Audio Visual Quotes

I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me.

Then they’d brought in some top designers to consult on an overall look and feel. The fifties was chosen for the visual and audio aspects, because that was the decade in which the most people had self-identified as being happy. Which is one of the goals here: maximum possible happiness. Who wouldn’t tick that box?

The brain’s auditory cortex, for instance, processes an audio signal from your ear faster than a visual signal is processed in the visual cortex. The difference is around 40 milliseconds, which is not much, but enough to justify using a gun for starting a race, instead of a light flash. The faster audio processing speed means that sprint runners react more quickly to a bang than to a flash of light.

perhaps it is less important that a teacher cover the allotted amount of the curriculum, or use the most approved audio-visual devices, than that he be congruent, real, in his relation to his students.

Much of what we have been doing to improve the world's opinion of us has had the contrary effect. Audio-visual aids which we have sent over the world are primary aids to the belief in the irrelevance, the arrogance, the rigidity, and the conceit of America. Not because they are poorly made. On the contrary, because they are well made and vividly projected. Not because they are favorable images or unfavorable images, but because they are images.

Online giants tend to view humans as audio-visual animals - a pair of eyes and a pair of ears connected to ten fingers, a screen and a credit card. A crucial step toward uniting humankind is to appreciate that humans have bodies.

The fifties was chosen for the visual and audio aspects, because that was the decade in which the most people had self-identified as being happy. Which is one of the goals here: maximum possible happiness. Who wouldn’t tick that box? When

It’s not just the drive. They’re right out front. Everywhere. Waiting for me. All day and night.” “Who are, dear?” “Robots selling things. As soon as I set down the ship. Robots and visual-audio ads. They dig right into a man’s brain. They follow people around until they die.

In grocery stores, it takes all of my attention to successfully navigate my cart without running into people, while also making decisions and dealing with all the audio and visual information. It’s hard to do all that and also make eye contact and smile at people, so my default demeanor could easily be perceived as rude.

The transition from subject to observer was instantaneous, sensations, sights, and sounds changing from instruments of torment to a fascinating display of electronic signals. The spectra included thousands of frequencies, visual, audio and psi bands alike, each customized for a specific effect, a pseudo symphony for an audience of one.

in addition to taking field notes, you should also consider making visual documentation by producing drawings or taking photographs and video recordings. This is also known as ‘visual ethnography’. But remember, images, videos, and even audio recordings and transcripts should not be used instead of detailed field notes; they should complement them. Without the context that is documented in your field notes, recordings on their own will be of little value to you, or to anyone else who will try to make sense of your study (Madden, 2010: 103–109).

The year 1968 was also ground zero for popular music in Germany. Karl Bartos, in 1968 a 16-year-old gifted classical musician, puts it like this: ‘We don’t have the blues in our genes and we weren’t born in the Mississippi Delta. There were no black people in Germany. So instead we thought we’d had this development in the twenties which was very, very strong and was audio-visual. We had the Bauhaus school before the war; and then after the war we had tremendous people like Karlheinz Stockhausen and the development of the classical and the electronic classical. This was very strong and it all happened very close to Düsseldorf, in Cologne, and all the great composers at that time came there. During the late forties up until the seventies they all came to Germany; people like John Cage, Pierre Boulez and Pierre Schaeffer, and they all had this fantastic approach to modern music, and we felt it would make more sense to see Kraftwerk as part of that tradition more than anything else.

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As Chris Milk, an early VR pioneer, explains: You read a book; your brain reads letters printed in ink on paper and transforms that into a world. You watch a movie; you’re seeing imagery inside of a rectangle while you’re sitting inside a room, and your brain translates that into a world. And you connect to this even though you know it’s not real, but because you’re in the habit of suspending disbelief. With virtual reality, you’re essentially hacking the visual-audio system of your brain and feeding it a set of stimuli that’s close enough to the stimuli it expects that it sees it as truth. Instead of suspending your disbelief, you actually have to remind yourself not to believe.

Sebagian mencarinya dalam rangkaian perbuatan baik dan ketaatan, sebagian berkejaran dalam keilmuan dan kebaruan terus menerus, sebagian terjun bebas dalam absurditas dan ketersesatan diri. Sebagian kita mencarinya diantara gema lantunan shalawat atau nyanyian merdu puja dan puji, sebagian lain, larut mencarinya dalam dentuman audio-visual bercampur substansi pembangkit adrenalin dalam event-event party paling hip di kotanya. Sebagian mencarinya dalam upaya yang gigih untuk mendapat predikat tech savvy. Sebagian lain, mencarinya dengan berkeringat dalam trend lari kekinian yang hampir separuhnya berisi aktivitas narsis dan konsumsi bermacam produk running shoes. Sebagian mencarinya dalam ritual belanja dan mengumpul barang-barang branded, sebagian lain mencarinya dalam ketiadaan barang-barang di sekitarnya. Sebagian mencarinya dalam prestasi dan penghargaan. Sebagian lain justru mencarinya pada keinginan untuk tidak dimengerti dan kesalah-pahaman. Sebagian mencarinya dengan berlari, sebagian lain mencarinya dengan berdiam diri. Sebagian mencarinya di tengah keramaian, sebagaian lain mencarinya dalam kesendirian. Terus mencari, entah mencari apa.. Terus ingin, tapi entah ingin apa..

3. Develop a personal learning style Having known your personal profile, you can pick the learning style that can give you the most benefits. There are three common types of learning styles; Visual, Auditory and Kinesthetic. By identifying the learning style that best suit your profile, you will be able to maximize your strengths and compensate for your weaknesses. Visual Learning – If your dyslexia isn’t anything related to your visual processing or any visual dyslexia, this learning type may just suit you. Visual learners like to see things with the eyes. They likely think in pictures and uses different illustrations, diagrams, charts, graphs, videos and mind maps when they study. If you are a visual learner it will be useful to rewrite notes, put information on post-it notes and stick it everywhere, and to re-create images in the mind. Auditory Learning – Auditory learners, on the other hand, think in verbal words rather than in pictures. The best they can do to learn is to tape the information and replay it. It also helps if they discuss the materials that must be learned with others by participating in class discussions, asking questions to their teachers and even trying teaching others. It is also helpful to use audio books and read aloud when trying to memorize information. Kinesthetic Learning – Kinesthetic learners are those who are better to learn with direct exposure to the activity. They are the ‘hands-on’ people and learn best when they actually do something. For them, wiring a circuit board would be much more informative than listening to a lecture about circuits or reading a text book or about it. However, it may also help to underline important terms and meanings and highlight them with bright colors, write notes in the margin when learning from text and repeat information while walking. 4. Don’t force your mind Don’t force your mind to do something beyond your ability. Don’t force yourself to enter a library and finish reading a shelf of books in one day. Be patient on yourself. Take everything slowly and learn step by step. Do not also push yourself if you are not in the mood to read, it will just cause you unnecessary stress. 5.

No problem,” muttered Mr. Raymo, waiting for the door to the secret passageway to glide shut. When Kyle was absolutely certain that the Krinkle brothers wouldn’t follow Mr. Raymo into the Rotunda Reading Room, he popped up and waved. “Mr. Keeley!” whispered Mr. Raymo. “Did you create the error code in Abraham Lincoln’s software?” “It was a group effort,” Kyle answered modestly. “But, yeah, that was us. We need to ask you a question.” “Please hurry,” said Mr. Raymo, looking over his shoulder. “If the brothers catch you kids…” “Mr. Raymo,” said Kyle, “can you use your Nonfictionator to replicate anybody saying anything?” “Yes. But I prefer to have the characters generated by the device speak with historical accuracy. That is why those of us on the Nonfictionator team have put such a high premium on proper research.” “But,” said Kyle, “if we did the research and gave you the audio and visual data you needed to create a truthful, honest representation of someone, or two someones…” “Then I can easily re-create that person or persons in holographic form,” said Mr. Raymo. “It’s also extremely helpful if an audio recording exists of the subject. For instance, I am quite confident that we have correctly captured Michael Jordan’s authentic voice, since we had primary source material to work with. Abraham Lincoln, on the other hand, sounds like Daniel Day-Lewis from the movie.

This took the shape of government announcements paid for by the Directorate of Audio-Visual Publicity (DAVP). While ‘liberally granting advertisements to so-called “friendly” periodicals’, the DAVP withdrew their favours from those deemed critical of the government.

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We do not use writing exclusively to attain perspective upon our self-referential human existence. We dedicate our essayistic existence to witnessing the variegated acts of life. Our craniums serve as a personal planetarium, a full-dome personal theater where we can replay video and audio educational films documenting our scented and tactile observations. We feature recollections of evocative experiences, vivid daydreams, and frightful nightmares. A vast array of scientific visualizations and artistic depictions supplement our personal slideshow, knowledge we employ to frame our evolving self under the celestial sky and navigate our earthy existence.

Atomic manipulation, cloning, studies of the human aura, advanced mind control applications, animal/human crossbreeding, visual and audio wiretapping, the list goes on.

1. Create your first draft as though you’re storytelling traditionally. 2. Choose the platform(s) right for your story. 3. Identify what elements you need to build your story – audio, visual, interactive. 4. Learn the tools of the trade. 5. Create your supplemental or digital elements. 6. Combine all elements of the story. 7. Post to your platforms.

Jeff and I often discussed ways to improve the S-Team meetings. Shortly after a particularly difficult presentation in early 2004, we had some downtime on a business flight (no Wi-Fi yet on planes), so we read and discussed an essay called “The Cognitive Style of PowerPoint: Pitching Out Corrupts Within,” by Edward Tufte, a Yale professor who is an authority on the visualization of information.1 Tufte identified in one sentence the problem we’d been experiencing: “As analysis becomes more causal, multivariate, comparative, evidence based, and resolution-intense,” he writes, “the more damaging the bullet list becomes.” That description fit our discussions at the S-Team meetings: complex, interconnected, requiring plenty of information to explore, with greater and greater consequences connected to decisions. Such analysis is not well served by a linear progression of slides that makes it difficult to refer one idea to another, sparsely worded bits of text that don’t fully express an idea, and visual effects that are more distracting than enlightening. Rather than making things clear and simple, PowerPoint can strip the discussion of important nuance. In our meetings, even when a presenter included supporting information in the notes or accompanying audio, the PowerPoint presentation was never enough. Besides, the Amazon audience of tightly scheduled, experienced executives was eager to get to the heart of the matter as quickly as possible. They would pepper the presenter with questions and push to get to the punch line, regardless of the flow of slides. Sometimes the questions did not serve to clarify a point or move the presentation along but would instead lead the entire group away from the main argument. Or some questions might be premature and would be answered in a later slide, thus forcing the presenter to go over the same ground twice.

an essay called “The Cognitive Style of PowerPoint: Pitching Out Corrupts Within,” by Edward Tufte, a Yale professor who is an authority on the visualization of information.1 Tufte identified in one sentence the problem we’d been experiencing: “As analysis becomes more causal, multivariate, comparative, evidence based, and resolution-intense,” he writes, “the more damaging the bullet list becomes.” That description fit our discussions at the S-Team meetings: complex, interconnected, requiring plenty of information to explore, with greater and greater consequences connected to decisions. Such analysis is not well served by a linear progression of slides that makes it difficult to refer one idea to another, sparsely worded bits of text that don’t fully express an idea, and visual effects that are more distracting than enlightening. Rather than making things clear and simple, PowerPoint can strip the discussion of important nuance. In our meetings, even when a presenter included supporting information in the notes or accompanying audio, the PowerPoint presentation was never enough.

The creation of this digital collection, which brings together the entire body of research materials related to William F Cody's personal and professional life, will enable a variety of audiences to consider the impact of William F. Cody the cultural entrepreneur on American life and provide contextualizing documents from other sources, including audio-visual media that exist for the final years of his life. It will allow more scholars to study the man within his times, will provide new resources to contextualize studies of other regional and national events and persons, and will encourage digital edition visitors to explore and learn more about these vital decades of American expansion and development. The digital edition of the Papers will differ significantly from the print edition by including manuscript materials, photographs, and film and sound recordings, and it will offer navigational and search options not possible in the print edition. As Griffin's volume reveals, it took many people to make Buffalo Bill's Wild West happen. Likewise, there are many people whose combined efforts have made this documentary project a reality. All of the generous donors and talented scholars who have contributed to the success of this effort will be noted in due course. But in this, the first publication, it is appropriate to acknowledge that big ideas are carried to fruition only by sound and steady leadership. The McCracken Research Library was fortunate at the advent of the papers project that in its board chair it had such a leader. Maggie Scarlett was not only an early supporter of this documentary editing project but also its first true champion. It was through her connections (and tenacity) that the initial funds were raised to launch the project. Whether seeking support from private donors, the Wyoming State Legislature, federal granting agencies, or the United States Congress, Maggie led the charge and thereby secured the future of this worthy endeavor. Thus, this reissue of Griffin's account is a legacy not only to William Cody but also to all of those who have made this effort and the larger undertaking possible. In that spirit, though these pages rightfully belong to Charles Eldridge Griffin and to Mr. Dixon, if this volume were mine to dedicate, it would be to Maggie. Kurt Graham

Being blind is less about the loss of sight and more about perceiving the world in new ways—ways which are not dependent on light.

Today, technology both helps and hinders the development of a superpower memory. Think of the technology of audio and visual recorders, computers, and electronic diaries as extensions of the brain. Thanks to these aids we can carry incredible amounts of information around with us. While this increase in readily available information is generally beneficial, there is also a downside. The storage and rapid retrieval of information from a cellphone or an iPad or a computer also exerts a stunting effect on our brain’s memory capacities. We have to constantly try to overcome this by working at improving our memory. This not only will enhance our powers of recall, but will also strengthen our brain’s circuits starting at the hippocampus and extending to every other part of the brain.

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Using audio to describe a complex visual leverages the dual channels of our limited working memory. While the eyes view a visual, the words that enter the ears access the auditory centers of working memory and thus maximize its limited capacity.

David, a six-year-old autistic boy, suffered from chronic anxiety and poor visual-motor co-ordination. For nine months, efforts had been made to teach him to tie his shoe-laces without avail. However, it was discovered that his audio-motor co-ordination was excellent. He could beat quite complex rhythms on a drum, and was clearly musically gifted. When a student therapist put the process of tying his shoe-laces into a song, David succeeded at the second attempt. A song is a form in time. David had a special relationship to this element and could comprehend the shoe-tying process when it was organized in time through a song.16

This time around, True Biz’s audiobook woke me from a dead sleep. I’d made my peace with audiobooks of my books, conceptually, and had kind of forgotten about the eventuality of this one. But this novel presented a whole new existential problem: in the writing itself, I had worked hard to make use of space on the page as a way to highlight the strength and clarity of ASL as a visual language. The result was just a small token of appreciation for what ASL can do—I had still flattened a 3-D language to two—but the signed dialogue looks and feels different than spoken dialogue in the novel, and I had no clue how they’d be able to make that distinction for a listener. I sent a low-key panic email to my editor. She said she’d flag it as a “challenge” for the audio team. Here’s what they came up with: The audiobook team would record the book as usual, and then record a signer performing the ASL dialogue in the book. Very sensitive mics would pick up the sounds of signing—the skin-on-skin contact, the mouth morphemes, the rustling of clothes. The listener would learn that these sounds beneath the dialogue were to mean the character was speaking ASL rather than English. We can’t capture ASL in sound form but, like the use of space in the printed text, it’s a token. I appreciate that a hearing team put some thought into the project, and were paying enough attention to notice that neither signed languages nor deaf people are silent. So yesterday, I went to the studio, rigged up with two heavy duty mics. When I first got into the soundproof room and looked around, I started to laugh. It was mostly foreign territory, but there was also a trace of the audiologists’ booths all of us deaf and hard-of-hearing people have spent so much time in".

Never believe that you cannot change. An audio cassette, a video cassette and a computer disc have all been programmed and each will have certain information recorded upon it. But each of them, using the proper technique, can have the earlier programming erased when you record over it. In precisely the same way, although you and I have been programmed by events and people in our past, there is no reason why we cannot "record over" that previous programming and change ourselves and the way we behave. We do not have to use complicated machinery to do this - merely our own minds.

If you are all set for an enjoyable weekend then simply head towards the magnificent Her Majesty’s Theatre! The popular London Westend theatre is running the award winning London show, The Phantom of the Opera with packed houses. The show has already made its remarkable entry into its third decade. The blockbuster London show by Andrew Lloyd Webber is a complete treat for music lovers. The popular show has won several prestigious awards. The show is set against the backdrop of gothic Paris Opera House. The show revolves around soprano Christine Daae who is enticed by the voice of Phantom. The show features some of the heart touching and spell binding musical numbers such as 'The Music of the Night', 'All I Ask of You' and the infamous title track, The Phantom of the Opera. The Phantom of the Opera is a complete audio visual treat for theatre lovers. In the year 1986, the original production made its debut at the Her Majesty's Theatre featuring Michael Crawford and Sarah Brightman. Sarah was then wife of composer Andrew Lloyd Webber. The popular London musical, The Phantom of the Opera went on becoming a popular show and still London's hottest ticket. The award winning show is a brilliant amalgamation of outstanding design, special effects and memorable score. The show has earned critical acclamation from both the critics and audiences. The show has been transferred to Broadway and is currently the longest running musical. The show is running at the Majestic Theatre and enjoyed brilliant performance across the globe. For Instance, the Las Vegas production was designed specifically with a real lake. In order to celebrate its silver jubilee, there was a glorious concert production at the Royal Albert Hall. The phenomenal production featured Ramin Karimloo and Sierra Boggess as Phantom and Christine. If you are looking for some heart touching love musical the Phantom of the Opera is a must watch. With its wonderfully designed sets, costumes and special effects, the show is a must watch for theatre lovers. The show is recommended for 10+ kids and run for two hours and thirty minutes.

On the other hand, the secularizing speech of audio-visual technology more and more sets the tone for human thought and conduct. Deliberately and universally the mass media encroach upon modern man. Enhanced by color and cunning, television or radio or the printed page makes every last human soul a target of its propaganda. So astonishingly clever and successful have been these media in captivating the contemporary spirit—haunted as it is by moral vacillation and spiritual doubt—that Yahweh’s ancient exhortation to beware of visual idols would seem doubly pertinent today.

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pyramid, but I would argue that it’s not meant to be taken as an exact number, rather a useful guideline that demonstrates that really matters in retaining knowledge. The pyramid is as follows: You retain 5% when you hear a lecture 10% when you read 20% from audio visual processing 30% from demonstrating [this and up are demonstration methods] 50% from group discussion [this and below are participatory methods] 75% from practice by doing 90% from teaching others