Senior Computer Science Students’ Task and Revised Task Interpretation While Engaged in Programming Endeavor

Developing a computer program is not an easy task. Studies reported that a large number of computer science students decided to change their major due to the extreme challenge in learning programming. Fortunately, studies also reported that learning various self-regulation strategies may help students to continue studying computer science. This study is interested in assessing students’ self-regulation, in specific their task understanding and its revision during programming endeavors. Task understanding is specifically selected because it affects the entire programming endeavor. In this qualitative case study, two female and two male senior computer science students were voluntarily recruited as research participants. They were asked to think aloud while answering five programming problems. Before solving the problem, they had to explain their understanding of the task and after that answer some questions related to their problem-solving process. The participants’ problem-solving process were video and audio-recorded, transcribed, and analyzed. This study found that the participants’ were capable of tailoring their problem-solving approach to the task types, including when understanding the tasks. Given enough time, the participants can understand the problem correctly. When the task is complicated, the participants will gradually update their understanding during the problem-solving endeavor. Some situations may have prevented the participants from understanding the task correctly, including overconfidence, being overwhelmed, utilizing an inappropriate presentation technique, or drawing knowledge from irrelevant experience. Last, the participants tended to be inexperienced in managing unfavorable outcomes

Testing End-To-End Chains using Domain Specific Languages

Testing systems is a time consuming (and hence expensive) activity. Nevertheless, it is a very important and necessary step before using systems, especially safety critical systems. Therefore, many different test procedures are used: Unit Tests, Black-Box Tests, Software Integration Tests (SWI), Hardware-Software Integration Tests (HSI), Hardware-In-The-Loop Tests, just to name a few. Especially in the avionics domain, a variety of systems and applications communicate which each other. Furthermore, they depend and rely on the received information. However, some faults are only detected when all systems are connected and in operational mode. A new testing approach is to create model based End-To-End Chain scenarios with original and simulated equipment in any combination. The first aim is to automatically derive test data and test cases from the model, which is defined by a Domain Specific Language (DSL). Test data generators can be attached to quickly create a variety of stimuli for the systems under test. Furthermore, the system under test can be stimulated by either original equipment â which is connected to the test bench â or the test bench can simulate equipment and create inputs for the tested systems. Any mixture of simulated and original equipment is possible and can be changed on the fly. In the end, the results from the system under test are collected. These results can then be displayed back in the model. This method was used and improved in the project â E-Enabled Cabin (E-Cab)â in which the author was involved. Passengers traveling by plane are in the focus of this project. Complete services and service chains â ranging from booking at home with a computer, being en route using mobile devices to leaving the destination airport â are created and used by many systems communicating with each other. A special focus is set on a guidance scenario at an airport. The user of the system signs in to a guidance and notification system which will inform him via his own digital equipment (mobile device/smart phone). The system notifies the user about his in-time status. Either he is in-time for his flight, or he needs to hurry up and proceed to the next area or he will be too late and cannot catch his flight. The DSL itself is designed according to the comprehension of information processes. The ability of the human brain to process visual information in parallel â in contrast to sequential processing of textual information â is described and applied in the design of the DSL and the concepts of the project. The development of the DSL and the workflow is developed with the â real worldâ in mind. This means that the work fits in established workflows and enhances the current situation. As this project took place in the aircraft industry, the appropriate development standards, like DO178B and ABD100/200 (Airbus Directives ABD100/ABD200), build the foundation. The generation of clean code is established by applying generator guidelines (through coding standards) in order to create maintainable tests and test data

Music in Health and Diseases

It is well recognized that music is a unique and cost-effective solution for the rehabilitation of patients with cognitive deficits. However, music can also be used as a non-invasive and non-pharmacological intervention modality not only for the management of various disease conditions but also for maintaining good health overall. Music-based therapeutic strategies can be used as complementary methods to existing diagnostic approaches to manage cognitive deficits as well as clinical and physiological abnormalities of individuals in need. This book focuses on various aspects of music and its role in enhancing health and recovering from a disease. Chapters explore music as a healing method across civilizations and measure the effect of music on human physiology and functions

2012-2013 Course Catalog

2012-2013 Course Catalo

2016-2017 Course Catalog

2016-2017 Course Catalo

2017-2018 Course Catalog

2017-2018 Course Catalo

2013-2014 Course Catalog

2013-2014 Course Catalo

The generative, analytic and instructional capacities of sound in architecture : fundamentals, tools and evaluation of a design methodology

Premi extraordinari doctorat UPC curs 2017-2018, Àmbit d’Arquitectura, Urbanisme i EdificacióThe disciplines of space and time form two domains to which it is daring to compare, since it is obvious that they are of a different nature. Music happens in time, while architecture happens in space. However, from the first treatises on both architecture and music, repeated calls for comparison, complementarity and influence of both disciplines can be read, at least to the observation of certain common orders between the two domains. In this doctoral thesis we do not question this whole theoretical corpus that has been enriching the relationship between both disciplines. We received it and joined that stream of knowledge. What we do notice, however, is the almost impertinent question that follows: can sound help the architect in his daily tasks? And, therefore, what are the contributions of sound to the architect? To do this we must seek the connection in the principles of both arts, where we can detach ourselves from time and space, and approach the most universal of art forms. The architect, in his daily work, is faced with three particular tasks: the architectural project, the architectural analysis and the teaching of architecture. Each of the three tasks is connected with the other two tasks: the project is carried out again with the analysis and transmitted to the new architect; the analysis supports the project decisions and gives tools to the disciple; and the teaching has the project as its purpose and the analysis as its method. The thesis presented here shows what sound offers to the task of the project, to that of analysis and to that of teaching. These three tasks are approached from three premises: theoretical foundations, tools and evaluation. The interaction of the three tasks with the three premises gives rise to nine lines of work that articulate the chapters of the thesis. The first, fourth and seventh chapters approach the three tasks from the premise of theoretical foundations, foundations that perhaps because they are obvious, have been ignored or overlooked but which constitute the nature of both disciplines. The first shows, by the hand of two 20th century authors - the architect Dom Hans van der Laan and the composer Olivier Messiaen - that creation in both disciplines is of a systematic nature. The fourth one revaluates the analytical systems of representation of form both in architecture and in music which, starting with the basic characteristics of its elements, lead to a symbolic notation and a tool for the analysis of the work: the plan and the score. The seventh introduces the student of architecture to the growing separation between music and architecture that has been accentuated to this day. The second, fifth and eighth chapters approach the three particular tasks from the premise of tools, working tools that help to understand more directly the influence of architecture on sound. The second places virtual reality and auralization techniques at the service of the architectural and urban planning project, enhancing the sound experience in these projects. The fifth deals with the acoustic analysis of exterior spaces and their relationship with the urban configuration of these spaces. The eighth section presents the study of acoustic heritage as an educational tool. The third, sixth and ninth chapters deal with the three tasks from the premise of evaluation, a check that ensures the influence of sound on them through teaching experiments. The third argues and exemplifies that a sound landscape can be the engine and generator of an architectural design. The sixth one reviews the methods for evaluating the subjective and objective parameters of architectural acoustics. The ninth shows that in teaching sound to architects, "learning by listening" should be given priority over "passive learning".Las disciplinas del espacio y del tiempo forman dos dominios a los que resulta atrevido comparar, pues es obvio que son de naturaleza distinta. La música ocurre en el tiempo, mientras que la arquitectura en el espacio. No obstante, desde los primeros tratados tanto de arquitectura como de música, se pueden leer repetidas llamadas a la comparación, al complemento y a la influencia de ambas disciplinas, cuanto menos a la constatación de ciertos órdenes comunes entre ambos dominios. En esta tesis doctoral no ponemos en cuestión todo este corpus teórico que ha venido enriqueciendo la relación entre ambas disciplinas. La recibimos y nos unimos a esa corriente de conocimiento. En lo que sí reparamos, en cambio, es en la pregunta casi impertinente que surge seguidamente: ¿puede el sonido ayudar al arquitecto en sus tareas diarias? Y, por tanto, ¿cuáles son las contribuciones del sonido para el arquitecto? Para ello debemos buscar la conexión en los principios de ambas artes, allí donde podemos despegarnos del tiempo y del espacio, y acercarnos a la más universal de las formas de arte. El arquitecto, en su tarea diaria, se enfrenta a tres tareas particulares: el proyecto arquitectónico, el análisis arquitectónico y la enseñanza de la arquitectura. Cada una de las tres tareas está conectada con las otras dos: el proyecto se reconduce con el análisis y se transmite al nuevo arquitecto; el análisis soporta las decisiones de proyecto y da herramientas al discípulo; y la enseñanza tiene como fin el proyecto y como método el análisis. La tesis aquí presentada pone de manifiesto lo que el sonido ofrece a la tarea del proyecto, a la del análisis y a la de la enseñanza. Estas tres tareas son abordadas desde tres premisas: los fundamentos teóricos, las herramientas y la evaluación. La interacción de las tres tareas con las tres premisas da lugar a nueve líneas de trabajo que articulan los capítulos de la tesis. Los capítulos primero, cuarto y séptimo abordan las tres tareas desde la premisa de los fundamentos teóricos, fundamentos que quizá por ser obvios, se han obviado o pasado por alto pero que constituyen la naturaleza de ambas disciplinas. El primero muestra, de la mano de dos autores del siglo XX -el arquitecto Dom Hans van der Laan y el compositor Olivier Messiaen- que la creación en ambas disciplinas es de naturaleza sistemática. El cuarto revaloriza los sistemas analíticos de representación de la forma tanto en arquitectura como en música que, empezando por las características básicas de sus elementos, conducen a una notación simbólica y una herramienta de análisis de la obra: el plano y la partitura. El séptimo presenta al estudiante de arquitectura la creciente separación entre la música y la arquitectura que se ha venido acentuando hasta nuestros días. Los capítulos segundo, quinto y octavo abordan las tres tareas particulares desde la premisa de las herramientas, útiles de trabajo que ayudan a comprender de modo más directo la influencia de la arquitectura en el sonido. El segundo sitúa la realidad virtual y las técnicas de auralización al servicio del proyecto de arquitectura y urbanismo, potenciando la experiencia sonora en estos proyectos. El quinto aborda el análisis acústico de espacios exteriores y su relación con la configuración urbana de estos espacios. El octavo presenta el estudio del patrimonio acústico como herramienta pedagógica. Los capítulos tercero, sexto y noveno abordan las tres tareas desde la premisa de la evaluación, comprobación que asegura mediante experimentos docentes la influencia del sonido en ellas. El tercero argumenta y ejemplifica que un paisaje sonoro puede ser el motor y generador de un diseño arquitectónico. El sexto realiza una revisión de los métodos de evaluación de los parámetros subjetivos y objetivos de la acústica arquitectónica. El noveno muestra que en la enseñanza del sonido para los arquitectos debe priorizarse "aprender escuchando" antes que el "aprendizaje pasivo".Award-winningPostprint (published version

The generative, analytic and instructional capacities of sound in architecture : fundamentals, tools and evaluation of a design methodology

The disciplines of space and time form two domains to which it is daring to compare, since it is obvious that they are of a different nature. Music happens in time, while architecture happens in space. However, from the first treatises on both architecture and music, repeated calls for comparison, complementarity and influence of both disciplines can be read, at least to the observation of certain common orders between the two domains. In this doctoral thesis we do not question this whole theoretical corpus that has been enriching the relationship between both disciplines. We received it and joined that stream of knowledge. What we do notice, however, is the almost impertinent question that follows: can sound help the architect in his daily tasks? And, therefore, what are the contributions of sound to the architect? To do this we must seek the connection in the principles of both arts, where we can detach ourselves from time and space, and approach the most universal of art forms. The architect, in his daily work, is faced with three particular tasks: the architectural project, the architectural analysis and the teaching of architecture. Each of the three tasks is connected with the other two tasks: the project is carried out again with the analysis and transmitted to the new architect; the analysis supports the project decisions and gives tools to the disciple; and the teaching has the project as its purpose and the analysis as its method. The thesis presented here shows what sound offers to the task of the project, to that of analysis and to that of teaching. These three tasks are approached from three premises: theoretical foundations, tools and evaluation. The interaction of the three tasks with the three premises gives rise to nine lines of work that articulate the chapters of the thesis. The first, fourth and seventh chapters approach the three tasks from the premise of theoretical foundations, foundations that perhaps because they are obvious, have been ignored or overlooked but which constitute the nature of both disciplines. The first shows, by the hand of two 20th century authors - the architect Dom Hans van der Laan and the composer Olivier Messiaen - that creation in both disciplines is of a systematic nature. The fourth one revaluates the analytical systems of representation of form both in architecture and in music which, starting with the basic characteristics of its elements, lead to a symbolic notation and a tool for the analysis of the work: the plan and the score. The seventh introduces the student of architecture to the growing separation between music and architecture that has been accentuated to this day. The second, fifth and eighth chapters approach the three particular tasks from the premise of tools, working tools that help to understand more directly the influence of architecture on sound. The second places virtual reality and auralization techniques at the service of the architectural and urban planning project, enhancing the sound experience in these projects. The fifth deals with the acoustic analysis of exterior spaces and their relationship with the urban configuration of these spaces. The eighth section presents the study of acoustic heritage as an educational tool. The third, sixth and ninth chapters deal with the three tasks from the premise of evaluation, a check that ensures the influence of sound on them through teaching experiments. The third argues and exemplifies that a sound landscape can be the engine and generator of an architectural design. The sixth one reviews the methods for evaluating the subjective and objective parameters of architectural acoustics. The ninth shows that in teaching sound to architects, "learning by listening" should be given priority over "passive learning".Las disciplinas del espacio y del tiempo forman dos dominios a los que resulta atrevido comparar, pues es obvio que son de naturaleza distinta. La música ocurre en el tiempo, mientras que la arquitectura en el espacio. No obstante, desde los primeros tratados tanto de arquitectura como de música, se pueden leer repetidas llamadas a la comparación, al complemento y a la influencia de ambas disciplinas, cuanto menos a la constatación de ciertos órdenes comunes entre ambos dominios. En esta tesis doctoral no ponemos en cuestión todo este corpus teórico que ha venido enriqueciendo la relación entre ambas disciplinas. La recibimos y nos unimos a esa corriente de conocimiento. En lo que sí reparamos, en cambio, es en la pregunta casi impertinente que surge seguidamente: ¿puede el sonido ayudar al arquitecto en sus tareas diarias? Y, por tanto, ¿cuáles son las contribuciones del sonido para el arquitecto? Para ello debemos buscar la conexión en los principios de ambas artes, allí donde podemos despegarnos del tiempo y del espacio, y acercarnos a la más universal de las formas de arte. El arquitecto, en su tarea diaria, se enfrenta a tres tareas particulares: el proyecto arquitectónico, el análisis arquitectónico y la enseñanza de la arquitectura. Cada una de las tres tareas está conectada con las otras dos: el proyecto se reconduce con el análisis y se transmite al nuevo arquitecto; el análisis soporta las decisiones de proyecto y da herramientas al discípulo; y la enseñanza tiene como fin el proyecto y como método el análisis. La tesis aquí presentada pone de manifiesto lo que el sonido ofrece a la tarea del proyecto, a la del análisis y a la de la enseñanza. Estas tres tareas son abordadas desde tres premisas: los fundamentos teóricos, las herramientas y la evaluación. La interacción de las tres tareas con las tres premisas da lugar a nueve líneas de trabajo que articulan los capítulos de la tesis. Los capítulos primero, cuarto y séptimo abordan las tres tareas desde la premisa de los fundamentos teóricos, fundamentos que quizá por ser obvios, se han obviado o pasado por alto pero que constituyen la naturaleza de ambas disciplinas. El primero muestra, de la mano de dos autores del siglo XX ?el arquitecto Dom Hans van der Laan y el compositor Olivier Messiaen- que la creación en ambas disciplinas es de naturaleza sistemática. El cuarto revaloriza los sistemas analíticos de representación de la forma tanto en arquitectura como en música que, empezando por las características básicas de sus elementos, conducen a una notación simbólica y una herramienta de análisis de la obra: el plano y la partitura. El séptimo presenta al estudiante de arquitectura la creciente separación entre la música y la arquitectura que se ha venido acentuando hasta nuestros días. Los capítulos segundo, quinto y octavo abordan las tres tareas particulares desde la premisa de las herramientas, útiles de trabajo que ayudan a comprender de modo más directo la influencia de la arquitectura en el sonido. El segundo sitúa la realidad virtual y las técnicas de auralización al servicio del proyecto de arquitectura y urbanismo, potenciando la experiencia sonora en estos proyectos. El quinto aborda el análisis acústico de espacios exteriores y su relación con la configuración urbana de estos espacios. El octavo presenta el estudio del patrimonio acústico como herramienta pedagógica. Los capítulos tercero, sexto y noveno abordan las tres tareas desde la premisa de la evaluación, comprobación que asegura mediante experimentos docentes la influencia del sonido en ellas. El tercero argumenta y ejemplifica que un paisaje sonoro puede ser el motor y generador de un diseño arquitectónico. El sexto realiza una revisión de los métodos de evaluación de los parámetros subjetivos y objetivos de la acústica arquitectónica. El noveno muestra que en la enseñanza del sonido para los arquitectos debe priorizarse "aprender escuchando" antes que el "aprendizaje pasivo"

2015-2016 Course Catalog

2015-2016 Course Catalo