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MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices “science of works”. GE has a taste of vibration in his body. He likes sound “louder”. Could it be that the reason why he like a higher volume is that he is used to this form of audiovisual reading? GE and JO prefer a higher volume of sound. Some questions arise: To which level? How to establish a standard level for all? The subject MA perceived sound as louder than the other participants, to the point of wanting it turned off. Some clues to be explored in our future investigations: Did MA have a compensation that increased her level of tactile perception? What would be her appreciation with levels adequate to her preference? What is the proportion of cases such as MA’s in relation to the other two subjects’ case? According to our hypotheses, the deaf may have more sensitivity, which brings us closer to MA, who felt the sound as louder. The compensation for lack of audition could increase tactile sensitivity. If that is the case, the sensation of sound waves may be felt strongly. As for GE, the habit of turning up the volume of the TV may be the source of his wish to turn up the volume every time he enjoys audiovisual pieces. We do not have enough information from JO, who did not state his preferred sound level, leaving us unable to reach a conclusion. It could be interesting to investigate the question about a standard sound level for the hearing. Another potential research subject matter would be if they feel more comfortable “listening” on hearing level. Thus, we emphasize that producers of movies aimed at a deaf audience must consider that there is an interest from such viewers on sound in its vibrational character. We see it as fundamental to reflect about projection rooms within the spaces where those subjects spend time. The sound is connected to the pleasure of perceiving audiovisual stimulus. 6.3. Analysis of experiment II With the movie experiment, we have confirmed that the deaf can perceive sound. This result of our first inquiry comforts us in the sense of tuning us into some information that is vital towards using audio on products aimed at a deaf audience as well as thinking of ways of integrating the deaf and the hearing. Regarding our second inquiry, we expected two possible outcomes. First, that sound, as we saw on the previous experiment as being greatly welcomed as additional entertainment, could cause lack of attention in the experience of audiovisual education. Second, that sound could, on the contrary, cause a better reception of audiovisual educational material. The experiment confirms the usefulness of sound vibration in the reception of film and also of audiovisual educational material, a result that supports our third inquiry. We can conclude that sound helps the deaf in their reception of the educational message using audiovisual media. This effect is increased with the use of rhythm-based music such as hip hop or reggae. 139
MEDIA LITERACY AND INTERCULTURAL DIALOGUE 6.4. Interpretation of experiment II Strategies, Debates and Good Practices In the educational context, the deaf are reaching higher and higher schooling levels, which lead us to consider the use of audiovisual material for this community. Besides that, we believe that it is necessary to expand the investigation towards a more diverse participant range. We are interested in finding out what kind of sound is more comfortable for the profoundly deaf as well as people with other deafness levels. The impact on learning corresponds to the importance of involving all senses in the process of significant learning, that is, the one that integrates cognition and emotion. (Fonseca et al: 2010; Mitjáns Martínez: 2009; Tacca: 2006). According to our results, emotion is a singular element for audiovisual reception and we believe that education can be more effective if audio is adequately used on educational videos. 7. Conclusion This work has the particularity of joining a pedagogue researching communication and a specialist in deaf education who doubles as sound engineer, filmmaker and researcher of aesthetics on cinema. On first sight, it seems an illogical attempt to join sound and deafness, which ends up becoming a very interesting experience for the deaf as well as for us researchers. Even with the confirmation of our hypotheses, we still have much to investigate and explore regarding the relationship of the deaf with audio-vision. We believe it is fundamental to integrate the hearing in the search for accessible audiovisual formats for the deaf. However, this search cannot be distant from the interests of the deaf themselves. Technological design in all formats must consider the needs of the users. It is necessary to emphasize that, for this group, audiovisual access is a very difficult struggle, as they do not effectively participate on the decision-making process of such technology. In that regard, philosopher and technology critic Feenberg (2010) proposes that technological design must consider aesthetic, human and subjective values. That means that when he is designing an audiovisual project, the sound engineer must include the deaf in his decision-making process. It is the social practices, the subjectivity, the desires and responses of the body regarding sound that can guarantee an accessible format to every audiovisual message that is not limited to content but also to form, to aesthetics. It is necessary use communication towards giving access to the deaf to the dialogue between users and specialists (Feenberg: 2010; Neder: 2010). Indeed, we are treading a path of empowerment for this minority that leads us to new possibilities of audio-vision. References AGUADED, J. I. (2001). La educación en medios de comunicación: panoramas y perspectivas. 1 ed. Murcia. Editoral KR. BABIN, P. (1989). A era da comunicação. São Paulo: Paulinas. 140
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