Speech Segregation in Background Noise and Competing Speech
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Application of Noise Mapping in an Indian Opencast Mine for Effective Noise Management
12th ICBEN Congress on Noise as a Public Health Problem Application of noise mapping in an Indian opencast mine for effective noise management Veena Manwar1, Bibhuti Bhusan Mandal2, Asim Kumar Pal3 1 National Institute of Miners’ Health, Department of Occupational Hygiene, Nagpur, India (corresponding author) 2 National Institute of Miners’ Health, Department of Occupational Hygiene, Nagpur, India 3 Indian Institute of Technology-Indian School of Mines (IIT-ISM), Department of Environmental Science and Engineering, Dhanbad, India Corresponding author's e-mail address: [email protected] ABSTRACT So far as mining industry is concerned, noise pollution is not new. It is generated from operation of equipment and plants for excavation and transport of minerals which affects mine employees as well as population residing in nearby areas. Although in the Recommendations of Tenth Conference on Safety in Mines, noise mapping has been made mandatory in Indian mines still mining industry are not giving proper importance on producing noise maps of mines. Noise mapping is preferred for visualization and its propagation in the form of noise contours so that preventive measures are planned and implemented. The study was conducted in an opencast mine in Central India. Sound sources were identified and noise measurements were carried out according to national and international standards. Considering source locations along with noise levels and other meteorological, geographical factors as inputs, noise maps were generated by Predictor LimA software. Results were evaluated in the light of Central Pollution Control Board norms as to whether noise exposure in the residential and industrial area were within prescribed limits or not. -
Designline PROFILE 42
High Performance Displays FLAT TV SOLUTIONS DesignLine PROFILE 42 Plasma FlatTV 106cm / 42" WWW.CONRAC.DE HIGH PERFORMANCE DISPLAYS FLAT TV SOLUTIONS DesignLine PROFILE 42 (106cm / 42 Zoll Diagonale) Neu: Verarbeitet HD-Signale ! New: HD-Compliant ! Einerseits eine bestechend klare Linienführung. Andererseits Akzente durch die farblich gestalteten Profilleisten in edler Metallic-Lackierung. Das Heimkino-Erlebnis par Excellence. Impressively clear lines teamed with decorative aluminium strips in metallic finish provide coloured highlights. The ultimate home cinema experience. Für höchste Ansprüche: Die FlatTVs der DesignLine kombinieren Hightech mit einzigartiger Optik. Die komplette Elektronik sowie die hochwertigen Breitband-Stereolautsprecher wurden komplett ins Gehäuse integriert. Der im Lieferumfang enthaltene Design-Standfuß aus Glas lässt sich für die Wandmontage einfach und problemlos entfernen, so dass das Display noch platzsparender wie ein Bild an der Wand angebracht werden kann. Die extrem flachen Bildschirme bieten eine unübertroffene Bildbrillanz und -schärfe. Das lüfterlose Konzept basiert auf dem neuesten Stand der Technik: Ohne störende Nebengeräusche hören Sie nur das, was Sie hören möchten. Einfaches Handling per Fernbedienung und mit übersichtlichem On-Screen-Menü. Die Kombination aus Flachdisplay-Technologie, einer High Performance Scaling Engine und einem zukunftsweisenden De-Interlacer* mit speziellen digitalen Algorithmen zur optimalen Darstellung bewegter Bilder bietet Ihnen ein unvergleichliches Fernseherlebnis. Zusätzlich vermittelt die Noise Reduction eine angenehme Bildruhe. For the most decerning tastes: DesignLine flat panel TVs combine advanced technology with outstanding appearance. All the electronics and the high-quality broadband stereo speakers have been fully integrated in the casing. The design glass stand included in the scope of supply can easily be removed for wall assembly, allowing the display to be mounted to the wall like a picture to save even more space. -
Sensory Unpleasantness of High-Frequency Sounds
Acoust. Sci. & Tech. 34, 1 (2013) #2013 The Acoustical Society of Japan PAPER Sensory unpleasantness of high-frequency sounds Kenji Kurakata1;Ã, Tazu Mizunami1 and Kazuma Matsushita2 1National Institute of Advanced Industrial Science and Technology (AIST), AIST Central 6, 1–1–1 Higashi, Tsukuba, 305–8566 Japan 2National Institute of Technology and Evaluation (NITE), 2–49–10, Nishihara, Shibuya-ku, Tokyo, 151–0066 Japan ( Received 5 March 2012, Accepted for publication 2 August 2012 ) Abstract: The sensory unpleasantness of high-frequency sounds of 1 kHz and higher was investigated in psychoacoustic experiments in which young listeners with normal hearing participated. Sensory unpleasantness was defined as a perceptual impression of sounds and was differentiated from annoyance, which implies a subjective relation to the sound source. Listeners evaluated the degree of unpleasantness of high-frequency pure tones and narrow-band noise (NBN) by the magnitude estimation method. Estimates were analyzed in terms of the relationship with sharpness and loudness. Results of analyses revealed that the sensory unpleasantness of pure tones was a different auditory impression from sharpness; the unpleasantness was more level dependent but less frequency dependent than sharpness. Furthermore, the unpleasantness increased at a higher rate than loudness did as the sound pressure level (SPL) became higher. Equal-unpleasantness-level contours, which define the combinations of SPL and frequency of tone having the same degree of unpleasantness, were drawn to display the frequency dependence of unpleasantness more clearly. Unpleasantness of NBN was weaker than that of pure tones, although those sounds were expected to have the same loudness as pure tones. -
“Aspects of Danish Cinema”
Programme of Danish Film Screenings at the Danish Institute at Athens 2018 “Aspects of Danish Cinema”. By Ioanna Athanassatou/Film Historic at the Greek Open University & the University of Athens Screening on the 26th of April 2018 Silent heart (2014) by Bille August In film screening programme of the last 2 years, we have had the chance to see I line of Danish movies from Carl Dreyer, Lars von Trier, Susanne Bier and Thomas Vinterberg. Today we have chosen to screen “Silent heart” - in Danish ”Stille hjerte” and in Greek “Αθόρυβη καρδιά” (2014) by Bille August, the fourth movie this year. Bille August is considered the total opposite to Lars Von Trier and Vinterberg with a great international reputation. The filmography of Bille August includes two movies that both were awarded with the Golden Palms in Cannes: “Pelle the Conqueror” (1988) and “The best intentions” (1992). In these movies, including today´s, the director is closer to the cinematic perception of Swedish director Ingmar Bergman (Valoukos 2003, page 630), avoiding formalistic searching, but focusing on the mental state of his heroes. When August directed the movie in 2014, he was inspired by the Scandinavian drama of Ibsen and Strindberg, but also by the philosophic/religious meditation of Søren Kierkegaard. “Silent heart” touches upon the very complex and emotional issue of euthanasia. It was awarded at International festivals and was admitted at the European Art House. The movie is about the family gathering of three generations, coming together for the weekend inorder to say their last goodbye to Esther (Ghita Nørby) – mother and grandmother – who is sick from the incurable disease, Amyotrophic Lateral Sclerosis. -
Family in Films
Travail de maturité – ANGLAIS Sujet no 13 Family in Films “All happy families are all alike; every unhappy family is unhappy in its own way.” Anna Karenina, Leon Tolstoy. Whether dysfunctional, separated by exile, torn apart by history, laden with secrecy, crazy, loving, caring, smothering - and even perhaps happy, family is an endless source of investigation about human relations and social groups. In this research paper, you will be able to question Leon Tolstoy’s statement and explore how films envision new and older forms of families. Some examples of films relevant to this research paper: Festen (Thomas Vintenterberg, 1998) Parasite (Bong Joon-ho, 2019) L’Heure d’été (Olivier Assayas, 2008) Family Romance, LLC (Werner Herzog, 2019) Un conte de Noël (Arnaud Desplechin, Crooklyn (Spike Lee, 1994) 2008) Sorry, We Missed You (Ken Loach, 2019) La Fête de famille (Cédric Kahn, 2019) I, Daniel Blake ( Ken Loach, 2016) After the Storm (海よりもまだ深く, Umi yori Jungle Fever (Spike Lee, 1991) mo mada fukaku, Hirokazu Rodinný Film (Family Film, Olmo Omerzu, Kore-eda, 2016) 2015) Nobody Knows (誰も知らない, Dare mo So Long My Son (地久天长, Di jiu tian chang shiranai, Hirokazu Kore-eda, Wang Xiaoshuai, 2019) 2004) Still Life (三峡好人, Sānxiá hǎorén, Jia Like Father, Like Son (そして父になる, Zhangke, 2006) Soshite chichi ni naru, Hirokazu Amreeka (Cherien Dabis, 2009) Kore-eda, 2013) Tokyo Sonata (Kiyoshi Kurosawa, 2008) Our Little Sister (海街diary, Umimachi American Beauty (Sam Mendes, 1999) Diary, Hirokazu Kore-eda, 2015) The Royal Tenenbaums (Wes Anderson, Still Walking -
47 CFR Ch. I (10–1–06 Edition) § 15.117
§ 15.117 47 CFR Ch. I (10–1–06 Edition) § 15.117 TV broadcast receivers. comprising five pushbuttons and a separate manual tuning knob is considered to provide (a) All TV broadcast receivers repeated access to six channels at discrete shipped in interstate commerce or im- tuning positions. A one-knob (VHF/UHF) ported into the United States, for sale tuning system providing repeated access to or resale to the public, shall comply 11 or more discrete tuning positions is also with the provisions of this section, ex- acceptable, provided each of the tuning posi- cept that paragraphs (f) and (g) of this tions is readily adjustable, without the use section shall not apply to the features of tools, to receive any UHF channel. of such sets that provide for reception (2) Tuning controls and channel read- of digital television signals. The ref- out. UHF tuning controls and channel erence in this section to TV broadcast readout on a given receiver shall be receivers also includes devices, such as comparable in size, location, accessi- TV interface devices and set-top de- bility and legibility to VHF controls vices that are intended to provide and readout on that receiver. audio-video signals to a video monitor, that incorporate the tuner portion of a NOTE: Differences between UHF and VHF TV broadcast receiver and that are channel readout that follow directly from the larger number of UHF television chan- equipped with an antenna or antenna nels available are acceptable if it is clear terminals that can be used for off-the- that a good faith effort to comply with the air reception of TV broadcast signals, provisions of this section has been made. -
Dogme 95 and the Representation of Reality Zsolt Gyenge Moholy-Nagy University of Art and Design, Budapest (Hungary) Email: [email protected]
Acta Univ. Sapientiae, Film and Media Studies, 1 (2009) 6979 Illusions of Reality and Fiction or the Desired Reality of Fiction: Dogme 95 and the Representation of Reality Zsolt Gyenge Moholy-Nagy University of Art and Design, Budapest (Hungary) email: [email protected] Abstract. The paper identies a two channel strategy developed by the authors of the Danish Dogme lms having as goal the generation of the illusion of reality. The rst channel is aiming at the visual layer of the movies, which shows a rm decision to break with the style of the traditional ction lms. The second channel of this strategy is concerned with the narration of the lms. In this regard Dogme contrary to what had been declared in the Vow of Chastity chose one of the most popular lm and TV genres: melodrama. On the one hand Dogme lms created a highly self-reexive visual style and then they combined it on the other hand with a genre which calls for extreme audience identication. Documentarism and deeply conventionalized stories are put together in most Dogme lms to create the reality of ction. Movie is not an illusion states the Manifesto,1 and thus it makes us clear that the movement tries to say something about one of the major themes of cinema and lm theory (and of visual communication in general): the representation of reality. It is well known that the initiators of Dogme 952 1The two founding documents of the Dogme 95 are the Manifesto and the Vow of Chastity. Until recently they were to be found on the ocial website (www.dogme95.dk) of the movement, which in February 2009, during the nal revision of this paper, became unavailable. -
BIS-1280 Booklet X.Pdf-3D4912.Pdf
BIS-CD-1280 STEREO D D D Total playing time: 78'20 BRAGA, Antônio Francisco (1868-1945) 1 Cauchemar (1895) (OSESP Editora) World Première Recording 7'06 Musicological revision by Rubens Ricciardi Jupyra (1899) (OSESP Editora) World Première Recording 70'26 Opera in one act. Libretto: Luiz Gastão de Escragnolle Doria (Italian text: A. Menotti-Buja) Musicological revision by Rubens Ricciardi from the autograph kept at the Universidade Federal do Rio de Janeiro 2 Coro interno Varia l’amor come la luna varia… 1'17 3 Preludio 5'20 Atto unico 63'37 4 Scena I JUPYRA: Migrante, morente, risale pallente… 3'59 5 Scena II QUIRINO: Io t’ho seguita!… 9'31 6 Scena III CARLITO: Sciagurato!… 0'56 7 Scena IV CARLITO: Perchè sei qui?… 11'43 8 Scena V CARLITO: L’uccel di paradiso… 13'54 9 Scena VI JUPYRA: Vendetta!… 2'14 10 Scena VII QUIRINO: Allontanar lo vidi e a te ritorno io fò… 4'51 11 Scena VIII CARLITO: Amor, sei desta? Affacciati!… 4'51 12 Scena IX JUPYRA: Tua nemica son io!… 8'24 13 Scena X QUIRINO: Vendicata tu sei!… 3'14 Eliane Coelho, soprano (Jupyra); Rosana Lamosa, soprano (Rosalia); Mario Carrara, tenor (Carlito); Phillip Joll, baritone (Quirino); Coro da Orquestra de São Paulo; choral direction: Naomi Munakata Orquestra de São Paulo (leader: Cláudio Cruz) conducted by John Neschling Francisco Braga and his opera Jupyra and principal conductor. By that time he had already Antônio Francisco Braga was born in Rio de Janeiro on composed all his major scores. 15th April 1868. -
Files/2014 Women and the Big Picture Report.Pdf>, Accessed 6 September 2018
The neuroscientific uncanny: a filmic investigation of twenty-first century hauntology GENT, Susannah <http://orcid.org/0000-0003-0091-2555> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. THE NEUROSCIENTIFIC UNCANNY: A FILMIC INVESTIGATION OF TWENTY-FIRST CENTURY HAUNTOLOGY Susannah Gent A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University’s policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Chapter 6 Mixers
Chapter 6 Mixers 1 Sections to be covered • 6.1 General Considerations • 6.2 Passive Downconversion Mixers • 6.3 Active Downconversion Mixers 2 Chapter Outline General Passive Mixers Considerations Conversion Gain Port-to-Port Feedthrough Single-Balanced and Double-Balanced Mixers Passive and Active Mixers Active Mixers Conversion Gain 3 Recall: Generic TX & RX 4 General Considerations (I) Mixers perform frequency translation by multiplying two waveforms. Example: mixer using an ideal switch VLO turns the switch on and off, yielding VVIF RFor V IF 0 multiplication of the RF input by a square wave toggling between 0 and 1, even if VLO is a sinusoid. ⋅ 5 General Considerations (II) Mixers perform frequency translation by multiplying two waveforms (and possibly their harmonics). Example: mixer using an ideal switch ⋅ VRF The circuits mixes the RF input with all of the LO harmonics, producing “mixing spurs”. The LO port of this mixer is very nonlinear. The RF port must remain sufficiently linear to satisfy the compression and intermodulation requirements. 6 Performance Parameters: Port-to-Port Feedthrough feedthrough from the LO port to the RF and IF ports. gate-source capacitances gate-drain capacitances Owing to device capacitances, mixers suffer from unwanted coupling (feedthrough) from one port to another. Example of LO-RF Feedthrough in Mixer Consider the mixer shown below, where VLO = V1 cos ωLOt + V0 and CGS denotes the gate-source overlap capacitance of M1. Neglecting the on-resistance of M1 and assuming abrupt switching, determine the dc offset at the output for RS = 0 and RS > 0. Assume RL >> RS. The LO leakage to node X is expressed as Basic component of VLO (square wave) can be expressed as The dc component: 8 The output dc offset vanishes if RS = 0.