Rire enregistré

A laugh track (or laughter track) is an audio recording consisting of laughters usually used as a separate soundtrack for comedy productions. In some productions, the laughter is a live audience response instead; in the United States, where it is most commonly used, the term usually implies artificial laughter (canned laughter or fake laughter) made to be inserted into the show. This was invented by American sound engineer Charles "Charley" Douglass. The Douglass laugh track became a standard in mainstream television in the U.S., dominating most prime-time sitcoms and sketch comedies from the late 1950s to the late 1970s. Use of the Douglass laughter decreased by the 1980s upon the development of stereophonic laughter. In addition, single-camera sitcoms eliminated audiences altogether. Canned laughter is used to encourage the viewer to laugh. Before radio and television, audiences experienced live comedy performances in the presence of other audience members. Radio and early television producers used recordings of live shows and later studio-only shows attempted to recreate this atmosphere by introducing the sound of laughter or other crowd reactions into the soundtrack. Jack Dadswell, former owner of WWJB in Florida, created the first "laughing record". In 1946, Jack Mullin brought a Magnetophon magnetic tape recorder back from Radio Frankfurt, along with 50 reels of tape; the recorder was one of the magnetic tape recorders that BASF and AEG had built in Germany starting in 1935. The 6.5 mm tape could record 20 minutes per reel of high-quality analog audio sound; Alexander M. Poniatoff then ordered his Ampex company to manufacture an improved version of the Magnetophon for use in radio production. Bing Crosby eventually adopted the technology to pre-record his radio show, which was scheduled for a certain time every week, to avoid having to perform the show live, as well as having to perform it a second time for West Coast audiences. With the introduction of this recording method, it became possible to add sounds during post-production.

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An Exploratory Study of Reactions to Bot Comments on GitHub

Denis Gillet, Juan Carlos Farah, Sandy Ingram, Xinyang Lu

The widespread use of bots to support software development makes social coding platforms such as GitHub a particularly rich source of data for the study of human-bot interaction. Software development bots are used to automate repetitive tasks, interacting with their human counterparts via comments posted on the various discussion interfaces available on such platforms. One type of interaction supported by GitHub involves reacting to comments using predefined emoji. To investigate how users react to bot comments, we conducted an observational study comprising 54 million GitHub comments, with a particular focus on comments that elicited the laugh reaction. The results from our analysis suggest that some reaction types are not equally distributed across human and bot comments and that a bot's design and purpose influence the types of reactions it receives. Furthermore, while the laugh reaction is not exclusively used to express laughter, it can be used to convey humor when a bot behaves unexpectedly. These insights could inform the way bots are designed and help developers equip them with the ability to recognize and recover from unanticipated situations. In turn, bots could better support the communication, collaboration, and productivity of teams using social coding platforms.

ACM2022

Animated sitcom

An animated sitcom is a subgenre of the sitcom that is animated instead of live action and is generally made or created for adult audiences in most cases. The Simpsons, South Park, and Family Guy are three of the longest-running animated sitcoms. The Flintstones, which debuted in 1960, is considered the first example of the animated sitcom genre. A similar cartoon, The Jetsons, which took place in the future rather than the past, followed in 1962. Marc Blake argued it started the "science fiction sitcom sub genre".

Rire enregistré

thumb|Exemple de « rires en boîte » (rires du public). Les rires enregistrés, parfois appelés rires en boîte (ou rires en canne au Québec), ou plus communément les rigoles, sont des enregistrements sonores de rires qui sont ajoutés à la bande son d'une production télévisuelle pour reproduire ou simuler ceux qui auraient pu être audibles si celle-ci avait été tournée devant un public particulièrement sensible à l'humour du programme, ou pour déclencher ou amplifier les rires du public dans les émissions qui ont réellement été tournées en public (comme la plupart des sitcoms américaines).

Scooby-Doo

Scooby-Doo (orthographié Scoubidou en France jusqu'en 2004) est une franchise américaine comprenant de nombreuses séries, téléfilms et films d'animation créée par les studios Hanna-Barbera. Elle tire son nom de son personnage principal, un grand chien sympathique, gourmand et peureux, créé graphiquement par Iwao Takamoto et apparu pour la première fois en 1969 aux États-Unis dans la série Scooby-Doo, Where Are You !, réalisée par Joe Ruby et Ken Spears et diffusée sur le réseau CBS.

Explorer l’espace des humains: une introduction à la géographicité

Explorer comment la géographie, la cartographie, l’urbanisation et la justice spatiale jouent un rôle dans la compréhension de l’espace des humains et des sociétés.

Réseaux mondiaux de commerce MOOC: Explorer l’espace des humains: une introduction à la géographicité

Couvre les obstacles terrestres, les axes de circulation, les empires, la production de charbon, le commerce mondial et l'indice de développement humain.

Analyse spatiale: concepts MOOC: Explorer l’espace des humains: une introduction à la géographicité

Couvre les concepts d'analyse spatiale, y compris le structuralisme, la définition de l'espace et l'importance de l'échelle.

La distance sociale : interactions et dynamique spatiale MOOC: Explorer l’espace des humains: une introduction à la géographicité

Examine l'importance du contact pour la reproduction sociale et explore des exemples historiques de séparations forcées et d'arrangements spatiaux inégaux.