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This argument typically gives the impression that, if only proper procedure were followed, the United States would have avoided any number of disastrous entanglements—Vietnam, Iraq, Libya, Yemen, and more. The problem is that it’s not borne out by historical evidence. ontrary to Beltway commentariat consensus, American bellicosity is not merely the result of uncontrolled executive branch war-making. Often forgotten is the fact that Congress has mostly supported the United States’ wars, usually with great enthusiasm. Legislators have the constitutional authority to stop and deliberate the president’s wars, but have historically been unwilling to exercise it. ften forgotten is the fact that Congress has mostly supported the United States’ wars. The proceduralist narrative falsely assumes that Congress has “given up” its war powers. Although it’s true that Congress hasn’t officially declared war since 1942, the body has passed statutory authorizations for military operations in Lebanon in 1958 (72-19 in the Senate) and 1983 (54-46), Vietnam in 1964 (88-2), Iraq in 1991 (52-47) and 2003 (77-23), and Afghanistan in 2001 (98-0). The absence of authorizations for other military operations—the bombing campaigns in Bosnia in 1995, Kosovo in 1999, Iraq throughout much of the 1990s, and Libya in 2011, to cite a few examples—is more plausibly read not as criticism of the president’s position, but rather a desire to preemptively weasel out of responsibility if a war went badly or of a belief that a military operation didn’t require congressional authorization. Declarations of war, in that precise language, have all but disappeared, most likely because the proliferation of international laws of war in the twentieth century has made states more hesitant to call their wars “wars” to avoid unequivocally triggering application of these increasingly restrictive laws, as University of Minnesota political scientist Tanisha Fazal argued in her recent book, Wars of Law. Even just this week, the Senate quietly voted 70-26 in favor of a nonbinding amendment expressing opposition to Donald Trump’s proposed plans to withdraw troops from Syria and Afghanistan. olemn appeals to war powers proceduralism can just as often be pro-war as anti-war. Take Dick Gephardt, Democratic leader of the House from 1989 to 2003, for example. In a speech alongside President Bush and Republican leaders in the White House Rose Garden, a week before he shepherded nearly 40 percent of his party’s House votes to support the Iraq War in October 2002, he proclaimed, “Part of the majesty of our democratic achievement of a democratic governance is that on issues of war and peace, life and death, we have entrusted those decisions not just to the president, but to the Congress as a coequal branch of this government. We now take that solemn obligation. Few would now suggest that the disastrous war in Iraq was redeemed by such reverent checks-and-balances window-dressing. t its worst, the proceduralist argument is a handy political dodge for elected officials caught between anti-war energy and the perceived risks of taking a strong position—a way to avoid interrogating a particular war on its merits. Does this war enhance or endanger national security.

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This ability is supported by a considerable amount of work on the spatial and binaural rendering of sound for VR, to provide a realistic listening experience; however, there is a disconnect on how creators can use these techniques for narrative purposes. Given the importance of narrative development in the video context, we argue that manipulation of sound in 360. Based on this, we designed and developed Cue Control, an audio editor that allows the creation of dynamic and interactive soundtracks for 360? videos. During runtime, these cues lists create spatially rendered sounds, capable of dynamically adapting to the viewer’s point of view. We also discuss a pilot study on the viewer’s perception of audio in 360. In this case, humans tend to classify the object or the event. This listening modality is directly connected with the concept of sound as an object. This proposal has been applied in the development of sound icons for noti? ation purposes. Using pre-rendered audio results in a linear experience, that while responsive to position and orientation of the user is not adaptive to the cue list structure. Cue Control is a software application for designing non spatial and spatial audio for 360. Video, using sound object rendering Cue Control: Interactive Sound Spatialization for 360. Videos 335 Fig. 1. Cue control spatializer (virtual sound sources in 3D space using as input mono audio data). By spatializing these virtual objects, an audio designer can create a dynamic and interactive spatial audio scenario. Cue Control was built using the Unity engine and is composed of two components: Cue Spatializer (used to create a cue list representative of the audio behavior) and Cue Playback plugin (used in the deployed Unity applications to have audio playback consistent with the cue list).

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