Semantic discovery and reuse of business process patterns

Patterns currently play an important role in modern information systems (IS) development and their use has mainly been restricted to the design and implementation phases of the development lifecycle. Given the increasing significance of business modelling in IS development, patterns have the potential of providing a viable solution for promoting reusability of recurrent generalized models in the very early stages of development. As a statement of research-in-progress this paper focuses on business process patterns and proposes an initial methodological framework for the discovery and reuse of business process patterns within the IS development lifecycle. The framework borrows ideas from the domain engineering literature and proposes the use of semantics to drive both the discovery of patterns as well as their reuse

Social Interactions in Immersive Virtual Environments: People, Agents, and Avatars

Immersive virtual environments (IVEs) have received increased popularity with applications in many fields. IVEs aim to approximate real environments, and to make users react similarly to how they would in everyday life. An important use case is the users-virtual characters (VCs) interaction. We interact with other people every day, hence we expect others to appropriately act and behave, verbally and non-verbally (i.e., pitch, proximity, gaze, turn-taking). These expectations also apply to interactions with VCs in IVEs, and this thesis tackles some of these aspects. We present three projects that inform the area of social interactions with a VC in IVEs, focusing on non-verbal behaviours. In our first study on interactions between people, we collaborated with the Social Neuroscience group at the Institute of Cognitive Neuroscience from UCL on a dyad multi-modal interaction. This aims to understand the conversation dynamics, focusing on gaze and turn-taking. The results show that people have a higher frequency of gaze change (from averted to direct and vice versa) when they are being looked at compared to when they are not. When they are not being looked at, they are also directing their gaze to their partners more compared to when they are being looked at. Another contribution of this work is the automated method of annotating speech and gaze data. Next, we consider agents’ higher-level non-verbal behaviours, covering social attitudes. We present a pipeline to collect data and train a machine learning (ML) model that detects social attitudes in a user-VC interaction. Here we collaborated with two game studios: Dream Reality Interaction and Maze Theory. We present a case study for the ML pipeline on social engagement recognition for the Peaky Blinders narrative VR game from Maze Theory studio. We use a reinforcement learning algorithm with imitation learning rewards and a temporal memory element. The results show that the model trained with raw data does not generalise and performs worse (60% accuracy) than the one trained with socially meaningful data (83% accuracy). In IVEs, people embody avatars and their appearance can impact social interactions. In collaboration with Microsoft Research, we report a longitudinal study in mixed-reality on avatar appearance in real-work meetings between co-workers comparing personalised full-body realistic and cartoon avatars. The results imply that when participants use realistic avatars first, they may have higher expectations and they perceive their colleagues’ emotional states with less accuracy. Participants may also become more accustomed to cartoon avatars as time passes and the overall use of avatars may lead to less accurately perceiving negative emotions. The work presented here contributes towards the field of detecting and generating nonverbal cues for VCs in IVEs. These are also important building blocks for creating autonomous agents for IVEs. Additionally, this work contributes to the games and work industry fields through an immersive ML pipeline for detecting social attitudes and through insights into using different avatar styles over time in real-world meetings

AN ENACTIVE APPROACH TO TECHNOLOGICALLY MEDIATED LEARNING THROUGH PLAY

This thesis investigated the application of enactive principles to the design of classroom technolo- gies for young children’s learning through play. This study identified the attributes of an enactive pedagogy, in order to develop a design framework to accommodate enactive learning processes. From an enactive perspective, the learner is defined as an autonomous agent, capable of adapta- tion via the recursive consumption of self generated meaning within the constraints of a social and material world. Adaptation is the parallel development of mind and body that occurs through inter- action, which renders knowledge contingent on the environment from which it emerged. Parallel development means that action and perception in learning are as critical as thinking. An enactive approach to design therefore aspires to make the physical and social interaction with technology meaningful to the learning objective, rather than an aside to cognitive tasks. The design framework considered in detail the necessary affordances in terms of interaction, activity and context. In a further interpretation of enactive principles, this thesis recognised play and pretence as vehicles for designing and evaluating enactive learning and the embodied use of technology. In answering the research question, the interpreted framework was applied as a novel approach to designing and analysing children’s engagement with technology for learning, and worked towards a paradigm where interaction is part of the learning experience. The aspiration for the framework was to inform the design of interaction modalities to allow users’ to exercise the inherent mechanisms they have for making sense of the world. However, before making the claim to support enactive learning processes, there was a question as to whether technologically mediated realities were suitable environments to apply this framework. Given the emphasis on the physical world and action, it was the intention of the research and design activities to explore whether digital artefacts and spaces were an impoverished reality for enactive learning; or if digital objects and spaces could afford sufficient ’reality’ to be referents in social play behaviours. The project embedded in this research was tasked with creating deployable technologies that could be used in the classroom. Consequently, this framework was applied in practice, whereby the design practice and deployed technologies served as pragmatic tools to investigate the potential for interactive technologies in children’s physical, social and cognitive learning. To understand the context, underpin the design framework, and evaluate the impact of any techno- logical interventions in school life, the design practice was informed by ethnographic methodologies. The design process responded to cascading findings from phased research activities. The initial fieldwork located meaning making activities within the classroom, with a view to to re-appropriating situated and familiar practices. In the next stage of the design practice, this formative analysis determined the objectives of the participatory sessions, which in turn contributed to the creation of technologies suitable for an inquiry of enactive learning. The final technologies used standard school equipment with bespoke software, enabling children to engage with real time compositing and tracking applications installed in the classrooms’ role play spaces. The evaluation of the play space technologies in the wild revealed under certain conditions, there was evidence of embodied presence in the children’s social, physical and affective behaviour - illustrating how mediated realities can extend physical spaces. These findings suggest that the attention to meaningful interaction, a presence in the environment as a result of an active role, and a social presence - as outlined in the design framework - can lead to the emergence of observable enactive learning processes. As the design framework was applied, these principles could be examined and revised. Two notable examples of revisions to the design framework, in light of the applied practice, related to: (1) a key affordance for meaningful action to emerge required opportunities for direct and immediate engagement; and (2) a situated awareness of the self and other inhabitants in the mediated space required support across the spectrum of social interaction. The application of the design framework enabled this investigation to move beyond a theoretical discourse

Independent, No.16, February 18, 1993

The Independent was a student-run newspaper created in 1960 at Newark State College, now Kean University. The proceeding title was The Reflector. The editor of this issue was Reid Bundonis.https://digitalcommons.kean.edu/independent_1990-1994/1066/thumbnail.jp

Sonic utopia and social dystopia in the music of Hendrix, Reznor and Deadmau5

Twentieth-century popular music is fundamentally associated with electronics in its creation and recording, consumption, modes of dissemination, and playback. Traditional musical analysis, placing primacy on notated music, generally focuses on harmony, melody, and form, with issues of timbre and postproduction effects remaining largely unstudied. Interdisciplinary methodological practices address these limitations and can help broaden the analytical scope of popular idioms. Grounded in Jacques Attali's critical theories about the political economy of music, this dissertation investigates how the subversive noise of electronic sound challenges a controlling order and predicts broad cultural realignment. This study demonstrates how electronic noise, as an extra-musical element, creates modern soundscapes that require a new mapping of musical form and social intent. I further argue that the use of electronics in popular music signifies a technologically-obsessed postwar American culture moving rapidly towards an online digital revolution. I examine how electronic music technology introduces new sounds concurrent with generational shifts, projects imagined utopian and dystopian futures, and engages the tension between automated modern life and emotionally validating musical communities in real and virtual spaces. Chapter One synthesizes this interdisciplinary American studies project with the growing scholarship of sound studies in order to construct theoretical models for popular music analysis drawn from the fields of musicology, history, and science and technology studies. Chapter Two traces the emergence of the electronic synthesizer as a new sound that facilitated the transition of a technological postwar American culture into the politicized counterculture of the 1960s. The following three chapters provide case studies of individual popular artists' use of electronic music technology to express societal and political discontent: 1) Jimi Hendrix's application of distortion and stereo effects to narrate an Afrofuturist consciousness in the 1960s; 2) Trent Reznor's aggressive industrial rejection of Conservatism in the 1980s; and 3) Deadmau5's mediation of online life through computer-based production and performance in the 2000s. Lastly, this study extends existing discussions within sound studies to consider the cultural implications of music technology, noise politics, electronic timbre, multitrack audio, digital analytical techniques and online communities built through social media