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"Layar pesawat televisi menyajikan tayangan yang menjadi media sumber informasi dan komunikasi bagi masyarakat. Oleh sebab itu, ragam tayangan televisi semakin bermunculan dan berlomba untuk menghasilkan tayangan yang berbeda. Tayangan televisi merupakan suatu produk kreatif, yang membutuhkan proses panjang dalam pembuatannya. Dengan memanfaatkan ruang khusus pengambilan gambar yang disebut studio televisi. Didalamnya terdapat ruang kosong yang dapat dimanfaatkan untuk dibangun suatu desain panggung/set yang menjadi bagian penting berlangsungnya suatu tayangan televisi. Saat pemirsa menyaksikan tayangan televisi, mereka kerap tidak menyadari bagaimana sesungguhnya kondisi di sekitar panggung. Pada layar televisi yang terlihat berupa tayangan yang telah terkemas baik antara konsep, pengisi acara, hingga background lokasi yang terlihat nyata. Kreatifitas orang-orang belakang layar mampu - mengelabui - visualisasi mata seseorang yang pada akhirnya mempengaruhi pemikiran seseorang. Desain Panggung/set dirancang sesuai konsep tayangan televisi dan dibangun dengan kualitas ruang yang sesuai. Kualitas ruang tersebut diharapkan mampu menciptakan efek tertentu dan menciptakan manipulasi arsitektur sehingga muncul tampilan yang berbeda dengan apa yang dilihat pemirsa di layar televisi. Manipulasi yang dilakukan akhirnya menghasilkan image atau citra baru, yang bahkan hasilnya bias berlawanan dengan kondisi yang sesungguhnya di studio TV.

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The Television presents us the whole information and communication in consequence that there are many new kind of television shows. Television show is a product of creative idea which is required a long process to make it real. The Television show alots a special room called television studio, it is an empty space used to created a sets which is holding the important rate for the television show. When watching the TV, usually we do not notice how the conditions around the real sets. In the screen we watch finishing show that embrace good concept, professional performers & fabulous background. The creativity of the people behind the scene is able to deceive vision and mind of audience. Sets are designed in accordance with TV show concept and arrange in accordance to the certain quality space. The quality space expected to created the special effect. Architecture manipulated the space so that the display of in tv screen viewed differently by audiences. Finally manipulation produces a new image that might contradict with the real situation in the TV studio."

"This open access book provides a concise explanation of the fundamentals and background of the surround sound recording and playback technology Ambisonics. It equips readers with the psychoacoustical, signal processing, acoustical, and mathematical knowledge needed to understand the inner workings of modern processing utilities, special equipment for recording, manipulation, and reproduction in the higher-order Ambisonic format. The book comes with various practical examples based on free software tools and open scientific data for reproducible research.The books introductory section offers a perspective on Ambisonics spanning from the origins of coincident recordings in the 1930s to the Ambisonic concepts of the 1970s, as well as classical ways of applying Ambisonics in first-order coincident sound scene recording and reproduction that have been practiced since the 1980s. As, from time to time, the underlying mathematics become quite involved, but should be comprehensive without sacrificing readability, the book includes an extensive mathematical appendix. The book offers readers a deeper understanding of Ambisonic technologies, and will especially benefit scientists, audio-system and audio-recording engineers.In the advanced sections of the book, fundamentals and modern techniques as higher-order Ambisonic decoding, 3D audio effects, and higher-order recording are explained. Those techniques are shown to be suitable to supply audience areas ranging from studio-sized to hundreds of listeners, or headphone-based playback, regardless whether it is live, interactive, or studio-produced 3D audio material."

"Fotografi sebagai representasi arsitektur, turut menyederhanakan kenyataan di baliknya sehingga citra yang dihasilkan mudah diolah oleh perancang untuk menghasilkan gagasan ke depan. Meskipun begitu, pada proses perancangan studio ditemukan penggunaannya yang hanya terbatas pada awal dan/atau akhir proses perancangan dengan peran fotografi sebatas untuk merefleksikan kenyataan di baliknya. Mungkinkah fotografi digunakan secara tidak reflektif mengingat adanya unsur eliminasi dalam representasi? Elemen-elemen apa yang perlu dicermati dalam membentuk citra fotografi semacam itu?Studi ini menelusuri kemampuan fotografi untuk mengemukakan sesuatu yang lain yang diharapkan mampu menambah kontribusinya dalam proses perancangan khususnya pada studio pendidikan arsitektur. Penelusuran dimulai dengan kajian literatur tentang proses perancangan arsitektur, representasi dan fotografi kemudian menganalisis keterhubungan di antaranya. Pemahaman tersebut kemudian digunakan untuk melihat pekerjaan beberapa fotografer yang tidak hanya menangkap citra kenyataan di baliknya. Seluruh pemahaman dari literatur serta contoh-contoh pendekatan fotografer tersebut digunakan untuk melihat pekerjaan ragam mahasiswa dalam studio perancangan arsitektur.Penelusuran menunjukkan bahwa fotografi dapat digunakan secara proyektif pada proses pembentukan dan pengolahan gagasan spasial, dengan mempertimbangkan mekanisme image-making dan image-taking, looking at, looking through & looking behind the photograph, defamiliarization & interface, serta variasi mengambil citra fotografi oleh Moholy-Nagy.

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Photography as an architectural representation, simplifies the reality behind it so that the resulting imagery can be easily processed to generate new ideas. However, from observing the practice of photography in the undergraduate level’s architectural studio design process, its use is limited to only the beginning and/or the end of the design process to reflect the reality behind it. That observation leads to questions like: Is it possible to use photography non-reflectively considering the process of elimination exists in the process of representation? What elements are worth considering in forming and taking such a photo?

This study explores the ability of photography to project ideas which is expected to be able to contribute to the design process, especially in the architectural design studio. The study begins by analyzing various literature on the architectural design process, representation, photography, and searching the relationship between them. That analysis is then used to see the work of several photographers who practice similar techniques. All that understanding of the literature, as well as examples of the photographer's approach, then used to analyze various work of students in the architectural design studio.

This result suggest that photography can be used projectively in forming and developing spatial ideas, by considering mechanism like image-making & image-taking, looking at, looking through & looking behind photograph, defamiliarization & interface, and variations of photographic images by Moholy-Nagy"