title: Tuned in and hands on: Sound designers beyond technical expertise

authors: Delmotte, Isabelle A.

abstract: The term sound designer is a relatively new addition to the professional roles in a film sound crew. Its use can be traced to the 1970s when the dismantlement of some major Hollywood studios gave space for more experimental approaches to film making. A study on acoustic ecologies and cinema sound allowed for creative and altruistic collaborations with some Australian cinema professionals. Subsequent face-to-face interviews and correspondence with the participants to the study pointed to the humanity and concerns at play behind the screen. It is apparent that the capacity of sound designer cannot be pigeonholed: it oscillates according to the demands of a film production and depends on its director’s and financial backers' sonic awareness. Amongst professional sound makers themselves exists a lack of consensus on the role and importance of the position of sound designer. The author proposes a way to lessen professional ambiguity and increase public recognition of atmospheric cinema sound. Invoking atmospheric sound at the inception of an audio-visual narrative could reward its makers and audiences in unsuspected ways. To acknowledge sound designers as architects of sensations and, by the same token, include viscerality and affect as creative elements of film production, could lead to a different appreciation of our lives in sound.

text: Tuned in and hands on: Sound designers beyond technical expertise The term sound designer is a relatively new addition to the professional roles in a film sound crew. Its use can be traced to the 1970s when the dismantlement of some major Hollywood studios gave space for more experimental approaches to film making. A study on acoustic ecologies and cinema sound allowed for creative and altruistic collaborations with some Australian cinema professionals. Subsequent face-to-face interviews and correspondence with the participants to the study pointed to the humanity and concerns at play behind the screen. It is apparent that the capacity of sound designer cannot be pigeonholed: it oscillates according to the demands of a film production and depends on its director’s and financial backers' sonic awareness. Amongst professional sound makers themselves exists a lack of consensus on the role and importance of the position of sound designer. The author proposes a way to lessen professional ambiguity and increase public recognition of atmospheric cinema sound. Invoking atmospheric sound at the inception of an audio-visual narrative could reward its makers and audiences in unsuspected ways. To acknowledge sound designers as architects of sensations and, by the same token, include viscerality and affect as creative elements of film production, could lead to a different appreciation of our lives in sound.

year: 2014

title: Theoretical study of the structures of 4-(2,3,5,6-tetrafluoropyridyl)diphenylphosphine oxide and tris(pentafluorophenyl)phosphine oxide: Why does the crystal structure of (tetrafluoropyridyl)diphenylphosphine oxide have two different P=O bond lengths?

authors: Lane, Joseph R.

subjects: Science & Technology

abstract: The crystal structure of 4-(2,3,5,6-tetrafluoropyridyl)diphenylphosphine oxide (1) contains two independent molecules in the asymmetric unit. Although the molecules are virtually identical in all other aspects, the P=O bond distances differ by ca. 0.02 Å. In contrast, although tris(pentafluorophenyl)phosphine oxide (2) has a similar crystal structure, the P=O bond distances of the two independent molecules are identical. To investigate the reason for the difference, a density functional theory study was undertaken. Both structures comprise chains of molecules. The attraction between molecules of 1, which comprises lone pair–π, weak hydrogen bonding and C–H···arene interactions, has energies of 70 and 71 kJ mol⁻¹. The attraction between molecules of 2 comprises two lone pair–π interactions, and has energies of 99 and 100 kJ mol−1. There is weak hydrogen bonding between molecules of adjacent chains involving the oxygen atom of 1. For one molecule, this interaction is with a symmetry independent molecule, whereas for the other, it also occurs with a symmetry related molecule. This provides a reason for the difference in P=O distance. This interaction is not possible for 2, and so there is no difference between the P=O distances of 2.

text: Theoretical study of the structures of 4-(2,3,5,6-tetrafluoropyridyl)diphenylphosphine oxide and tris(pentafluorophenyl)phosphine oxide: Why does the crystal structure of (tetrafluoropyridyl)diphenylphosphine oxide have two different P=O bond lengths? The crystal structure of 4-(2,3,5,6-tetrafluoropyridyl)diphenylphosphine oxide (1) contains two independent molecules in the asymmetric unit. Although the molecules are virtually identical in all other aspects, the P=O bond distances differ by ca. 0.02 Å. In contrast, although tris(pentafluorophenyl)phosphine oxide (2) has a similar crystal structure, the P=O bond distances of the two independent molecules are identical. To investigate the reason for the difference, a density functional theory study was undertaken. Both structures comprise chains of molecules. The attraction between molecules of 1, which comprises lone pair–π, weak hydrogen bonding and C–H···arene interactions, has energies of 70 and 71 kJ mol⁻¹. The attraction between molecules of 2 comprises two lone pair–π interactions, and has energies of 99 and 100 kJ mol−1. There is weak hydrogen bonding between molecules of adjacent chains involving the oxygen atom of 1. For one molecule, this interaction is with a symmetry independent molecule, whereas for the other, it also occurs with a symmetry related molecule. This provides a reason for the difference in P=O distance. This interaction is not possible for 2, and so there is no difference between the P=O distances of 2.

year: 2020

title: Te matakite - Te kupu whakaari

authors: Temara, Pou

subjects: Matakite

abstract: Ko te whāinga o tēnei tuhinga poto he matapaki i te matakite me te kupu whakaari, arā, he whakatakoto i tētahi tūāpapa kōrero e mārama ai te kaipānui ki te tikanga o ēnei kaupapa e rua e ai ki tā te Māori i matapaki ai. Otirā, he kōrero tā ngā iwi katoa o te ao mō te matakite me te kupu whakaari, kai tēnā iwi tāna kōrero, kai tēnā iwi tāna. Kāore tēnei tuhinga e rere ki te whakamārama i ā ētahi kōrero, engari mau tonu ki te ao Māori. Mēnā ka whakahua i ngā whakamārama a ētahi atu iwi, e whai ana kia mārama ai te tauira ki tā te Māori i kōrero ai.

text: Te matakite - Te kupu whakaari Ko te whāinga o tēnei tuhinga poto he matapaki i te matakite me te kupu whakaari, arā, he whakatakoto i tētahi tūāpapa kōrero e mārama ai te kaipānui ki te tikanga o ēnei kaupapa e rua e ai ki tā te Māori i matapaki ai. Otirā, he kōrero tā ngā iwi katoa o te ao mō te matakite me te kupu whakaari, kai tēnā iwi tāna kōrero, kai tēnā iwi tāna. Kāore tēnei tuhinga e rere ki te whakamārama i ā ētahi kōrero, engari mau tonu ki te ao Māori. Mēnā ka whakahua i ngā whakamārama a ētahi atu iwi, e whai ana kia mārama ai te tauira ki tā te Māori i kōrero ai.

year: 2016