silent sound technology
229494585
A survey on Silent Sound Technology Using Electromyography and Image Processing
We have a technology called silent sound technology which is quite interesting as one can talk to other person without actually uttering a word from one's lips. Noise pollution is one of the major problems in malls, theatre's and some public places etc. This noise pollution can be reduced using this new technology. The silent sound technology first came out from "Karlsruhe Institute of Technology" This technology observes every lip movement of a person and then converts that muscle movements i.e. electrical pulse into the signals of sound and sends to the person on other end clearly without any disturbances that was there at the sender's side. This technology helps to the people who have lost their voices but wants to talk on a mobile phone and for those who are in a crowd places but want to communicate on a phone. And the important thing is electrical pulse is universal hence it enables to communicate to any person across the world.
K Swetha
18373536
Deep learning and its application in silent sound technology
Machine learning is a branch of Artificial Intelligence that deals with making a machine Intelligent. Machine learning is being broadly used in the areas of Computer vision, Speech Recognition and Natural language Processing. Deep Learning is that area of Machine learning research which specifically deals with training Artificial Neural Networks having deep architectures. In this paper we provide an introduction to machine learning. Next we discuss the need of deep learning. Then we mention the areas in which deep learning has been successfully used, and finally we propose how deep learning can be applied or how it can be used in Silent Sound Technology.
2016 3rd International Conference on Computing for Sustainable Global Development (INDIACom)
Vibhu Varshney Deeksha Singh Ayush Tiwari
198312913
SILENT SOUND TECHNOLOGY
In this paper we approach to which could help people who lose voices to speak, and allow people to make silent calls without bothering others, rather than making any sounds, your handset would decipher the movements your mouth makes by measuring muscle activity, then convert this into speech that the person on the other end of the call can hear. So, basically, it reads our lips. Another important benefit of this technology is that it allows you to communicate to any person in the world as the electrical pulse is universal, it can be converted into any language depending upon the users choice.
Snehal S Badhe Prajakta Mahajan
55492935
Silent Sound Technology An End to NoisyCommunication
Nowadays whenever we are talking on a cell phone in a crowd, then actually we are not talking, we are yelling because of lots of disturbance and noise around us. However, there is no need to scream to convey our message and wasting our energy anymore.For this purpose a new technology known as the "Silent Sound Technology" has been introduced that will put an end to the noise pollution. The Silent sound technology is a perfect solution for those people who have lost their voice but wish to speak on mobile phones. It is developed at the Karlsruhe Institute of Technology and you can expect to see it in the near future. When this technology is used, it detects every lip movement and internally converts the electrical pulses into sounds signals and sends them neglecting all other surrounding noise. It is going to be really beneficial for the people who hate talking loudly on cell phones. "Silent Sound technology" aims to notice every movements of the lips and transform them into sounds, which could help people who lose voices to speak, and allow people to make silent calls without bothering others. Rather than making any sounds, your handset would decipher the movements your mouth makes by measuring muscle activity, then convert this into speech that the person on the other end of the call can hear. So, basically, it reads our lips. Another important benefit of this technology is that it allows you to communicate to any person in the world as the electrical pulse is universal, it can be converted into any language depending upon the users choice. This technology can be used for languages like English, French German but not for languages like Chinese because different tones hold different meaning in Chinese language. This new technology will be very helpful whenever a person loses his voice while speaking or allow people to make silent calls without disturbing others, thus now we can speak anything with our friends or family in private without anyone eavesdropping. At the other end, the listener can hear a clear voice. This device works with 99% efficiency, and can been seen in the market in another 5 10 years and once launched it will have a drastic effect and with no doubt it will be widely used.
Shehjar Safaya Kameshwar Sharma
62343197
Silent Sound Technology: A Solution to Noisy Communication
Priya N Jethani Bharati Choudhari
194700440
Film Rhythm After Sound: Technology, Music, and Performance by Lea Jacobs (review)
FILM RHYTHM AFTER SOUND: TECHNOLOGY, MUSIC, AND PERFORMANCE Lea Jacobs. Berkeley: U of California P, 2015, 280 pp.Film Rhythm after Sound: Technology, Music, and Performance provides an exceptional investigation of rhythm and pacing in early sound cinema. In this brilliant collection of intricate surveys devoted to the important but lessresearched technological history of the Hollywood film industry, author Lea Jacobs sheds light on cinema's pivotal transitional years from silent to sound, chronicling sound film's initial development of rhythmic organization involving performance, dialogue, effects, and music as new synchronized sound recording technologies revolutionized filmmaking in the late 1920s.The book opens with a well demonstrated "silent versus talkies" comparison of a short scene from Frank Borzage's Song o' My Heart (1930) Perceivable differences between two originally released versions of the film one with sync sound dialogue and music tracks, the other in silent film style with intertitles and post synchronized music and effects tracks are analyzed in regard to how the varying editorial structures in two identical scenes influence their respective emotional impacts. Following this enticing illustration of the severe problems of rhythm and pacing that the transition to sound posed for narrative filmmakers, Jacobs continues into the next chapter by inspecting the commuting scene in Alberto Cavalcanti's short film Pett and Pott (1934) an excellent sampling of early creative sound editing featuring a complicated juxtaposition of images and sounds.As with any extended discussions on rhythmic structuring, Film Rhythm after Sound inevitably reverts to Sergei Eisenstein and his pioneering theories and practices of film editing. Jacobs, nevertheless, takes a nontraditional approach to demonstrate her observations on the editing techniques of Eisenstein in relation to his own writings. Closely examining the collaboration between Eisenstein and composer Sergei Prokofiev in Ivan the Terrible, Part 1 (1944) Jacobs ingeniously employs the digital nonlinear editing software Final Cut Pro 7 to decipher Eisenstein's temporal patterning. By inserting frame markers on all noticeable dynamic cues in the Final Cut Pro timeline, she creates a convincingly accurate beat by beat visual analysis in which she demonstrates how Eisenstein experimented with the synchronized interpretation of musical and speaking rhythms by systematically aligning emotional high points, dramatic cues, and calculated movements to melodic pulses, exerting an almost obsessive control over pictorial and auditory patterning.But long before Ivan the Terrible, one of the first sound genres to achieve complete rhythmic control was American cartoons, which relied extensively on music to provide temporal organization. Chapter 3 "Mickey Mousing Reconsidered" examines the process known as "mickey mousing," referring to the frame for frame, beat for beat practice of synchronizing actions to music. After carefully surveying several popular Walt Disney produced slapstick cartoons including Santa's Workshop (1932, dir. Wilfred Jackson) Hell's Bell (1929, dir. Ub Iwerks) Three Little Pigs (1933, dir. Burt Gillett) and Playful Pluto (1934, dir. Burt Gillett) Jacobs continues with a new set of studies in the next chapter "Lubitsch and Mamoulian" to deliberate whether and how the "mickey mousing" model influenced live action filmmaking, particularly in musical films in the early 1930s. Clips from four musical comedies are thoroughly studied: Ernst Lubitsch's Monte Carlo (1930) One Hour with You (1932) and Trouble in Paradise (1932) and Rouben Mamoulian's Love Me Tonight (1932)
George Chun Han Wang
194882335
Encountering sound: the musical dimensions of silent cinema
ABSTRACT This article identifies silent film soundtracks as evidence of the tensions between old and new audiovisual cultures, and examines the distinctions between our experience of live and mediated cinema through contemporary modes of presentation. My primary interest is in the aesthetic and cultural dimensions of film sound, and the ways in which digital technology influences the creation, performance, and recording of music for silent cinema. Parallel to this subject, I address the relationship between scholars and their object of study. I analyse how different audiovisual environments (rehearsal and concert spaces, recording studios, theatrical and domestic spaces) shape the aesthetics of film sound and the culture of its reception. More generally, this article seeks to engage film studies with media and performance studies, arguing that a reflective and interdisciplinary approach is needed to evaluate our ever changing encounters with live and recorded film sound.
P J Cuff
219634860
The sound of silence: permanent magnet machines for silent vessels
diesel electric propulsion system, based on the power station principle and electric propulsion motors, is already the number one choice for many types of vessels, due to its benefits over diesel mechanical propulsion. The main benefits of diesel electric propulsion are reduced fuel costs, redundancy, excellent torque speed characteristics (including fast dynamics) and reduced vibrations. By using a permanent magnet (PM) machine as a propulsion motor, excellent efficiency can be achieved, resulting in fuel savings for gensets. Further benefits of PM technology are space/weight savings and increased reliability due to simple mechanical construction. With the proper design, PM machines can also be utilised in so called silent vessels, requiring very low structural borne noise (SBN) levels. Typically, such vessels have used DC, induction or electrically excited synchronous motors, but low SBN levels can be also achieved with PM technology.
192036726
The impact of sound technology on the distribution of shot lengths in Hollywood cinema, 1920 to 1933
The impact of sound technology on Hollywood is analysed through looking at the median shot lengths of silent films from the 1920s (n 54) and early sound films (n 106) The results show a large increase in the median shot lengths with the introduction of sound (Mann Whitney U 554.0, Z 8.33, p <0.01, PS 0.0968) estimated to be 2.0s (95% CI: 1.6, 2.4) The dispersion of shot lengths measured using the robust estimator Qn shows a similarly large increase in the dispersion of shot lengths with the transition to sound (Mann Whitney U 319.0, Z 9.18, p <0.01, PS 0.0557) estimated to be 2.0s (95% CI: 1.7, 2.4)
Nick Redfern
36159639
The Sound of Silence: How Much Noise Should We Make About Postablation Silent Strokes?
Article, see p 867 Catheter ablation has become an essential therapeutic option for the treatment of ventricular arrhythmias. For premature ventricular complex (PVC)/ventricular tachycardia (VT) ablation in structurally normal hearts, recently reported success rates are as high as 80% for right ventricular outflow tract ablation, and 60% to 100% for left sided ablation.1 Procedural safety and efficacy have improved with better understanding of surface ECG predictors of PVC origin location, refined electroanatomic mapping techniques, evermore precise electroanatomic activation maps to localize PVC origins, automated techniques to quantify the fidelity of pace mapping surface QRS morphologies, improved ablation technology, and intracardiac ultrasound.1 Although these advancements might lead us to believe we have entered a golden age for interventional electrophysiology, we as electrophysiologists and cardiologists need to continue our vigilance for serious complications arising from these invasive procedures. In this issue of Circulation, Whitman et al2 evaluate the incidence of subclinical brain emboli in a small series of patients with structurally normal hearts undergoing endocardial catheter ablation for PVCs and VT. Electrophysiologists frequently map and ablate in the left ventricular (LV) endocardial and aortic root spaces,1,3,4 with an assumption that, with proper intravenous systemic anticoagulation, the risk of systemic embolization phenomenon is acceptably low. In addition, with transseptal procedures, the risk of air or thrombus entry to the systemic circulation via the transseptal sheath is minimized through continuous saline flush through the long sheaths, or by retracting the sheath back to the right atrium. More recently, with the near universal adoption of open irrigated catheters, it is assumed that the risks of catheter char, coagulum, or thrombus are mitigated, although there are few clinical data to support this claim. It turns out that we know very little about whether any of these measures are truly effective in minimizing
Circulation
Paul C Zei Nirali Vora