Rapt/Wrapped Listening: The Aesthetics of “Surround Sound”

This essay is prompted by “surround sound,” the sonic results of which have been evident in cinemas since the late 1970s and the encoding for which, in the form of Dolby 5.1 on the soundtracks of DVDs, since the turn of the century has been fairly ubiquitous. By way of background, the essay deals in turn with the physical nature of three-dimensional listening and with the history of stereophonic sound as manifest both in the cinema and on LP recordings. More to the point, the essay deals with the aesthetic differences (not just perceptual but also affective) between listening to three-dimensional sounds in real life situations and listening to re-creations of those sounds, via a Dolby system or otherwise, in the privacy and comfort of one’s home. Playing on the homophonic adjectives in its title, the essay reflects on why sometimes we give more rapt attention to artificial versions of “surround sound” than to the genuine stereophonic sound in which we are literally wrapped almost on a daily basis

Grabación, producción y finalización de un producto discográfico en dolby 5.1 conteniendo dos géneros disímiles

Maestro (a) en MúsicaPregrad

A new digital audio system design to cope with High Audio Scene (HAS) encoding technology for all round applications

A brand new audio signal processing technology namely 'High Audio Scene (HAS)' has been developed to compensate the inadequacies of Dolby Digital formats that widely used in daily life audio processing systems. The challenging of using Dolby systems is the expected acoustic conditions including building environment and audio configuration facilities should be satisfied. The coded multiple channels signal from HAS encoders are from ordinary stereo sources without the expensive set up in source recording. The quality of the regenerated sound is compatible to Dolby Surround EX and less acoustically controlled environment is needed. The audio systems configured either in 2.1-, 3.2- or 5.2-channel HAS format can generate a VAST and STRONG VOCAL audio effect similar to the hearing in a natural environment. However, less preserved power is need because of using interference characteristics can intensify the sound sources to many times. The technology is expected to be widely applied for different environment including classrooms, dwells, corridors, auditoriums, cinemas, and concert halls without much building re-revolution work. © 2012 IEEE.published_or_final_versio

Report on a medium-scale three dimensional artificial soundscape rendition: research and development system

A geodesic dome housing a 32Xspeaker <3rd order ambisonic system for Sound Art experimentation at the 2002 Maxis Festiva

Biometric responses to music-rich segments in films: the CDVPlex

Summarising or generating trailers for films or movies involves finding the highlights within those films, those segments where we become most afraid, happy, sad, annoyed, excited, etc. In this paper we explore three questions related to automatic detection of film highlights by measuring the physiological responses of viewers of those films. Firstly, whether emotional highlights can be detected through viewer biometrics, secondly whether individuals watching a film in a group experience similar emotional reactions as others in the group and thirdly whether the presence of music in a film correlates with the occurrence of emotional highlights. We analyse the results of an experiment known as the CDVPlex, where we monitored and recorded physiological reactions from people as they viewed films in a controlled cinema-like environment. A selection of films were manually annotated for the locations of their emotive contents. We then studied the physiological peaks identified among participants while viewing the same film and how these correlated with emotion tags and with music. We conclude that these are highly correlated and that music-rich segments of a film do act as a catalyst in stimulating viewer response, though we don't know what exact emotions the viewers were experiencing. The results of this work could impact the way in which we index movie content on PVRs for example, paying special significance to movie segments which are most likely to be highlights

A two-way interactive broadband satellite architecture to break the digital divide barrier

September 24-26, 2007, Turin, Ital

TV-Centric technologies to provide remote areas with two-way satellite broadband access

October 1-2, 2007, Rome, Italy TV-Centric Technologies To Provide Remote Areas With Two-Way Satellite Broadband Acces

Semi-automatic semantic enrichment of raw sensor data

One of the more recent sources of large volumes of generated data is sensor devices, where dedicated sensing equipment is used to monitor events and happenings in a wide range of domains, including monitoring human biometrics. In recent trials to examine the effects that key moments in movies have on the human body, we fitted fitted with a number of biometric sensor devices and monitored them as they watched a range of dierent movies in groups. The purpose of these experiments was to examine the correlation between humans' highlights in movies as observed from biometric sensors, and highlights in the same movies as identified by our automatic movie analysis techniques. However,the problem with this type of experiment is that both the analysis of the video stream and the sensor data readings are not directly usable in their raw form because of the sheer volume of low-level data values generated both from the sensors and from the movie analysis. This work describes the semi-automated enrichment of both video analysis and sensor data and the mechanism used to query the data in both centralised environments, and in a peer-to-peer architecture when the number of sensor devices grows to large numbers. We present and validate a scalable means of semi-automating the semantic enrichment of sensor data, thereby providing a means of large-scale sensor management