Audiovisual Experience Research Articles

Review: Joana Hadjithomas and Khalil Joreige: I Must First Apologize…

Joana Hadjithomas and Khalil Joreige: I Must First Apologize MIT LIST VISUAL ARTS CENTER CAMBRIDGE, MASSACHUSETTS FEBRUARY 19-APRIL 17, 2016 When opening a spam email, one is subject to the manipulation of its message. Whether intrigued, repulsed, or disinterested, the narrative that has been formed for our susceptibility is often more complex; a parallel history of scamming informs its modern practice, in which not only geo- and sociopolitical relations but digitization blur the distinction between good and evil intentions. The modern practice of scamming is situated within an imaginary realm, where blind faith facilitates an exchange between sender and receiver. Joana Hadjithomas and Khalil Joreige's I Must First Apologize at the MIT List Visual Arts Center presented an investigation into nearly four thousand scam emails collected over a seventeen-year period. (1) The multimedia exhibition sought to illustrate the complexity of scamming on a global scale. The numerous emails that monopolize our junk folders each present a problem--a sick and dying individual, a person in political conflict--as an opportunity to make massive amounts of money. The premise is simple, yet the inner workings sociologically complex. For the victim, there is no return on investment. [ILLUSTRATION OMITTED] I Must First Apologize made excellent use of the List Visual Arts Center's space by mapping the artists' revelatory involvement with the project. The Rumor of the World (2014) envisioned the scam as spectacle, using a cacophony of audiovisual experience to incite synesthesia. The idiosyncratic character of the work encouraged deeper understanding of the sociohistorical advent of the scam, all the while humanizing the scammers. Throughout the exhibition, transient networks materialized through interviews, trophies, maps, scrolls, and letters. The means by which the artists collected the ephemera was reinterpreted to concretize each ploy's digital endeavors, resulting in a fascinating exhumation of a subversive practice, its effects reaching further and more intimately than originally suspected. In The Rumor of the World, Hadjithomas and Joreige displayed remote communication through an immersive installation. Thirteen video screens played a rotating series of thirty-seven interviews, each positioned along the outer edge of a blackened gallery space. Circling through the space permitted a one-on-one encounter with each email read aloud by a diverse cast of amateur actors, who stumbled over their words and paused awkwardly in their speech. A mass of hanging speakers hung in the center of the space and gathered the audio into an unintelligible cacophony. Fictional stories on the local and embodied level, interwoven into a singular commotion, told the rumor of the world. [ILLUSTRATION OMITTED] Approaching one screen, visitors heard the following narrative from a woman with long brown hair and a blue top: My name is Mrs. Viviane Salem. I live in Baghdad. She raised her chin and pulled for our attention with her declarative regard: I'm the wife of a lovely husband named Nassim Salem and the mother of three children. Her story was an emotional one and involved a family lost in the terror of an American-led bombing on the city. Mrs. Viviane Salem alluded to underlying motives of the Iraqi war: Just for oil, everything faded ... The emotional force of her narrative was tinged with inarticulate grammatical mistakes. Mention of money threw her story further into doubt. When she requested assistance with the transfer of $29.5 million, any semblance of empathy withered. Hadjithomas and Joreige, while filming the amateur actors, tried to remain unbiased. (2) Like someone opening a scam email for the first time, reading its solicitation, and judging its plausibility accordingly, the artists subjected themselves to the whims of each narrative. …

Can blind persons accurately assess body size from the voice?

Vocal tract resonances provide reliable information about a speaker's body size that human listeners use for biosocial judgements as well as speech recognition. Although humans can accurately assess men's relative body size from the voice alone, how this ability is acquired remains unknown. In this study, we test the prediction that accurate voice-based size estimation is possible without prior audiovisual experience linking low frequencies to large bodies. Ninety-one healthy congenitally or early blind, late blind and sighted adults (aged 20-65) participated in the study. On the basis of vowel sounds alone, participants assessed the relative body sizes of male pairs of varying heights. Accuracy of voice-based body size assessments significantly exceeded chance and did not differ among participants who were sighted, or congenitally blind or who had lost their sight later in life. Accuracy increased significantly with relative differences in physical height between men, suggesting that both blind and sighted participants used reliable vocal cues to size (i.e. vocal tract resonances). Our findings demonstrate that prior visual experience is not necessary for accurate body size estimation. This capacity, integral to both nonverbal communication and speech perception, may be present at birth or may generalize from broader cross-modal correspondences.

In-between Performance and Mediatization: Authentication and (Re)-Live(d) Concert Experience

As a moment of emotional and physical closeness between performers and audiences, the live concert experience represents a crucial element in the construction of authenticity in popular music. Allan Moore argues that the emphasis of research should shift from sources of authenticity to modes of authentication, a process triggered by specific textual or performative features. This article aims to unpack the complexity of authentication, especially with regard to mediatization. An analytical framework based on the temporal relationship between real action and its aural or audiovisual experience through recording is then applied to case studies of Jimi Hendrix, Pink Floyd, and Korn.

Suspension and vibrating body: audiovisual experiences in luiz duVa

The paper addresses some discussions that tangent the problematic of audiovisual in contemporary society. The study presents an analysis of the relationship between image and body in digital media from observation of the procedures employed in the video installation Retratos in motion: o beijo (2005) of the artist luiz duVa (São Paulo, 1965). The audiovisual experience is seen here in its tactile meanings as the place of contact, such as production of otherness. It depends mostly of crossings that promotes in the body of visitor. This study aims to verify how the sensations caused by it provide destabilizing strangeness, activating memories.

Antidogma

The philosophy of film usually presupposes two main assumptions or dogmas. First, films are autonomous audiovisual structures that can be instantiated by particular screenings. Second, the cinematic experience is a surrogate of the audiovisual perception. Experimental cinema can defy these assumptions by making films that either lack an autonomous structure or do not provide spectators with an audiovisual experience that emulates ordinary perception. The paper analyzes Ugo Nespolo’s experimental films precisely as peculiar attempts to defy the two dogmas of the philosophy of film.

MP23-07 VASECTOMY SIMULATION MODULE: DIDACTIC, AUDIO-VISUAL, AND LIVE-SIMULATION EXPERIENCE

You have accessJournal of UrologyTechnology & Instruments: Surgical Education & Skills Assessment II1 Apr 2015MP23-07 VASECTOMY SIMULATION MODULE: DIDACTIC, AUDIO-VISUAL, AND LIVE-SIMULATION EXPERIENCE Ram Pathak, Scott Alford, and Todd Igel Ram PathakRam Pathak More articles by this author , Scott AlfordScott Alford More articles by this author , and Todd IgelTodd Igel More articles by this author View All Author Informationhttps://doi.org/10.1016/j.juro.2015.02.1250AboutPDF ToolsAdd to favoritesDownload CitationsTrack CitationsPermissionsReprints ShareFacebookTwitterLinked InEmail INTRODUCTION AND OBJECTIVES To combat concerns over surgical cases, duty-hour restrictions, and ethical obligations of the patient-physician alliance, simulation has evolved as a necessary adjunct in residency education. Vasectomies, often performed on awake patients, create a peculiar atmosphere, with both patient and physician angst. Oftentimes, residents are not primary surgeons. We created a Vasectomy Simulation Module, equipped with a didactic power-point presentation and audio-visual component, as well as, skills training on a vasectomy simulator in the presence of an attending physician. The primary aim of the study was to determine the impact of the Vasectomy Simulation Module on resident education via questionnaires. METHODS A retrospective review quantifying the vasectomy experience, degree of anxiety and role of simulation of graduated residents at a single institution was performed. Results were tabulated anonymously. All current residents were asked to participate in a vasectomy simulation module, consisting of a didactic portion outlying the history of vasectomy, common techniques and pertinent AUA guidelines; a narrated video of both a ‘real’ and ‘simulated’ vasectomy performed by an attending physician; and demonstration of skills mastery in the presence of an attending physician. Responses were garnered from all participating residents. RESULTS Retrospective review of prior graduates revealed significant anxiety while performing their first vasectomy. A majority (>80%) wished they had access to simulation prior to performing their first vasectomy. In regards to the prospective part, of all who participated, only residents (n=4) without any clinical vasectomy experience were included in the analysis. 75‰ of residents stated they ‘strongly agree’ that the vasectomy simulation has increased comfort level with performing vasectomies, while 1 resident ‘agreed’ with the aforementioned statement. All residents agreed that simulation would reduce fear and anxiety when performing live vasectomy. CONCLUSIONS Our Vasectomy Simulation Module received overwhelmingly positive feedback. Residents felt they attained the necessary procedural skills to master the no scalpel vasectomy. © 2015 by American Urological Association Education and Research, Inc.FiguresReferencesRelatedDetailsCited byPathak R, Edge C, Thomas G, Thiel D, Broderick G, La Rosa D, Lannen A, Moore M, Frank R and Igel T (2019) Vasectomy Simulation Curriculum and Trainer with Enhanced Face, Content and Construct ValidityUrology Practice, VOL. 6, NO. 3, (180-184), Online publication date: 1-May-2019. Volume 193Issue 4SApril 2015Page: e269 Peer Review Report Advertisement Copyright & Permissions© 2015 by American Urological Association Education and Research, Inc.MetricsAuthor Information Ram Pathak More articles by this author Scott Alford More articles by this author Todd Igel More articles by this author Expand All Advertisement Advertisement PDF downloadLoading ...

The Oxford Handbook of New Audiovisual Aesthetics ed. by John Richardson, Claudia Gorbman, and Carol Vernallis (review)

Reviewed by: The Oxford Handbook of New Audiovisual Aesthetics ed. by John Richardson, Claudia Gorbman, and Carol Vernallis Enoch S. A. Jacobus The Oxford Handbook of New Audiovisual Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. (Oxford Handbooks Series.) New York: Oxford University Press, 2013. [x, 735 p. ISBN 9780199733866. $150.] Illustrations, multimedia companion Web site, bibliographic references, index. A wide variety of perspectives and interests tend to huddle together beneath the academic umbrella of the audiovisual. For this reason, The Oxford Handbook of New Audiovisual Aesthetics collects essays that appeal to a wide readership interested in the relationship between sight and sound. Even so, there is only so much ground one can cover in one volume. Editors John Richardson, Claudia Gorbman, and Carol Vernallis take Part I of the book to introduce the varied scenes set by the term audiovisual, most notably by inclusion of “nonor extracinematic forms” (p. 4), even as they acknowledge the debt that so many audiovisual media owe cinema (pp. 5–6). The introduction contains some unnecessary meandering, especially given the page count, but they strike a rich vein when they list fifteen points of consideration that face the broader field of audiovisual studies: 1. Audiovisual interrelations (how sound and vision interact) 2. Beyond audiovisuality (how other senses are, or might be, incorporated into the experience) 3. Narrativity, semiotics, and stylistic conventions (diegesis, interpretation, coded meanings) 4. Intertextuality (the relations of given audiovisual performances to other texts) 5. Intermediality (mode of performance as influenced by other media) 6. Technology (how it is used/what is being said about it through its use) 7. Space and place (onscreen/offscreen, diegetic/nondiegetic, natural/imaginary) 8. Temporality and synchronization (time’s relation to audiovisual elements, content, and experience) 9. Aestheticism and affect as resistance (affect of tone and mood through visual/aural experience) 10. Economic factors (what economic conditions liberate/constrain content and media of dissemination) 11. Interactivity and immersion (receiver participation in and suspension of disbelief in audiovisual experience) 12. The voice (use of human voice, how it manipulates and is manipulated to affect experience) 13. Soundtrack elements (interaction of music, Foley, dialogue, and environmental noises) 14. Audiovisual ecology (nature of sound in audiovisual performances and its relation to its surroundings) 15. Cultural identity, affiliation, and spec-tatorship (the biases of the intended audio-viewer) Most of these issues are addressed (to varying degrees) over the course of the volume, with some whole sections given over to them. I will treat each of the book’s sections in turn. This first section (“Theoretical Pressure Points”) comprises five chapters of a more philosophical nature. The first two chapters in this section address ideas just as relevant to readers with audio-only concerns as to those with an audiovisual bent, addressing the affects and notions of technology and embodiment (Lawrence Kramer) and the mentality of remix culture, musical ownership, and copyright law (Nicholas Cook). Obviously, these are music-heavy concerns, but are nonetheless tangential to the audiovisual [End Page 514] realm as a whole. To balance this, Michel Chion’s fascinating contribution narrows in on the non-musical audiovisual complexities presented by the translation of film dialogue into other languages. Broadly applicable in any narrative audiovisual medium is Anahid Kassabian’s suggested revision of the old diegetic/nondiegetic dichotomy, or even Ben Winters’s theoretical trident of diegetic/intradiegetic/extradiegetic (Ben Winters, “The Non-Diegetic Fallacy: Film, Music, and Narrative Space,” Music & Letters 91, no. 2 [2010]: 224–44). Given the proliferation of video games, viral videos, and Web sites, the binary (or trinary) distinctions of diegesis may be less central than in older media. Steven Connor’s chapter discusses the metaphysical experience of film as though it were a living creature with which we share eyes and ears. Specifically, he discusses the peculiarities that sharing a body with the film presents and how we suspend the expectations of our normal experience (e.g., distracting noise or out-of-sight objects emitting sound). Part III, “Narrative, Genre, Meaning,” is divided into three subsections. The first of these, entitled “Changing Times, Changing Practices,” contains fascinating essays on documentary films, television serials, and big Hollywood blockbusters. This section even...

Lifelong learning through digital storytelling in corporate training

In this paper we discuss collaborative learning strategies based on the use of digital stories in corporate training and lifelong learning. The text starts with a concise review on theoretical and technical foundations about the use of digital technologies in collaborative strategies in lifelong learning. We will also discuss if the corporate training may be improved by the use of individual audio-visual experience in learning process. Careful planning, scripting and production of audio-visual digital stories can help in the construction of collaborative learning spaces in which adults are in the context of vocational training throughout life. Our analysis concludes emphasizing on the need to experience the routing performance of digital stories in the context of corporate training, following the reference levels mentioned here, so we can have in a future more theoretical and empirical elements for the validation and conceptualization in the use of digital stories in the context of corporate training. Ultimately we believe that lifelong learning can be improved with the use of strategies that promote the production of personal audio-visual for those involved in teaching and learning process in organizational context.

Age mitigates the correlation between cognitive processing speed and audio-visual asynchrony detection in speech.

Cognitive processing speed, hearing acuity, and audio-visual (AV) experience have been suggested to influence AV asynchrony detection. Whereas the influence of hearing acuity and AV experience have been explored to some extent, the influence of cognitive processing speed on perceived AV asynchrony has not been directly tested. Therefore, the current study investigates the relationship between cognitive processing speed and AV asynchrony detection in speech and, with hearing acuity controlled, assesses whether age-related AV experience mitigates the strength of this relationship. The cognitive processing speed and AV asynchrony detection by 20 young adults (20-30 years) and 20 middle-aged adults (50-60 years) were measured using auditory, visual and AV recognition reaction time tasks, and an AV synchrony judgment task. Strong correlations between audio, visual, and AV reaction times and AV synchrony window size were found for young adults, but not for middle-aged adults. These findings suggest that although cognitive processing speed influences AV asynchrony detection in speech, the strength of the relationship is seemingly reduced by AV experience.

A Laugh a Second?

The research project ‘(Re-)Framing Film: Trailers, Music and Meaning in the Digital Age’, hosted by Carleton University, has undertaken the first comprehensive study of music and sound in cinematic trailers. Close analysis of the aural dimension of over 125 trailer texts has revealed that comedy trailers present a unique soundscape within the world of cinematic previews, as dictated by genre. Pre-composed music (especially popular songs), structurally deployed synch points, special aural treatment of punchlines, and multilayered elements of irony (e.g. generic ambiguity through music) conspire to create a compelling audiovisual experience for trailer consumers. The previews for Ted, Pineapple Express, and The Hangover franchise serve as case studies to illustrate the observations about genre-based uses of music and sound.

Audio-visual moiré patterns: Phasing in Guy Sherwin’s Optical Sound films

Abstract British experimental film-maker Guy Sherwin’s Optical Sound films from the 1970s explore the corporeal correspondence between sound and image through a transposition of the optical soundtrack into the visual images presented on-screen. These films are fundamentally a series of experiments investigating not only the relationship between sound and image, but also the essence and materiality of film itself. Sherwin asserts that his Optical Sound films have three discernible influences on them: the rigorous structuralism of the London Filmmaker’s Co-operative of the 1970s, the idea of aural/visual equivalence and Steve Reich’s contemporaneous musical experiments with sound phasing. Bearing this assertion in mind, this article intends to explore how Sherwin’s films, such as Phase Loop (Sherwin, 1971, 2007), subvert conventional notions of sound and synchronization in the film form from the vantage point of structural/materialist film theory. Further to this, it will also consider the influence of Reich’s use of phasing, looping and his stress on the importance of process in the structuring of material in order to assess the effects of perceptual shifts as extended to the audio-visual experience by Sherwin.

영화 사운드디자인의 내러티브 기능 연구

영화 사운드디자인의 내러티브 역할의 중요성에 대한 인식이 보편화 되어있고, 이를 강조하는 많은 연구가 진행되고 있음에도 불구하고, 아직까지 총체적이고 구체적인 사운드 연구 방법론이 존재 하질 않고 있는 이유는, 사운드디자인의 원리와 제작 공정에 대한 이해의 부족 때문이라 할 수 있다. 이 글은 이러한 원리와 공정에 대한 이해를 시도하고, 사운드디자인의 내러티브 역할에 대한 정의와 그 구체적 기능을 연구한다. 영화의 예술성과 내러티브 구조의 분석을 통하여 사운드디자인의 내러티브 역할을 내러티브의 정보와 감정과 의미의 전달로 정의하고, 사운드디자인의 대사, 엠비언스, 폴리, 사운드이펙트 제작 공정에서 이 역할 수행을 위한 구체적 방법론을 도출해 본다. 각 공정은 각각의 특성에 맞게 내러티브 역할을 담당하고 있음을 확인할 수 있었다. 대사는 인물을, 엠비언스는 배경을, 폴리는 인물과 인물에 의한 사건을, 그리고 사운드이펙트는 사건을 기호화 하여 전달함으로써, 내러티브가 표출하는 정보와, 담고 있는 감정과, 내포하는 의미를, 효과적이며 창의적인 방법으로 전달하며, 이것이 사운드디자인의 내러티브 기능이라 할 수 있을 것이다. Film sound should be analyzed based upon the profound understanding of sound design process and the principle behind it. Lack of this knowledge prevents the research from having the comprehensiveness and concreteness. This study aims to reaffirm the important role of sound design in filmmaking while also investigating the narrative functions of sound design. The role of sound design as a cinematic technique was defined as creating audio-visual experience with a collection of information, emotion, and ideas organized and presented in the sound narrative of films. Each process of sound design, dialog, ambience, Foley, and sound effects, was proved to be performing this role as a result of a case study of various narrative films. The narrative functions of sound design was able to be defined as well.

Audio-visual speech experience with age influences perceived audio-visual asynchrony in speech

Previous research indicates that perception of audio-visual (AV) synchrony changes in adulthood. Possible explanations for these age differences include a decline in hearing acuity, a decline in cognitive processing speed, and increased experience with AV binding. The current study aims to isolate the effect of AV experience by comparing synchrony judgments from 20 young adults (20 to 30 yrs) and 20 normal-hearing middle-aged adults (50 to 60 yrs), an age range for which a decline of cognitive processing speed is expected to be minimal. When presented with AV stop consonant syllables with asynchronies ranging from 440 ms audio-lead to 440 ms visual-lead, middle-aged adults showed significantly less tolerance for audio-lead than young adults. Middle-aged adults also showed a greater shift in their point of subjective simultaneity than young adults. Natural audio-lead asynchronies are arguably more predictable than natural visual-lead asynchronies, and this predictability may render audio-lead thresholds more prone to experience-related fine-tuning.

Thermoacoustic Chips with Carbon Nanotube Thin Yarn Arrays

Aligned carbon nanotube (CNT) films drawn from CNT arrays have shown the potential as thermoacoustic loudspeakers. CNT thermoacoustic chips with robust structures are proposed to promote the applications. The silicon-based chips can play sound and fascinating rhythms by feeding alternating currents and audio signal to the suspending CNT thin yarn arrays across grooves in them. In additional to the thin yarns, experiments further revealed more essential elements of the chips, the groove depth and the interdigital electrodes. The sound pressure depends on the depth of the grooves, and the thermal wavelength can be introduced to define the influence-free depth. The interdigital fingers can effectively reduce the driving voltage, making the chips safe and easy to use. The chips were successfully assembled into earphones and have been working stably for about one year. The thermoacoustic chips can find many applications in consumer electronics and possibly improve the audiovisual experience.

Enhancing audiovisual experience with haptic feedback: a survey on HAV.

Haptic technology has been widely employed in applications ranging from teleoperation and medical simulation to art and design, including entertainment, flight simulation, and virtual reality. Today there is a growing interest among researchers in integrating haptic feedback into audiovisual systems. A new medium emerges from this effort: haptic-audiovisual (HAV) content. This paper presents the techniques, formalisms, and key results pertinent to this medium. We first review the three main stages of the HAV workflow: the production, distribution, and rendering of haptic effects. We then highlight the pressing necessity for evaluation techniques in this context and discuss the key challenges in the field. By building on existing technologies and tackling the specific challenges of the enhancement of audiovisual experience with haptics, we believe the field presents exciting research perspectives whose financial and societal stakes are significant.

Voicing Nature in John Luther Adams's The Place Where You Go to Listen

John Luther Adams's The Place Where You Go to Listen (2006), a permanent sound-and-light installation at the Museum of the North in Fairbanks, Alaska, resonates strongly with the geography and ecology of the composer's place of residence. The audiovisual experience is generated through a computer programme that translates real-time data streams from geophysical events into sound and colour signals. The Place functions as an artistic mirror, absorbing data from natural phenomena and reflecting it back to the listener in a deliberately allusive way. As a result, those present are invited to raise their awareness to the ‘unheard vibrations’ of the natural world.Upon entering the installation, the listener perceives an ongoing, harmonically dense hum. Through immersion, he or she notices change in both the location from which sounds project and the properties of audio and visual signals. Drawing on information theory, this article investigates the process whereby Adams renders scientific data into an audiovisual presentation as well as the role the composer and audience play in attributing meaning to this environmentally driven work. By examining the communicative layers of the installation and exploring the perceptual tendencies of the listener, we can better understand how The Place raises environmental awareness.

The intangible ground: A neurophenomenology of the film experience

The vivid and engaging nature of the audiovisual experience, particularly in character-driven narrative films, is specifically functional to the creation of a relationship between the spectator and the world of the film based on the perception of observed intentional actions. This essay explores the idea that the film spectator experiences a tangible relationship with the filmic objects, subjects, and environments by simulating the character’s actions and bodily postures. The hypothesis is evaluated in a theoretical neurophenomenological framework, with the aim of rethinking film spectatorship in the light of a perspective created by combining the results of neurocognitive and neurophysiological experiments with a phenomenological interpretation of the human experience.

Syracuse, Ancient City

Uma das maiores cidades gregas na Antiguidade, Siracusa situa-se na maior ilha do Mar Mediterrâneo - a Sicília - no cruzamento de vias marítimas milenares, freqüentada por povos diversos na história. A partir de um relato de viagem da equipe do Laboratório de Estudos sobre a Cidade Antiga (LABECA MAE USP) à Sicília, em 2007, o documentário dirigido por Silvio Luiz Cordeiro mostra as impressões de seis siracusanos sobre a sua cidade: entre os tempos de um mesmo lugar, do passado remoto à vivência do presente, a memória de uma cidade viva.

A experiência audiovisual nos espaços educativos: possíveis interseções entre educação e comunicação

O presente trabalho relaciona os campos da comunicação e da educação a partir de uma reflexão sobre a experiência audiovisual no contexto dos espaços educativos. Aponta-se a transversalidade das mídias audiovisuais como um desafio importante para a escola, considerando-se a complexidade do momento histórico em que vivemos e seus processos de construção de subjetividades decorrentes dos novos modos de ler, ver, pensar e aprender. Procuramos encontrar, nas práticas atuais dos espaços de sala de aula, elementos que pudessem fornecer subsídios para aprofundar algumas questões relacionadas ao discurso áudio-imagético dentro de uma perspectiva histórico-cultural, recolocando a questão das poéticas tecnológicas, inserindo a técnica no universo da cultura. Nossa preocupação com relação às referências teóricas para este estudo foi a de não limitar as questões problematizadas nesta investigação a determinados guetos teóricos, sem que, para isso, o objeto de pesquisa sofresse diluições. Assim, trabalhamos com autores que nos ajudaram a transitar por diferentes campos do conhecimento e saberes. Estabelecemos diálogos com o pensamento bakhtiniano; com pesquisadores que estão refletindo sobre as produções audiovisuais contemporâneas; e com autores como José Luiz Braga e Regina Calazans; Martin-Barbero; e David Buckingham que nos permitiram uma visão ampliada sobre a contemporaneidade e as questões significativas dos campos da educação e da comunicação, especialmente as questões relacionadas aos estudos de educação para as mídias.

Effects of congenital hearing loss and cochlear implantation on audiovisual speech perception in infants and children

Cochlear implantation has recently become available as an intervention strategy for young children with profound hearing impairment. In fact, infants as young as 6 months are now receiving cochlear implants (CIs), and even younger infants are being fitted with hearing aids (HAs). Because early audiovisual experience may be important for normal development of speech perception, it is important to investigate the effects of a period of auditory deprivation and amplification type on multimodal perceptual processes of infants and children. The purpose of this study was to investigate audiovisual perception skills in normal-hearing (NH) infants and children and deaf infants and children with CIs and HAs of similar chronological ages. We used an Intermodal Preferential Looking Paradigm to present the same woman's face articulating two words ("judge" and "back") in temporal synchrony on two sides of a TV monitor, along with an auditory presentation of one of the words. The results showed that NH infants and children spontaneously matched auditory and visual information in spoken words; deaf infants and children with HAs did not integrate the audiovisual information; and deaf infants and children with CIs initially did not initially integrate the audiovisual information but gradually matched the auditory and visual information in spoken words. These results suggest that a period of auditory deprivation affects multimodal perceptual processes that may begin to develop normally after several months of auditory experience.