Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Agential Fantasy: A Copenhagen Approach to the Tabletop Role-Playing Game

In 1974, Gary Gygax and Dave Arneson published the world’s first commercial role-playing game, Dungeons & Dragons. The tabletop roleplaying game provoked a new form of textual engagement: it entangled the fantastic tales of early 20th Century pulp fiction with the practice of play. The tabletop role-playing game initiated new perspectives on how classic texts could not only be read but also played. Our contemporary world is becoming increasingly gamified: digital media applications (from mobile phones to the personal home computer) have embedded game elements, structures, processes, and lexicons in our modern lives. Tabletop role-playing was a herald for, and catalyst, of this contemporary phenomenon. Espen Aarseth notes that tabletop role-playing games can be considered as an early from of the “cybertext,” a text that requires “non-trivial” effort for its engagement, and is “the oral predecessor to computerized, written, adventure games.”The project of this dissertation offers an approach of examining and understanding the practice of tabletop role-playing through Karen Barad’s concept of agential realism. Agential realism is based on concepts of Niels Bohr’s “Copenhagen Interpretation” of quantum phenomenon and its premise that nothing can be observed without changing what is observed. Agential realism requires us to accept and acknowledge our complicity in the creation, physical and sociocultural, of the realities which surround, bound, and interpellate us. This dissertation complicates the notion of singular authorship of isolated texts and realities by examining all the relationships necessary to produce a tabletop roleplaying game text. The first chapter of this dissertation introduces the concepts of agential realism while the second offers the historical context for the emergence of tabletop role-playing games. The third chapter analyzes the affective and aesthetic inspirations for Dungeons & Dragons to consider the conditions for the emergence of the first commercial tabletop role-playing game and how it would reconfigure the pulp and classic mythologies that inspired it. In the fourth chapter, I examine the rules for Traveller, an early science fiction tabletop role-playing game directly inspired by the practice of Dungeons & Dragons play, to consider how the procedural mechanics of games impact their authorship. The fifth chapter analyzes another mode of authorship for the role-playing game by analyzing its actual play; in this chapter, I examine specific game sessions from a campaign of the tabletop role-playing game, Call of Cthulhu. Throughout these chapters, we understand how the tabletop role-playing game text, like our physical and sociocultural realities, exist within states of radical possibility. Each mode of authorship, through a text’s inspiration, mechanical construction, and subjective interpretation are observations that fix the tabletop role-playing text into a specific manifestation – thought it may exist within any a priori of an observation. This dissertation advocates for an approach to consider realities, within and beyond the games we play, not as isolated moments of objective experience, but as the inevitable consequences of entanglements with all the authors (and players) that share them

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

Building capacity in climate change policy analysis and negotiation: methods and technologies

Capacity building is often cited as the reason “we cannot just pour money into developing countries” and why so many development projects fail because their design does not address local conditions. It is therefore a key technical and political concept in international development. Some of the poorest countries in the world are also some of the most vulnerable to the impacts of climate change. Their vulnerability is in part due to a lack of capacity to plan and anticipate the effects of climate change on crops, water resources, urban electricity demand etc. What capacities do these countries lack to deal with climate change? How will they cope? What steps can they take to reduce their vulnerability? This innovative and high-profile research project was part of a larger project (called C3D) and conducted with non-governmental organisations in Senegal, South Africa and Sri Lanka. The research involved several participatory workshops and a questionnaire to all three research centres

TouchStory: Interactive Software Designed to Assist Children with Autism to Understand Narrative

The work described in this thesis falls under the umbrella of the Aurora project (Aurora 2000). Aurora is a long-term research project which, through diverse studies, investigates the potential enhancement of the everyday lives of children with autism through the use of robots, and other interactive systems, in playful contexts. Autism is a lifelong pervasive disability which affects social interaction and communication. Importantly for this thesis, children with autism exhibit a deficit in narrative comprehension which adversely impacts their social world. The research agenda addressed by this thesis was to develop an interactive software system which promotes an understanding of narrative structure (and thus the social world) while addressing the needs of individual children. The conceptual approach developed was to break down narrative into proto-narrative components and address these components individually through the introduction of simple game-like tasks, called t-stories, presented in a human-computer interaction context. The overarching hypothesis addressed was that it is possible to help children with autism to improve their narrative skills by addressing proto-narrative components independently. An interactive software system called TouchStory was developed to present t-stories to children with autism. Following knowledge of the characteristics and preferences of this group of learners TouchStory maintained strong analogies with the concrete, physical world. The design approach was to keep things simple, introducing features only if necessary to provide a focussed and enjoyable game. TouchStory uses a touch-sensitive screen as the interaction device as it affords immediate direct manipulation of the t-story components. Socially mediated methods of requirements elicitation and software evaluation (such as focus groups, thinking aloud protocols, or intergenerational design teams) are not appropriate for use with children with autism who are not socially oriented and, in the case of children with ‗lower functioning‘ autism, may have very few words or no productive language. Therefore a new strategy was developed to achieve an inclusive, child-centred design; this was to interleave prototype development with evaluation over several long-term trials. The trials were carried out in the participants‘ own school environments to provide an ecologically valid contextual enquiry. In the first trial 18 participants were each seen individually once. The second and third trials were extended studies of 12 and 20 school visits with 12 and 6 participants respectively; each participant was seen individually on each school visit, provided that the participant was at school on the day of the visit. Evaluation was carried out on the basis of video recordings of the sessions and software logs of the on-screen interactions. Individual learning needs were addressed by adapting the set of t-stories presented to the participant on the basis of success during recent sessions. No ordering of difficulty among the proto-narrative categories could be known a priori for any individual child, and may vary from child to child. Therefore the intention was to gradually, over multiple sessions, increase the proportion of t-stories from proto-narrative categories which the individual participant found challenging, while retaining sufficient scope for the expression of skills already mastered for the session to be enjoyable and rewarding. The adaptation of the software was achieved by introducing a simple adaptive formula, evaluating it over successive long terms trials, and increasing the complexity of the formula only where necessary. Results indicate that individual participants found the interactive presentation of the simple game-like tasks engaging, even after repeated exposures on as many as 20 occasions. The adaptive formula developed in this study did, for engaged participants, focus on the proto-narrative categories which the participant needed to practice but was likely to succeed; that is it did target an effective learning zone. While little evidence was seen of learning with respect to the fully developed narratives encountered in everyday life, results strongly suggest that some participants were actively engaged in self-directed, curiosity-driven activity that functioned as learning in that they were able to transfer knowledge about the appropriateness of particular responses to previously unseen t-stories. This thesis was driven by the needs of children with autism; contributions are made in a number of cognate areas. A conceptual contribution was made by the introduction of the proto-narrative concept which was shown to identify narrative deficits in children with autism and to form a basis for learning. A contribution was made to computational adaptation by the development of a novel adaptive formula which was shown to present a challenging experience while maintaining sufficient predictability and opportunities for the expression of skills already mastered to provide a comfortable experience for children with autism. A contribution was made to software development by showing that children with autism may be included in the design process through iterative development combined with long term trials. A contribution was made to assistive technology by demonstrating that simplicity together with evaluation over long term trials engages children with autism and is a route to inclusion. We cannot expect any magic fixes for children with autism, progress will be made by small steps; this thesis forms a small but significant contribution

Phenomenology and phenomenography in virtual worlds: an example from archaeology

This chapter discusses a project to construct a simulation of Avebury Henge, a Late Neolithic/Early Bronze Age monument in the SW of the U.K., in a 3D, virtual world environment, and to use phenomenological and phenomenographic methods for its evaluation. We explore notions of place and digital being in virtual worlds, and the potential of these methods in understanding virtual worlds and their applicability to evaluations of virtual archaeology. The phenomenological approach to archaeology tends to stress the importance of the archaeologists’ senses, working through their physical presence in a landscape to enable an appreciation of the materiality, or physicality, of an environment. In this study, phenomenology was applied to the experience of a virtual environment where sight and hearing senses are restricted, and the senses of smell and touch are deprived altogether. So, the immersion of all the body’s senses in a landscape, to the exclusion of all other experiences, cannot be achieved. We argue that the phenomenological narrative describing one author’s experiences in Virtual Avebury (VA) has demonstrated that experiencing a landscape from an archaeological point of view can be achieved in a virtual environment, but that the nature of the experience is different to that in the physical world. The ability to experiment with designing landscapes, to change environmental aspects in simulations of places that could not otherwise be experienced, and to meet with others in those places to discuss, explore and experience them together, has the potential to offer a new practice of phenomenology in archaeology, and in virtual worlds research. The phenomenographic method used to explore the range of experiences of members of a small evaluation group found that five categories of experience emerged. These were sense of place in VA, recall of VA at Avebury, sense of place in Avebury, effects of sounds and soundscapes and a sense of Avebury’s original purpose. Based upon these findings, we make recommendations for wider research in phenomenological methods of enquiry in virtual worlds