pairwise McNemar's and Wilcoxon's test for inter-group comparison. RESULTS: Patients, caregivers, and medical students all reported positive outcomes in program offerings including providing social support, decreasing feelings of isolation, and providing a feeling of connection. Patients rated the program 4.82 ± 0.47 on a Likert scale, with 97% recommending it to others, even beyond visitation restrictions. The most common diagnosis among patients was stroke (30%), highlighting the program's potential applicability across diverse patient populations. Caregivers rated the program 4.59 ± 0.87 and expressed a desire for its continuation post-restrictions (80%). Medical students (81%) recommended the program, citing benefits in reducing social isolation and gaining clinical experience. No statistical differences were observed between groups in emotional and humanistic domains. CONCLUSION: This study highlights the potential for programs to utilize technology to address social isolation in the healthcare setting. When public health restrictions occur, medical educators should consider opportunities to support and foster innovation for student-led programs. Further research should explore broader impacts on healthcare outcomes and medical education. [ABSTRACT FROM AUTHOR]

It has been proposed that autistic people experience a temporal distortion whereby the temporal binding window of multisensory integration is extended. Research to date has focused on autistic children so whether these differences persist into adulthood remains unknown. In addition, the possibility that the previous observations have arisen from between-group differences in response bias, rather than perceptual differences, has not been addressed. Participants completed simultaneity judgements of audiovisual speech stimuli across a range of stimulus-onset asynchronies. Response times and accuracy data were fitted to a drift-diffusion model so that the drift rate (a measure of processing efficiency) and starting point (response bias) could be estimated. In Experiment 1, we tested a sample of non-autistic adults who completed the Autism Quotient questionnaire. Autism Quotient score was not correlated with either drift rate or response bias, nor were there between-group differences when splitting based on the first and third quantiles of scores. In Experiment 2, we compared the performance of autistic with a group of non-autistic adults. There were no between-group differences in either drift rate or starting point. The results of this study do not support the previous suggestion that autistic people have an extended temporal binding window for audiovisual speech. In addition, exploratory analysis revealed that operationalising the temporal binding window in different ways influenced whether a group difference was observed, which is an important consideration for future work. [ABSTRACT FROM AUTHOR]

This study investigates the learning outcomes of Navy Cadets at Puslatdiksarmil in basic swimming, specifically breaststroke. A quantitative experimental design was used, involving 100 students divided into two groups: an experimental group receiving audiovisual and demonstration (AV-D) instruction and a control group with only demonstration (D). The performance test, based on the correctness of breaststroke technique, measured students' skills before and after treatment. A motivation questionnaire was also used to assess the impact of motivation on swimming ability. Results showed that the experimental group achieved a higher average score (73.16) compared to the control group (66.39). This indicates that AV-D significantly improves learning outcomes. Therefore, incorporating AV-D is recommended to enhance cadets' swimming abilities at Puslatdiksarmil.

Gusgus Ghraha Ramdhanie,1,* Altia Nurrohmah,2,* Adelse Prima Mulya,3,* Henny Suzana Mediani,1,* Nina Sumarni,3,* Aep Maulid Mulyana,4,* Mega Hasanul Huda5,* 1Department of Pediatric Nursing, Faculty of Nursing, Universitas Padjadjaran, Bandung, West Java, 40132, Indonesia; 2Undergraduate Nursing Program, Faculty of Nursing, Universitas Padjadjaran, Bandung, West Java, 40132, Indonesia; 3Department of Community Health Nursing, Faculty of Nursing, Universitas Padjadjaran, Bandung, West Java, 40132, Indonesia; 4Internship Nursing Program, Faculty of Nursing, Universitas Padjadjaran, Bandung, West Java, 40132, Indonesia; 5Department of Pediatric Nursing, Faculty of Nursing Science, Universitas Indonesia, Depok, West Java, 16424, Indonesia*These authors contributed equally to this workCorrespondence: Gusgus Ghraha Ramdhanie, Department of Pediatric Nursing, Faculty of Nursing, Universitas Padjadjaran, Bandung, West Java, 40132, Indonesia, Tel +62 813-2397-3679, Email gusgus.ghraha.ramdhanie@unpad.ac.idBackground: Invasive procedures in children can lead to painful and uncooperative procedures. It is essential to determine the appropriate method to create a comfortable environment for children during invasive procedures. However, audiovisuals are one of the distraction techniques used in pain management.Purpose: This study aims to identify and categorize related audiovisual distraction techniques in reducing pain due to invasive procedures among children.Methods: This study uses a systematic scoping review. A literature review was conducted using PubMed, EBSCO, Science Direct, Scopus and grey literature through Google Scholar. The study was eligible for inclusion if it included articles published from 2012 to 2022, full-text and open accessed articles, and in Indonesian and English language. Studies were excluded if they were review studies and the adult population. The keywords in English were ”Children” OR ‘Child’ OR ”Kids” OR ‘Youth’ OR ‘Adolescents’ OR ‘Teenager’ OR ‘Teens’ OR ‘Young People’ OR ‘Pediatric’ OR ‘Paediatric’ OR ‘Childhood’ AND ”Audiovisual” OR ‘Movie’ OR ‘Video’ OR ‘Animation’ AND ”Pain” AND ”Invasive procedures” and keyword in Indonesia were ”Anak” OR ‘Remaja’ OR ‘Bayi’ OR ‘Balita’ AND ”Audiovisual” OR ‘Film’ OR ”Video” OR ‘Animasi’ OR “Nyeri” AND ‘Prosedur invasif’.Results: We found 15 articles showing audiovisual distraction techniques in managing pain among children undergoing invasive procedures. Three types of audiovisual interventions were used, including virtual reality (VR), video music, and animated cartoons. In addition, types of invasive procedures that benefited from the analyzed interventions were infusion, surgery, injection, blood draw, dressing change, circumcision, endoscopy, and phlebotomy.Conclusion: Our findings highlight that virtual reality, video music, and animated cartoons have clinical implications in helping to distract from pain in children undergoing invasive procedures. Our study indicates that the potential of audiovisual intervention can be used as an intervention strategy in the pediatric nursing area.Keywords: audiovisual, child, invasive procedures, pain

This article is part of a didactic perspective. He is interested in oral didactics in a university setting. Through this experimental research, we wanted to demonstrate that the interaction between subtitles and visual modality is an essential contribution to oral comprehension (global and detailed) and vocabulary learning through the subtitled audio-visual medium. Our method consists of using a video in two modes of presentation with two distinct groups: the first without subtitles and the second with subtitles. We also used an experimental post questionnaire to find out if students would have liked to have had the text transcribed.

Recent psychology and neuroscience studies have used tactile stimuli in patients, concluding after their experiments that touch is a sense tightly linked to emotions. In parallel, a new way of seeing films, 4D cinema, has added new stimuli to the traditional audiovisual via, including the tactile vibration. In this work, we have studied the brain activity of audience while viewing a scene filmed and directed by us and with an emotional content, under two different conditions: 1) image + sound, 2) image + sound + vibro-tactile stimulation. We have designed a glove where pulse trains are generated in coin motors at specific moments and recorded 35 viewers' electroencephalograms (EEGs) to evaluate the impact of the vibro-tactile stimulation during the film projection. Hotelling's T-squared results show higher brain intensity if the tactile stimulus is received during the viewing than if no tactile stimulus is injected. Condition 1 participants showed activation in left and right orbitofrontal areas, whereas Condition 2 they also showed activities in right superior frontal and right-medial frontal areas. We conclude that the addition of vibrotactile stimulus increases the brain activity in areas linked with attentional processes, while producing a higher intensity in those related to emotional processes. [ABSTRACT FROM AUTHOR]

In the McGurk effect, visual speech from the face of the talker alters the perception of auditory speech. The diversity of human languages has prompted many intercultural studies of the effect in both Western and non-Western cultures, including native Japanese speakers. Studies of large samples of native English speakers have shown that the McGurk effect is characterized by high variability in the susceptibility of different individuals to the illusion and in the strength of different experimental stimuli to induce the illusion. The noisy encoding of disparity (NED) model of the McGurk effect uses principles from Bayesian causal inference to account for this variability, separately estimating the susceptibility and sensory noise for each individual and the strength of each stimulus. To determine whether variation in McGurk perception is similar between Western and non-Western cultures, we applied the NED model to data collected from 80 native Japanese-speaking participants. Fifteen different McGurk stimuli that varied in syllable content (unvoiced auditory "pa" + visual "ka" or voiced auditory "ba" + visual "ga") were presented interleaved with audiovisual congruent stimuli. The McGurk effect was highly variable across stimuli and participants, with the percentage of illusory fusion responses ranging from 3 to 78% across stimuli and from 0 to 91% across participants. Despite this variability, the NED model accurately predicted perception, predicting fusion rates for individual stimuli with 2.1% error and for individual participants with 2.4% error. Stimuli containing the unvoiced pa/ka pairing evoked more fusion responses than the voiced ba/ga pairing. Model estimates of sensory noise were correlated with participant age, with greater sensory noise in older participants. The NED model of the McGurk effect offers a principled way to account for individual and stimulus differences when examining the McGurk effect in different cultures. [ABSTRACT FROM AUTHOR]

The restrictions of the pandemic forced the idea of an information system that integrated remote public participation in a live television show. The existing mechanisms were then too rigid, of poor audiovisual quality, and had an excessive and unsustainable delay between emission and reception for real-time television interaction. The creation of the Virtual Audience System (VAS) proposed the use of the most recent technology in areas such as cloud and edge computing, lowlatency audio and video transmission, interactive communication in the web environment, and the creation of immersive binaural sound to overcome the limitations of the moment. With these new technological elements, a new system of transmission and reception of audiovisual information was developed that allows the adaptation and scalability of media production to the type of event broadcasted and its audience with a minimum investment and, at the same time, generates a new concept of audience appropriate for the 21st century. The Virtual Audience System enables interactive and synchronized participation in live entertainment shows and, at the same time, allows the creation of remote virtual participants while guaranteeing a real and immersive experience for the user. The WebRTC, RTMP and SRT technology used, which is already popular and has universal compatibility; the low latency achieved, which is below two seconds for the complete cycle; and the immersive sensation of the audience--everything together predicts that this system can soon transform the television production methodology of shows with live audience participation. [ABSTRACT FROM AUTHOR]

Congruent visual speech improves speech perception accuracy, particularly in noisy environments. Conversely, mismatched visual speech can alter what is heard, leading to an illusory percept that differs from the auditory and visual components, known as the McGurk effect. While prior transcranial magnetic stimulation (TMS) and neuroimaging studies have identified the left posterior superior temporal sulcus (pSTS) as a causal region involved in the generation of the McGurk effect, it remains unclear whether this region is critical only for this illusion or also for the more general benefits of congruent visual speech (e.g., increased accuracy and faster reaction times). Indeed, recent correlative research suggests that the benefits of congruent visual speech and the McGurk effect rely on largely independent mechanisms. To better understand how these different features of audiovisual integration are causally generated by the left pSTS, we used single-pulse TMS to temporarily disrupt processing within this region while subjects were presented with either congruent or incongruent (McGurk) audiovisual combinations. Consistent with past research, we observed that TMS to the left pSTS reduced the strength of the McGurk effect. Importantly, however, left pSTS stimulation had no effect on the positive benefits of congruent audiovisual speech (increased accuracy and faster reaction times), demonstrating a causal dissociation between the two processes. Our results are consistent with models proposing that the pSTS is but one of multiple critical areas supporting audiovisual speech interactions. Moreover, these data add to a growing body of evidence suggesting that the McGurk effect is an imperfect surrogate measure for more general and ecologically valid audiovisual speech behaviors. [ABSTRACT FROM AUTHOR]

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nowadays, the spectator lives surrounded by television series in which increasingly complex, depressing and denouncing themes proliferate. About this, the Netflix hit Squid Game (2021) is a clear representation of a mass culture increasingly virtuous in staging, as well as more horrifying, preachy and sensationalist. Based on the observation of the phenomenon that the series has meant, narrative content analysis has been carried out in which we have sought to find evidence of how mainstream culture continues to popularize and stylize audio-visual abjection in the context of the third golden age of television and the fascination with the plots of torture porn or postmodern cinema of cruelty. The results show that Squid Game is a faithful product of its time: as a current prestige series, it is dark, depressing, pessimistic and has an artistic aura without neglecting entertainment and explores human complexity in themes such as suicide, genocide and violence. [ABSTRACT FROM AUTHOR]

Ficha técnica: Luis Deltell Escolar y Nadia McGowan (Eds.) Fragua Madrid, 2024 293 pp. ISBN: 978-84-127325-5-9

The singularity of the recordings made in the Justice Ministry’s audio-visual archives gives them a special place in the French Heritage Code compared with other archives. Its history and legal status explain its specific features. Thanks to the Law of the 11th of July 1985 as advocated by then Minister of Justice, Robert Badinter, cameras have been allowed into courtrooms, to constitute the memory of the Judiciary through historical video or sound archives, in their entirety, without cuts, additions or editing.This new law broke the ban on filming or photographing trials, which dated back to 1954. Since then, 28 trials have been recorded: crimes committed during the Second World War, crimes against humanity, crimes of genocide against the Tutsi in Rwanda, crimes of terrorist attacks. The historical subjects characterise their recording. Accessing and consulting these archives is a social, educational and remembrance issue.

During the trials of the terrorist attacks, between 2021 and 2024, two archivists from the National Archives of France went into the courtrooms to document the judicial action live, synchronising themselves with the complete recordings from the Justice Ministry’s audio-visual archives recorded during the 1,334 hours of filming. From this privileged placz, observation of the video recordings raises questions about the place that sound occupies in the creation of this archive. Faced with the material organisation used to reproduce it - fixed microphones, web radio – there is a more sensitive experience of the oral nature of the judicial debate. This very contemporary point of view invites us to go back in time to the first moving image recordings of trials, which were initially silent until their recording was banned in 1954. The return of the camera, wanted by Robert Badinter in 1985, is an archiving tool that also fixes the sound, restoring the materiality of filmed trials and inscribing them in our memory.

Este artículo es un relato personal del proyecto “La rara troupe”, un espacio de creación y convivencia entre personas con y sin diagnósticos clínicos de salud mental que se viene imaginando y reconfigurando desde el año 2012 en el departamento educativo del MUSAC. La escritura de este artículo combina la narración en primera persona y el análisis fílmico a través de los audiovisuales que produce el grupo, en un intento auto-reflexivo de la praxis donde las metodologías artísticas de investigación, la relevancia de lo afectivo frente a lo proyectivo y la politización del malestar, se convierten en las herramientas autorizadas por nosotras mismas de una investigación abierta, cambiante y necesaria para pensar en las prácticas culturales contemporáneas de acercamiento a lo real.

Hearing a task-irrelevant sound during object encoding can improve visual recognition memory when the sound is object-congruent (e.g., a dog and a bark). However, previous studies have only used binary old/new memory tests, which do not distinguish between recognition based on the recollection of details about the studied event or stimulus familiarity. In the present research, we hypothesized that hearing a task-irrelevant but semantically congruent natural sound at encoding would facilitate the formation of richer memory representations, resulting in increased recollection of details of the encoded event. Experiment 1 replicates previous studies showing that participants were more confident about their memory for items that were initially encoded with a congruent sound compared to an incongruent sound. Experiment 2 suggests that congruent object-sound pairings specifically facilitate recollection and not familiarity-based recognition memory, and Experiment 3 demonstrates that this effect was coupled with more accurate memory for audiovisual congruency of the item and sound from encoding rather than another aspect of the episode. These results suggest that even when congruent sounds are task-irrelevant, they promote formation of multisensory memories and subsequent recollection-based retention. Given the ubiquity of encounters with multisensory objects in our everyday lives, considering their impact on episodic memory is integral to building models of memory that apply to naturalistic settings.

Background: Children’s oral health and clinical management are significantly affected by dental fear and anxiety. Purpose: This study investigates the effectiveness of audiovisual distraction in reducing the anxiety levels of children visiting for dental treatment. Methods: Sixty pediatric patients ages 6–10 years were included in this cross-sectional study. They were divided into two groups—a study group and a control group—of 30 patients each. The study group was provided with a tablet and headphones that played their favorite shows, and the control group was not provided with any gadgets. For both groups, anxiety levels were scored using the Facial Image Scale. A two-way repeated-measure ANOVA test was used to compare the levels of dental anxiety among the study and control groups at three intervals: before treatment, during treatment, and after treatment. For the tests, the statistically significant difference was assumed at a p ≤ 0.05. Results: The children of both study and control groups had the same anxiety levels (p > 0.05) before the treatment. The study group had reduced anxiety levels compared to the children in the control group during and after the treatment, with p < 0.05. Conclusion: A child’s favorite show can be played using a tablet and headphones for the child, as it has been shown to be an effective and easy method to reduce anxiety in children visiting dentists for operative procedures. This technique of distraction also reduces post-operative stress on the pediatric dentist.

The prevalence of synthetic talking faces in both commercial and academic environments is increasing as the technology to generate them grows more powerful and available. While it has long been known that seeing the face of the talker improves human perception of speech-in-noise, recent studies have shown that synthetic talking faces generated by deep neural networks (DNNs) are also able to improve human perception of speech-in-noise. However, in previous studies the benefit provided by DNN synthetic faces was only about half that of real human talkers. We sought to determine whether synthetic talking faces generated by an alternative method would provide a greater perceptual benefit. The facial action coding system (FACS) is a comprehensive system for measuring visually discernible facial movements. Because the action units that comprise FACS are linked to specific muscle groups, synthetic talking faces generated by FACS might have greater verisimilitude than DNN synthetic faces which do not reference an explicit model of the facial musculature. We tested the ability of human observers to identity speech-in-noise accompanied by a blank screen; the real face of the talker; and synthetic talking faces generated either by DNN or FACS. We replicated previous findings of a large benefit for seeing the face of a real talker for speech-in-noise perception and a smaller benefit for DNN synthetic faces. FACS faces also improved perception, but only to the same degree as DNN faces. Analysis at the phoneme level showed that the performance of DNN and FACS faces was particularly poor for phonemes that involve interactions between the teeth and lips, such as /f/, /v/, and /th/. Inspection of single video frames revealed that the characteristic visual features for these phonemes were weak or absent in synthetic faces. Modeling the real vs. synthetic difference showed that increasing the realism of a few phonemes could substantially increase the overall perceptual benefit of synthetic faces. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Marketing research has a very important role within any organization and with regard to any of the investigated markets. The present research belongs to the category of qualitative research, being exploratory research, carried out with the aim of allowing a deeper understanding of the specific problems of the television market. The obtained results are qualitative and cannot be extrapolated to the level of the researched population. The problem addressed is a special one of current interest, because the audiovisual in general, and television in particular, determine contradictory and vehement opinions. The current trends of the television market in Romania are quite uncertain in the context of increased digitization. The young respondents appreciate that the public's thirst for information and entertainment is satisfied, rather, by modern communication channels, in particular social networks and the Internet, in general. [ABSTRACT FROM AUTHOR]

Studies on multisensory perception often focus on simplistic conditions in which one single stimulus is presented per modality. Yet, in everyday life, we usually encounter multiple signals per modality. To understand how multiple signals within and across the senses are combined, we extended the classical audio‐visual spatial ventriloquism paradigm to combine two visual stimuli with one sound. The individual visual stimuli presented in the same trial differed in their relative timing and spatial offsets to the sound, allowing us to contrast their individual and combined influence on sound localization judgements. We find that the ventriloquism bias is not dominated by a single visual stimulus but rather is shaped by the collective multisensory evidence. In particular, the contribution of an individual visual stimulus to the ventriloquism bias depends not only on its own relative spatio‐temporal alignment to the sound but also the spatio‐temporal alignment of the other visual stimulus. We propose that this pattern of multi‐stimulus multisensory integration reflects the evolution of evidence for sensory causal relations during individual trials, calling for the need to extend established models of multisensory causal inference to more naturalistic conditions. Our data also suggest that this pattern of multisensory interactions extends to the ventriloquism aftereffect, a bias in sound localization observed in unisensory judgements following a multisensory stimulus. [ABSTRACT FROM AUTHOR]

The ability to detect the absolute location of sensory stimuli can be quantified with either error-based metrics derived from single-trial localization errors or regression-based metrics derived from a linear regression of localization responses on the true stimulus locations. Here we tested the agreement between these two approaches in estimating accuracy and precision in a large sample of 188 subjects who localized auditory stimuli from different azimuthal locations. A subsample of 57 subjects was subsequently exposed to audiovisual stimuli with a consistent spatial disparity before performing the sound localization test again, allowing us to additionally test which of the different metrics best assessed correlations between the amount of crossmodal spatial recalibration and baseline localization performance. First, our findings support a distinction between accuracy and precision. Localization accuracy was mainly reflected in the overall spatial bias and was moderately correlated with precision metrics. However, in our data, the variability of single-trial localization errors (variable error in error-based metrics) and the amount by which the eccentricity of target locations was overestimated (slope in regression-based metrics) were highly correlated, suggesting that intercorrelations between individual metrics need to be carefully considered in spatial perception studies. Secondly, exposure to spatially discrepant audiovisual stimuli resulted in a shift in bias toward the side of the visual stimuli (ventriloquism aftereffect) but did not affect localization precision. The size of the aftereffect shift in bias was at least partly explainable by unspecific test repetition effects, highlighting the need to account for inter-individual baseline differences in studies of spatial learning. [ABSTRACT FROM AUTHOR]

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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses a study that examined the use of audiovisual distraction in reducing anxiety levels in children during dental visits. The study involved 60 children aged 6-10 years, with half of them receiving a tablet and headphones to watch their favorite shows during treatment, while the other half did not have any gadgets. Anxiety levels were measured using the Facial Image Scale before, during, and after treatment. The results showed that the group with audiovisual distraction had significantly lower anxiety levels during and after treatment compared to the control group. The authors suggest that audiovisual distraction can be an effective method to reduce anxiety in pediatric dental patients and should be encouraged in dental practices. [Extracted from the article]

O objetivo deste artigo é identificar, com base numa teoria psicoacústica, o tipo de experiência sonora da narrativa The Midnight gospel (2020), abordando-a enquanto elemento que confere profundidade e multidimensionalidade à narrativa. Recorre-se à noção de níveis de realidade e à ideia de sonosfera para analisar o universo sonoro da série, de modo a elucidar o jogo de imersão musical, vocal e eletrônica que põe à prova a atenção da audiência. As conclusões levam a três aspectos importantes do alcance cognitivo, pedagógico e psicológico da série em análise cujo título já prediz que seus autores querem dar uma “boa notícia à meia-noite”. 1) Percebe-se que, se por um lado, a complexidade sonora mergulha o espectador no ambiente narrativo, ela também o convida a um esforço cognitivo de atenção e compreensão que o retira da condição imersiva. 2) Pedagogicamente, medita-se ouvindo música ou pronunciando sons, amplia-se a percepção fruindo variados repertórios musicais; abre-se o corpo à ampliação da consciência e à escuta do daimon. 3) a imersão musical, o retorno à protomúsica e o “efeito sereia” aparecem como estimulantes psíquicos capazes de devolver ânimo e entusiasmo para a própria existência do personagem, mas também, por um processo de identificação, da audiência.

Realizamos um episódio de ensino que teve como principal objetivo fornecer uma visão holística sobre o modo como a ciência constrói conhecimentos e publiciza por meio das mídias (des)informações científicas sobre o Aquecimento Global. A atividade foi desenvolvida com licenciandos em Física de uma Instituição Federal de Ensino Superior do Estado de São Paulo. A coleta de informações foi realizada por meio de questionários e gravações das discussões que ocorreram durante as aulas que foram conduzidas na plataforma Google Meet. A análise das informações se apoiou a partir de noções da Análise de Discurso (AD) da escola francesa. Por meio da análise dos discursos, notamos timidamente a influência de aspectos sociológicos no julgamento de uma afirmação científica como confiável. Desse modo, aspectos como as credenciais, a expertise, a credibilidade, e os possíveis conflitos de interesses de quem fala sobre a ciência, não foram aspectos relevantes a serem observados pelos licenciandos.

El ensayo propone un acercamiento a las prácticas audiovisuales del grupo de comunicación popular Tomate Colectivo. A partir de la experiencia de la serie audiovisual Trazando resistencias (tomatecolectivo, 2014a, 2014b, 2014c, 2014d, 2014e, 2014f, 2014g y 2014h), invita a interpelar la visualidad como un campo en tensión que involucra la producción, la distribución y los significados culturales de las imágenes en prácticas audiovisuales en contextos de luchas ecoterritoriales. De esta manera, se intenta indagar sobre la relevancia de los archivos audiovisuales digitales del colectivo como potencial espacio de investigación y construcción de narrativas, que no solo documentan procesos sociales y culturales, sino que también construyen contravisualidades desde las luchas ecoterritoriales en Cajamarca, Perú.

This research examines the effect of using audio-visual media on critical thinking in Civics learning in class V Min 4 students in Medan City. This research is quantitative research using experimental research methods. The population used in this research was all classes V Min 4 in Medan City for the 2023/2024 academic year, totaling 108 students. The sampling technique that researchers will use is nonprobability sampling, the Purposive sampling model. The sample in this research was 21 class VA students and 18 class VB students. They were collecting research data through interviews, observation, documentation, and Testing, collecting research data, interviews, observation, and documentation and using a 5 question Essay Test for critical thinking skills. The inferential statistical technique used is prerequisite analysis for normality tests, homogeneity tests, and independent t-tests to test hypotheses. Based on the research results, there are differences in students' average critical thinking learning outcomes in the control and experimental classes, which shows the influence of audio-visual media on critical thinking in civics learning. Based on the criteria for the effectiveness of using audio-visual media on students' critical thinking, they are at the third level. or effective enough to be used in learning.

El presente estudio ofrece un estado de la cuestión de la representación del terror rural o Folk Horror dentro de las artes audiovisuales, poniendo el foco en el medio cinematográfico, aunque sin dejar de lado otros modelos audiovisuales de representación más contemporáneos, como es el caso de los videojuegos. Para ello, se ha llevado a cabo un análisis diacrónico y eminentemente cualitativo de este fenómeno narrativo y estético, que responde a un subgénero dentro del terror compuesto por una serie de rasgos definitorios y a la vez complejos. Como metodología empleada, se ha aplicado la revisión bibliográfica, además del breve estudio de caso de determinadas obras que son citadas a lo largo del texto que, sin embargo, pretende plasmar una radiografía más general y actualizada del Folk Horror en la esfera de las artes audiovisuales.

In the McGurk effect, visual speech from the face of the talker alters the perception of auditory speech. The diversity of human languages has prompted many intercultural studies of the effect in both Western and non-Western cultures, including native Japanese speakers. Studies of large samples of native English speakers have shown that the McGurk effect is characterized by high variability in the susceptibility of different individuals to the illusion and in the strength of different experimental stimuli to induce the illusion. The noisy encoding of disparity (NED) model of the McGurk effect uses principles from Bayesian causal inference to account for this variability, separately estimating the susceptibility and sensory noise for each individual and the strength of each stimulus. To determine whether variation in McGurk perception is similar between Western and non-Western cultures, we applied the NED model to data collected from 80 native Japanese-speaking participants. Fifteen different McGurk stimuli that varied in syllable content (unvoiced auditory “pa” + visual “ka” or voiced auditory “ba” + visual “ga”) were presented interleaved with audiovisual congruent stimuli. The McGurk effect was highly variable across stimuli and participants, with the percentage of illusory fusion responses ranging from 3 to 78% across stimuli and from 0 to 91% across participants. Despite this variability, the NED model accurately predicted perception, predicting fusion rates for individual stimuli with 2.1% error and for individual participants with 2.4% error. Stimuli containing the unvoiced pa/ka pairing evoked more fusion responses than the voiced ba/ga pairing. Model estimates of sensory noise were correlated with participant age, with greater sensory noise in older participants. The NED model of the McGurk effect offers a principled way to account for individual and stimulus differences when examining the McGurk effect in different cultures.

O artigo descreve e analisa a experiência do Coletivo Nós do Audiovisual, que completou 10 anos de atuação em 2023. Reunindo jovens de São Miguel do Gostoso, município no litoral do Rio Grande do Norte, surgiu em decorrência da Mostra de Cinema de Gostoso, evento voltado para a exibição, discussão e formação cinematográfica. Como estratégia metodológica, foi feito um estudo descritivo adotando como instrumentos a entrevista em profundidade com membros do coletivo, a observação participante, a análise de textos produzidos no blog e nas páginas do festival, bem como levantamento da produção audiovisual dos integrantes. Como referências teóricas, foi estabelecido diálogo com Amaranta Cesar e Juliana Muylaert, que analisam a trajetória dos festivais Cachoeira Doc e É tudo verdade; com Albino Rubim sobre políticas culturais e desenvolvimento e também Valéria Silva e Joane Araújo, para refletir sobre a experiência dos coletivos juvenis. Como resultado observamos que as vivências, diálogos e imersões no audiovisual, contribuíram para estimular jovens lideranças, engajadas no fazer artístico. Ingressando em 52 oficinas, os indivíduos tiveram oportunidades de buscar a emancipação e gerar impacto comunitário. Compreendemos que as 10 edições da Mostra de Cinema de Gostoso configuram-se como um laboratório da experiência cinematográfica para o Coletivo Nós do Audiovisual.

O presente artigo resgata o artista que atravessa um túnel extenso e desconhecido na região central do Rio Grande do Sul. Confronta suas impressões e propõe reverberações no audiovisual através do tempo. Espaço e técnica entrecortada pelo olhar frente ao desconhecido, o artista que entra desgovernado em direção ao artista que sai do túnel. Túnel, metalinguagem da luz que atravessa a objetiva na câmera, que retorna luz no fim do túnel e imagem digital nas telas e displays. Sobreposição de tempo digital consumindo memória eletrônica sobre tempo percorrido, transposto. Objeto da arte que foge ao que é a proposta, emergência que supera o imaginado, vida que não segue qualquer roteiro. O relato de experiência presente nessas linhas é um exercício de retorno ao túnel, decomposição de seus elementos e associação dessas unidades a um repertório videográfico, que pretende, vislumbrar algo semelhante ao futuro. Voltar a um túnel transposto como quem pretende que ele termine em outros lugares. Vença distâncias tangíveis e intangíveis. O artista que faz da realização videográfica performance incidental e busca na repetição a poética capaz de revelar outros trajetos através de tuneis ainda não descobertos. Para finalmente se perguntar: o que é um túnel?

Este texto propõe uma reflexão sobre a potência das narrativas audiovisuais - cinematográficas e televisivas - como tecnologias que atuam na configuração de memórias acerca dos últimos regimes ditatoriais que assolaram Argentina (1976-1983) e Brasil (1964-1985). Para isso, revisamos as relações entre memória e história, e pensamos o papel das produções audiovisuais ficcionais e documentais nessa equação, atentando à importância das políticas de fomento ao setor. Nessa revisão, recordamos algumas produções cinematográficas notórias de ambos os países, que abordam e dão a ver os horrores perpetrados pelos regimes ditatoriais. Em seguida, propomos uma breve análise sobre como a temática da ditadura chega à televisão, tomando como exemplo a série argentina História de um clã (2015) e a supersérie brasileira Os dias eram assim (2017). E encerramos discutindo a importância de produções audiovisuais que desvelem e mantenham presentes memórias sobre as ditaduras, sobretudo, no crescente contexto contemporâneo de revisionismo histórico promovido pela extrema-direita na Argentina e no Brasil.

This response article addresses the conception of “film as philosophy” developed by Shawn Loht in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), with specific attention to the relevance and implications of Loht's approach for the broader debate beyond a strictly Heideggerian film-philosophy. The article proceeds in three distinct takes. The first take examines Loht's later-Heideggerian inspirations, arguing that although these more fundamental notions of philosophy open significant possibilities for film as philosophy, they nevertheless run the risk of being too embracive, as well as too elusive, to make a distinctive contribution to the debate. For its second take, the article resets its initial point of departure by considering how the earlier Heidegger of Being and Time cues in Loht's approach a special – albeit, ultimately, untenable – investment in cinematic reflexivity, with the stylistic hallmarks of Terrence Malick serving as a test case. In its final take, the article concludes by venturing a possible solution to the questions raised in the first two takes. Here it is proposed that, in contrast to Loht's general interest in cinematographic devices, the voiceover holds a far more sustainable promise of reflexivity, while at the same time giving more prominence to the viewer's acts of listening – which is what a quintessentially Heideggerian film phenomenology surely asks for.

Since the mid-1990s, film and television industries are more and more confronted with the appearance of new intermediation services which have created platforms. In a project funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), we try to analyze the place and role that these new services are taking in the audiovisual sector. Our corpus is composed of the platforms of four companies that have developed activities on a vast international scale, Netflix (with its service of the same name), Amazon (Prime Video service), Disney (Disney+) and Apple (Apple TV+). Based on our corpus, it seems to us that some changes have been the result of firms’ activities, but that it is not as linear as it may appear at first sight. Transformations are at work but there is also some “Old Media Persistence.” Thus, we find a certain “contamination” of old practices originating from the organization of industrial channels and forms in the mutations currently presented by these new intermediation services.