3,478 research outputs found

    LIPIcs, Volume 251, ITCS 2023, Complete Volume

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    LIPIcs, Volume 251, ITCS 2023, Complete Volum

    Posthuman Creative Styling can a creative writer’s style of writing be described as procedural?

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    This thesis is about creative styling — the styling a creative writer might use to make their writing unique. It addresses the question as to whether such styling can be described as procedural. Creative styling is part of the technique a creative writer uses when writing. It is how they make the text more ‘lively’ by use of tips and tricks they have either learned or discovered. In essence these are rules, ones the writer accrues over time by their practice. The thesis argues that the use and invention of these rules can be set as procedures. and so describe creative styling as procedural. The thesis follows from questioning why it is that machines or algorithms have, so far, been incapable of producing creative writing which has value. Machine-written novels do not abound on the bookshelves and writing styled by computers is, on the whole, dull in comparison to human-crafted literature. It came about by thinking how it would be possible to reach a point where writing by people and procedural writing are considered to have equal value. For this reason the thesis is set in a posthuman context, where the differences between machines and people are erased. The thesis uses practice to inform an original conceptual space model, based on quality dimensions and dynamic-inter operation of spaces. This model gives an example of the procedures which a posthuman creative writer uses when engaged in creative styling. It suggests an original formulation for the conceptual blending of conceptual spaces, based on the casting of qualities from one space to another. In support of and informing its arguments are ninety-nine examples of creative writing practice which show the procedures by which style has been applied, created and assessed. It provides a route forward for further joint research into both computational and human-coded creative writing

    Once More, With Feeling: Partnering With Learners to Re-see the College Experience Through Metaphor and Sensory Language

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    This study focuses on better understanding students and their internal worlds through conceptual metaphor theory and sensory language. Using a phenomenological and arts-based approach, I examined students’ metaphorical constructions of their college experiences and the sensory language and information informing those constructions. By engaging participants in a multimodal process to re-see their experience through connoisseurship and criticism, I explored the following research questions: How do students metaphorically structure their college experience? What sensory language do college students use to describe the metaphorical dimensions of their college experience? How does sensory information shape the metaphorical structuring of their college experience? Through conversations centered on participant-generated images and chosen sensory language, I identified five complex metaphors that represented participants’ constructions of their college experience: college is an unwieldy package; college is up, forward, and out; college is current and future nostalgia; college is a prism; and college is a movie and peers are the soundtrack. By considering these themes, it may be possible for educators to better partner with diverse learners to design personally meaningful experiences that support student development and success. This dissertation is available in open access at AURA (https://aura.antioch.edu) and OhioLINK ETD Center (https://etd.ohiolink.edu)

    Security and Authenticity of AI-generated code

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    The intersection of security and plagiarism in the context of AI-generated code is a critical theme through- out this study. While our research primarily focuses on evaluating the security aspects of AI-generated code, it is imperative to recognize the interconnectedness of security and plagiarism concerns. On the one hand, we do an extensive analysis of the security flaws that might be present in AI-generated code, with a focus on code produced by ChatGPT and Bard. This analysis emphasizes the dangers that might occur if such code is incorporated into software programs, especially if it has security weaknesses. This directly affects developers, advising them to use caution when thinking about integrating AI-generated code to protect the security of their applications. On the other hand, our research also covers code plagiarism. In the context of AI-generated code, plagiarism, which is defined as the reuse of code without proper attribution or in violation of license and copyright restrictions, becomes a significant concern. As open-source software and AI language models proliferate, the risk of plagiarism in AI-generated code increases. Our research combines code attribution techniques to identify the authors of AI-generated insecure code and identify where the code originated. Our research emphasizes the multidimensional nature of AI-generated code and its wide-ranging repercussions by addressing both security and plagiarism issues at the same time. This complete approach adds to a more profound understanding of the problems and ethical implications associated with the use of AI in code generation, embracing both security and authorship-related concerns

    Japanese Expert Teachers' Understanding of the Application of Rhythm in Judo: a New Pedagogy

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    Aim The aim of this research is to understand the application of rhythm in judo through the experience of expert Japanese coaches. Background Scientists and experienced coaches agree rhythm is an important skill in people’s everyday life. There is currently no research that investigates the importance of rhythm in judo. People with a highly developed sense of rhythm, move properly, breathe properly, or begin and finish work at the right time. Where sport is concerned, motion and dance can play an important role not only in the improvement of performance, but also in the reduction, or even prevention of, injuries. Those who are naturally musically inclined (have a musical ear) may find they can improve their technique faster than others, and this is something that, by investigating the way expert coaches understand the application of rhythm in judo, this research seeks to understand. As Lange, (1970) stated, factors of movement are ‘weight, space, time, and flow on the background of the general flux of movement in proportional arrangements’ (Bradley, 2008; Selioni, 2013; Youngerman, 1976), therefore, this research will investigate the interaction of body and mind. Dance training as well as judo are somatic experiences that have as their ultimate goal the attainment of a skilled body. With quality training an athlete gains an increased awareness of their body which leads to better control of movement and is very important for judo athletes. This training is found in Japanese kabuki dance (Hahn, 2007), the Greek syrtaki dance (Zografou & Pateraki, 2007), and in walking techniques used in the traditional and Olympic sports of Japanese judo and Greek wrestling. Methods Interpretative phenomenological analysis (IPA) was the most suitable data analysis approach for this study for a number of reasons, mainly because it was considered to most closely reflect the author's realist epistemological view. The idiographic approach and framework, particularly on IPA, was regarded as a useful framework in which the current topic could meaningfully be explored. As this study is one of the first to explore this new thematic area, IPA was the preferred approach to address the goal of providing a detailed account of the expert’s experience. Therefore, semi-structured interviews were used as a data source. This is the most conventional form of data collection using IPA and most closely reflects the researcher-participant relationship. Semi-structured interviews provide considerable flexibility by allowing the researcher to be guided by the phenomena of interest to the participant. In this study, purposive sampling was achieved using inclusion criteria pertaining to the research question. Using the ranking system criteria based on the belt in combination with age employed by the International Judo Federation (IJF) and Kodokan Judo Institute, six expert coaches of forty years old and over with a minimum belt rank of 6th dan were selected as a sample. Results Both interviews and the codification process contributed to new findings regarding the application of rhythm to judo, and judo itself as a pedagogical tool. The diagrammatic model can be considered a 'guideline' to the phenomena deemed most significant. The personal significance of rhythm in judo was evidenced by the frequency with which the interviewees naturally referred to it during the interviews. A number of interviewees said that it was important for rhythm to be second nature. Rhythm was also described as an integrated and representative element in the context of training. This framework was seen as essential in providing the reader with a contextualised understanding of the phenomena considered most important for the current research. Interviewees reported various motives for employing training in rhythm such as faster technical development, better attack/defence, fitness, speed, skills acquisition, personal and spiritual growth, competition results. Conclusions This study offers first-hand accounts from professional coaches of a previously unknown phenomena, namely the use of rhythm in judo, and sheds insight on how judo experts understand rhythm in terms of training, competition, and personal growth. These findings suggest that outside of training, coaches play an important role in teaching, mentoring, and leading students. In conclusion, the research revealed four important points which form the basis of a new method of teaching judo: pedagogy, skills, rhythm and movement

    Designs of Blackness

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    Across more than two centuries Afro-America has created a huge and dazzling variety of literary self-expression. Designs of Blackness provides less a narrative literary history than, precisely, a series of mappings—each literary-critical and comparative while at the same time offering cultural and historical context. This carefully re-edited version of the 1998 publication opens with an estimation of earliest African American voice in the names of Phillis Wheatley and her contemporaries. It then takes up the huge span of autobiography from Frederick Douglass through to Maya Angelou. "Harlem on My Mind," which follows, sets out the literary contours of America’s premier black city. Womanism, Alice Walker’s presiding term, is given full due in an analysis of fiction from Harriet E. Wilson to Toni Morrison. Richard Wright is approached not as some regulation "realist" but as a more inward, at times near-surreal, author. Decadology has its risks but the 1940s has rarely been approached as a unique era of war and peace and especially in African American texts. Beat Generation work usually adheres to Ginsberg and Kerouac, but black Beat writing invites its own chapter in the names of Amiri Baraka, Ted Joans and Bob Kaufman. The 1960s has long become a mythic change-decade, and in few greater respects than as a black theatre both of the stage and politics. In Leon Forrest African America had a figure of the postmodern turn: his work is explored in its own right and for how it takes its place in the context of other reflexive black fiction. "African American Fictions of Passing" unpacks the whole deceptive trope of "race" in writing from Williams Wells Brown through to Charles Johnson. The two newly added chapters pursue African American literary achievement into the Obama-Trump century, fiction from Octavia Butler to Darryl Pinkney, poetry from Rita Dove to Kevin Young

    Waks-On/Waks-Off: Fast Oblivious Offline/Online Shuffling and Sorting with Waksman Networks

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    As more privacy-preserving solutions leverage trusted execution environments (TEEs) like Intel SGX, it becomes pertinent that these solutions can by design thwart TEE side-channel attacks that research has brought to light. In particular, such solutions need to be fully oblivious to circumvent leaking private information through memory or timing side channels. In this work, we present fast fully oblivious algorithms for shuffling and sorting data. Oblivious shuffling and sorting are two fundamental primitives that are frequently used for permuting data in privacy-preserving solutions. We present novel oblivious shuffling and sorting algorithms in the offline/online model such that the bulk of the computation can be done in an offline phase that is independent of the data to be permuted. The resulting online phase provides performance improvements over state-of-the-art oblivious shuffling and sorting algorithms both asymptotically (O(βnlogn)O(\beta n\log n) vs. O(βnlog2n)O(\beta n \log^2n)) and concretely (>5×>5\times and >3×>3\times speedups), when permuting nn items each of size β\beta. Our work revisits Waksman networks, and it uses the key observation that setting the control bits of a Waksman network for a uniformly random shuffle is independent of the data to be shuffled. However, setting the control bits of a Waksman network efficiently and fully obliviously poses a challenge, and we provide a novel algorithm to this end. The total costs (inclusive of offline computation) of our WaksShuffle shuffling algorithm and our WaksSort sorting algorithm are lower than all other fully oblivious shuffling and sorting algorithms when the items are at least moderately sized (i.e., β\beta > 1400 B), and the performance gap only widens as the item sizes increase. Furthermore, WaksShuffle improves the online cost of oblivious shuffling by >5×>5\times for shuffling 2202^{20} items of any size; similarly WaksShuffle+QS, our other sorting algorithm, provides >2.7×>2.7\times speedups in the online cost of oblivious sorting
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