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What does the Coen Brothers’ Barton Fink have in common with Norman McLaren’s Synchromy? Or with audiovisual sculpture? Or contemporary music video? Composing Audiovisually interrogates how the relationship between the audiovisual media in these works, and our interaction with them, might allow us to develop mechanisms for talking about and understanding our experience of audiovisual media across a broad range of modes. Presenting close readings of audiovisual artefacts, conversations with artists, consideration of contemporary pedagogy and a detailed conceptual and theoretical framework that considers the nature of contemporary audiovisual experience, this book attempts to address gaps in our discourse on audiovisual modes, and offer possible starting points for future, genuinely transdisciplinary thinking in the field.
Abstract: This revision emphasizes the use of audiovisual materials as an integral and vital part of a particular program of instruction and serves as a practitioner's guide to their selection and utilization. The teacher is viewed as a manager, organizer, and evaluator of learning experiences as well as a motivator of students. Audiovisual methods are viewed as an important part of the communication process that undergirds education. The text begins with a discussion of the theory and practice of audiovisual teaching followed by chapters dealing with selected audiovisual methods. Methods discussed include contrived experiences, purposeful experiences, demonstrations, study trips, exhibits, educational television, motion pictures, still pictures, radio, and recordings. A final section deals with the role of systems and technology in teaching and the educational process.
This book is open access under a CC BY licence. Recent reductions in public funding for audiovisual products have led to dramatic changes in the industry. The lack of interaction between the industry and capital markets has made sourcing funds for audiovisual products especially difficult. This book explains why the distance between the audiovisual and financial markets exists, and considers the perspective of both audiovisual companies and financial intermediaries. Providing a thorough overview of the audiovisual industry in three major categories (television, cinema and web), it analyses the financing behind each. The author adapts the traditional assessment methods to include exploitation rights, distribution deals and risk determinants ; he also proposes a pricing model for the audiovisual products demonstrating that prices and values in a industry of prototype goods do not depend solely on cost and revenue. The book also includes a methodology for analysing the economics of the sector, the different sales agreements between broadcasters and the distribution deals between distributors and independent producers. Finally, a description of the main financial products for private finance is provided, as well as an explanation of how public funds can act as leverage to catalyze private resources through the use of guarantee funds. In The Economics of the Audiovisual Industry the author suggests that rather than relying on subsidized public support, the audiovisual industry should foster private-public partnerships and market dynamics to promote an alternative funding model based on a profitable and long-lasting connection between the audiovisual and financial markets. The valuation model, both for products and firms, proposed in this book are at the basis of this new approach.
- Speech Generation: Acoustics, Models and Applications (Arild Lacroix). - The Evolution of Digital Audio Technology (John Mourjopoulos). - Audio-Visual Interaction (Armin Kohlrausch) . - Speech and Audio Coding (Ulrich Heute) . - Binaural Technique (Dorte Hammerhoei, Henrik Moeller). - Auditory Virtual Environment (Pedro Novo). - Evolutionary Adaptions for Auditory Communication (Georg Klump). - A Functional View on the Human Hearing Organ (Herbert Hudde). - Modeling of Binaural Hearing (Jonas Braasch). - Psychoacoustics and Sound Quality (Hugo Fastl). - Semiotics for Engineers (Ute Jekosch). - Quality of Transmitted Speech for Humans and Machines (Sebastian Möller).