The use of music in films has become almost ubiquitous in both drama and documentary. Music is used regularly in cinema, broadcasting and more recently, in interactive media. Yet audiences often criticise makers for its overuse, especially in actuality television. The problem is not merely concerned with the volume and placement of music, but of the internal nature and structure of the musical material itself. This article contextualises the history of western music in a way which may be able to help inform film-makers and broadcasters about how music might be used more advantageously to accompany moving pictures.
Incidental music, once largely confined to drama, is now a characteristic of documentaries as well as other factual programmes including even current affairs and sport. The young, at least, now seem to live in a culture where music is expected to be readily available, at any time and in almost any circumstances, and many programme makers seem persuaded that only if their programmes are sexed-up with music will they appeal to the widest audience. However, not everyone appreciates this trend and complaints to the broadcasters are at record levels. For many it is an irritation, but for the hearing-impaired incidental music can easily render accompanying speech unintelligible. This article seeks to explore the historical and industrial determinants which have informed the use of, often inappropriate, incidental music and to offer suggestions for remedy. The focus of this paper is on programmes, which are generally of a factual nature, often called actuality programmes.
Five modeling teams from industry and academia were chosen by the NASA Aviation Safety and Security Program to develop human performance models (HPM) of pilots performing taxi operations and runway instrument approaches with and without advanced displays. One representative from each team will serve as a panelist to discuss their team's model architecture, augmentations and advancements to HPMs, and aviation-safety related lessons learned. Panelists will discuss how modeling results are influenced by a model's architecture and structure, the role of the external environment, specific modeling advances and future directions and challenges for human performance modeling in aviation.
Simulation-based team training has become an important component of preparation and readiness for a variety of military teams. However, despite extensive resource allocation to simulation-based training environments, and to computer generated forces that can act in those environments, there is relatively little research on how synthetic entities can best be designed and used to achieve team training objectives. In this paper, we outline the development of a research program that seeks to define principles of effective team training with synthetic entities. We describe our domain of application (Air Force AWACS Weapons Directors and the pilots they control), team training objectives, the components and capabilities of the simulation, and our plan for using the simulation to evaluate the effectiveness of hybrid team training. Ultimately, this work will result in a series of principles of effective team training with agents that can facilitate the development of hybrid training environments.
Abstract : The Distributed Operator Model Architecture (D-OMAR) was used as the software environment in which to build an Unmanned Aerial Vehicle (UAV) test bed. Using D-OMAR, models were developed for UAVs each with a sensor package that included daytime-TV and infrared cameras. Human performance models were developed for the Aerial Vehicle Operator (AVO) and the Sensor Operator (SO) The modeled workplace from which the AVO and SO managed a mission included positions for the AVO's control of the vehicle the SO's use of the sensor package. With the basic elements of the test bed defined, a use case was developed based on a scenario (Petkosek, Warfield, and Carre;Lta, 2005) at a commercial airport. The AVO model maintained the UAV flight path and the SO, reading from a list of Essential Elements of Information (EEI), conducted and interpreted the sensor observations of the modeled airport scene coordinating them with a Multi-Function Operator (MFO), the third member of the UAV mission team. The operations of the AVO and MFO are described and additional detail is provided on the SO model that describes multitasking, the modeling of individual difference, the modeling of episodic and declarative memory, and model robustness. The report concludes with suggestions that the UAV test bed might be employed to examine workplace design and operating procedures with the goal of improving UAV mission performance, and reducing staffing and required training time.
In August, 2012, the School of Sound, in collaboration with the ifs (internationale filmschule köln), conducted a three week post-production workshop, the object of which was to develop collaborative working practices between picture editors, sounds designers and composers. This article describes the processes involved and the philosophy of such interaction.
The project was an experiment in linking music and poetry to archive films, not only to provide an enhancing accompaniment but, in some cases, with the aim of making something new which would quite profoundly change the way that these films were perceived by audiences.
