Deployment Of Voice Research Articles

Sounding Out Stories: A Critical Analysis of The Prince, How To Become A Dictator, The King of Kowloon, Three Narrative Podcasts on Contemporary China

It’s unusual and welcome to see not one, but three, well-produced narrative podcasts made in the West about China. Hosted by female journalists with a Chinese background, all provide strong context on Chinese history and politics but focus essentially on an individual: The King of Kowloon (produced by the Australian Broadcasting Corporation) memorialises an eccentric graffiti artist called Tsang Tsou-choi, his art seen in the context of Hong Kong’s shrinking democracy. Both The Prince (by The Economist) and How To Become A Dictator (by The Telegraph) zero in on Xi JinPing, President of the People’s Republic of China, their release coinciding with the fifth annual Communist Party Congress in October 2022. There are many ways to ruin a narrative podcast. Unlike chatcasts, technical quality matters: intimacy, that cherished currency of podcasting, starts with a close mic. The deployment of voice, actuality, music and archival sound in the service of story makes a big difference to how engaged listeners will be. Underpinning all of this are the script and narrative structure. The host should be relatable, as a human being and in connection to the podcast theme. The script also has to link, foreshadow and clarify the various story elements, while the narrative arc works at both a micro level, providing a satisfying journey within each episode, and a macro, whereby thorny details and bum steers are explored, eliminated or developed, and by the end of the series, finally resolved—or at least exhausted. This article is an in-depth critique of these three narrative podcasts, analysing aspects from production/structure and craft/sound design to editorial/research, hosting, script and storytelling.

A COMPARATIVE ANALYSIS OF PROTOCOLS FOR VOIP SERVICES

Although the widespread of broadband network has boosted the deployment of voice over IP (VoIP) systems, most part of the telephone service is still provided on the traditional PSTN lines. It can be expected that the transition from traditional telephone to VoIP systems proceed, and that the network traffic due to the phone calls will become significant. Hence, it is still important to select the best protocols, both for traffic forwarding and for encoding to ensure the required quality. In this paper we present the results of a series of experiments to evaluate the protocols involved in VoIP service. On a laboratory testbed we reproduce a common situation of two interconnected branches and compare the performance achievable by selecting different network protocols like SIP and IAX combined with current voice codecs like G.711 and G.729.

Gloria Anzaldúa's Decolonizing Aesthetics: On Silence and Bearing Witness

ABSTRACT This article is one in a series of attempts on my part to think (from) the in-between of traditionally juxtaposed claims of voice versus silence. It takes seriously both claims that voice is lived as liberatory by many, on the one hand, and that the deployment of voice may not only reify colonial power dynamics that continue to oppress many, but also that words may be inadequate to convey or remember the humiliation, pain, and systematic degradation of trauma and violence, on the other. Thus situated, this paper turns to silence to locate resources for the renewal of sense. Specifically, I turn to Gloria Anzaldúa's iterations of the myth of la Llorona in “My Black Angelos” and Prietita and the Ghost Woman and propose that her deployment of silences is such that the past is remembered in its absence, as loss. As such, I suggest, the deployment of deep silences is key to a decolonizing aesthetics; it bears witness to experiences of coloniality by upholding, rather than eliding, opacity, thus inaugurating decolonizing sensibilities attuned to silences rather than speech and transparency.

The Multimodal Evocation of Minds in Audio Drama

This article discusses the construction of fictional minds in audio drama. Drawing upon social semiotics, cognitive narratology, and the narratology of audio drama, it starts from the premise that a character's consciousness in radio plays is shaped by the conventions, constraints, and affordances of the medium. This means that the semiotic modes of the radio play are exploited in a particular way to give listeners the impression that they are accessing a character's mind, e.g. through a voice's pitch or the verbal rendering of thoughts. In a dynamics of remediation, audio drama conventionally adopts narrative strategies associated with drama (e.g., soliloquy) as well as novelistic (e.g., thought report by a heterodiegetic narrator) and cinematic procedures (e.g., extradiegetic music as an accompaniment to characters' emotions) to evoke minds. Three adaptations will serve to illustrate this dynamics: Madame Bovary (PBS, 1986), Oeroeg (2009) and The Divine Comedy (BBC, 2014). By taking imported conventions into account alongside the audiophonic deployment of voice, music, sound, silence, and words, the article aims to further our understanding of minds in audio drama – which is relatively unknown territory in narratology – and contribute to the debate on fictional minds in cognitive and transmedial narratology.

A New Non-intrusive Model for Measuring VoLTE Quality based on Wideband E-model

Long Term Evolution (LTE) was initially designed for a high data rates network. However, voice service is always a main service that brings a big benefit for mobile operators. Hence the deployment of Voice over LTE (VoLTE) is very essential and urgent. LTE network is a fully All-IP network, thus, the deployment of VoLTE is very complex, specially for guaranteeing of Quality of Service (QoS) to meet quality of experience of mobile users. The key purpose of this paper is to present an object, non-intrusive prediction model for VoLTE quality based on LTE-Sim framework and Wideband (WB) E-model. In order to simulate the experiment, we deployed LTE-Sim framework combining C programming in Matlab software. The outputs of the LTE-Sim will be the inputs of the WB E-model. The output of the WB E-model is user satisfaction via Mean Opinion Score (MOS). In addition, due to voice over LTE network (VoLTE) uses Adaptive Multi-Rate Wideband (AMR-WB) for vocoder while LTE-Sim supports only G.729 codec for narrow band, thus, we propose to add AMR-WB codec into LTE-Sim software. The simulation results show that the proposed model can predict voice quality in LTE network via the WB E-model. The proposed model does not refer to the original signal, thus, it is very suitable for predicting voice quality in LTE network for many different scenarios which are configured in the LTE-Sim framework. The proposed model is very suitable for predicting VoLTE quality for transmission planning, and for researchers in Laboratory.

Predicting VoLTE Quality using Random Neural Network

Long Term Evolution (LTE) was initially designed for a high data rates network. However, voice service is always a main service that drives huge profits benefit for mobile phone operators. Hence the deployment of Voice over LTE (VoLTE) is very essential. LTE network is a fully All-IP network, thus, the deployment of VoLTE is quite complex, specially for guaranteeing of Quality of Service (QoS) for meeting quality of experience of mobile users. The key purpose of this paper is to present an object, non-intrusive prediction model for VoLTE quality based on Random Neural Network (RNN). In order to simulate an experiment, a three-layer feed-forward RNN architecture with gradient descent training algorithm is applied. The inputs of this model are object network impairments such as Packet Loss Rate (PLR), Delay and Jitter. The VoLTE quality was predicted in term of the Mean Opinion Score (MOS). The simulation results show that this model offers MOS values which are quite close to well-known method is WB-PESQ (Wideband Perceptual Evaluation of Speech Quality) model. The results also show that the proposed model is very suitable for predicting voice quality over LTE network.

DANCING US TO HER SONG

In cultural texts, disabled people often function as an emblematic screen upon which non-disabled people's fears and anxieties are projected, rather than functioning as three-dimensional characters or representing disabled people's own experiences. Dance Me to My Song (hereafter Dance), is a rare exception. The film's star and co-author of its script, Heather Rose Slattery, who had cerebral palsy, did not want her film to be pigeonholed as a ‘disability film’. Dance nevertheless demands that we reflect on normative and non-normative bodies and the politics of disability. In its exploration of the tensions between technology, embodiment, autonomy and intersubjectivity, Dance exceeds the (at times) utopian or programmatic accounts of cultural theory as well as the social model of disability. Reading the film only through the lens of ‘social realism’ and ‘disability’, however, limits the audience's depth of engagement with it. We argue that Dance, in its representation of romance, its use of time and its deployment of voice, should be resituated within the genre of the ‘women's film’. In co-writing and performing in such an audacious film, Rose has managed to simultaneously politicise desire, normalise disability and, all the while, dancing us to her song.