Machine Scoring of Student Essays: Truth and Consequences

The current trend toward machine-scoring of student work, Ericsson and Haswell argue, has created an emerging issue with implications for higher education across the disciplines, but with particular importance for those in English departments and in administration. The academic community has been silent on the issue—some would say excluded from it—while the commercial entities who develop essay-scoring software have been very active. Machine Scoring of Student Essays is the first volume to seriously consider the educational mechanisms and consequences of this trend, and it offers important discussions from some of the leading scholars in writing assessment.https://digitalcommons.usu.edu/usupress_pubs/1138/thumbnail.jp

Amplifying Actions - Towards Enactive Sound Design

Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.European Commission 6th Framework and European Science Foundation (COST Action

English for Study and Work: Coursebook in 4 books. Book 2 Obtaining and Processing Information for Specific Purposes

Подано всі види діяльності студентів з вивчення англійської мови, спрямовані на розвиток мовної поведінки, необхідної для ефективного спілкування в академічному та професійному середовищах. Містить завдання і вправи, типові для різноманітних академічних та професійних сфер і ситуацій. Структура організації змісту – модульна, охоплює мовні знання і мовленнєві вміння залежно від мовної поведінки. Даний модуль має на меті розвиток у студентів стратегій, умінь, навичок читання, пошуку та вилучення професійно-орієнтованої інформації, необхідної для ефективної професійної діяльності і навчання. Містить завдання і вправи, типові для академічних та професійних сфер, пов’язаних з гірництвом і розробкою родовищ корисних копалин. Зразки текстів – автентичні, різножанрові, взяті з реального життя, містять цікаву й актуальну інформацію про особливості видобутку мінеральних ресурсів в провідних країнах світу, сучасний підхід до розробки родовищ тощо. Ресурси для самостійної роботи (Частина ІІ) містять завдання та вправи для розширення словникового запасу та розвитку знань найуживанішої термінології з гірництва, що спрямовано на організацію самостійної роботи з розвитку мовленнєвих умінь, знань про корисні копалини, методи їх видобутку. За допомогою засобів діагностики студенти можуть самостійно перевірити засвоєння навчального матеріалу й оцінити свої досягнення. Призначений для студентів вищих навчальних закладів, зокрема технічних університетів. Може використовуватися для самостійного вивчення англійської мови викладачами, фахівцями і науковцями різних галузей

Feeling Machines: Immersion, Expression, and Technological Embodiment in Electroacoustic Music of the French Spectral School

This dissertation considers the music and technical practice of composers affiliated with French spectralism, including Hugues Dufourt, Gérard Grisey, Tristan Murail, Jean-Claude Risset, and Kaija Saariaho. They regularly described their work, which was attuned to the transformative experiences that technologies of electronic sound production and reproduction could inspire in listeners, using metaphoric appeals to construction: to designing new sounds or exploring new illusory aural phenomena. To navigate a nascent but fast-expanding world of electronic and computer music, the spectralists appealed to physical musical attributes including gesture, space, and source-cause identification. Fascinated by gradual timbral transformations, they structured some of their pieces to invite speculative causal listening even while seeking to push it to expressive extremes. I hypothesize that, much as the immersive technology of the cinema can create the illusory feeling of flight in viewers, electronic music can inspire listeners to have experiences in excess of their physical capabilities. Those feelings are possible because listening can be understood as empathetic and embodied, drawing on a listener’s embodied and ecological sensorimotor knowledge and musical imagery alongside referential, semiotic, and cultural aspects of music. One way that listeners can engage with sounds is by imagining how they would create them: what objects would be used, what kind of gestures would they perform, how much exertion would be required, what space would they inhabit. I cite recent research in psychoacoustics to argue that timbre indexes material, gesture, and affect in music listening. Technologies of sound production and reproduction allow for the manipulation of these tendencies by enabling composers to craft timbres that mimic, stretch, or subvert the timbres of real objects. Those electronic technologies also suggest manipulations to composers, by virtue of their design affordances, and perform an epistemological broadening by providing insight into the malleability of human perceptual modes. I illustrate these claims with analytic examples from Murail’s Ethers (1978), Saariaho’s Verblendungen (1984), and Grisey’s Les Chants de l’Amour (1984), relating an embodied and corporeal account of my hearing and linking it to compositional and technological features of spectral music

Technology and Testing

From early answer sheets filled in with number 2 pencils, to tests administered by mainframe computers, to assessments wholly constructed by computers, it is clear that technology is changing the field of educational and psychological measurement. The numerous and rapid advances have immediate impact on test creators, assessment professionals, and those who implement and analyze assessments. This comprehensive new volume brings together leading experts on the issues posed by technological applications in testing, with chapters on game-based assessment, testing with simulations, video assessment, computerized test development, large-scale test delivery, model choice, validity, and error issues. Including an overview of existing literature and ground-breaking research, each chapter considers the technological, practical, and ethical considerations of this rapidly-changing area. Ideal for researchers and professionals in testing and assessment, Technology and Testing provides a critical and in-depth look at one of the most pressing topics in educational testing today

Exploring visual representation of sound in computer music software through programming and composition

Presented through contextualisation of the portfolio works are developments of a practice in which the acts of programming and composition are intrinsically connected. This practice-based research (conducted 2009–2013) explores visual representation of sound in computer music software. Towards greater understanding of composing with the software medium, initial questions are taken as stimulus to explore the subject through artistic practice and critical thinking. The project begins by asking: How might the ways in which sound is visually represented influence the choices that are made while those representations are being manipulated and organised as music? Which aspects of sound are represented visually, and how are those aspects shown? Recognising sound as a psychophysical phenomenon, the physical and psychological aspects of aesthetic interest to my work are identified. Technological factors of mediating these aspects for the interactive visual-domain of software are considered, and a techno-aesthetic understanding developed. Through compositional studies of different approaches to the problem of looking at sound in software, on screen, a number of conceptual themes emerge in this work: the idea of software as substance, both as a malleable material (such as in live coding), and in terms of outcome artefacts; the direct mapping between audio data and screen pixels; the use of colour that maintains awareness of its discrete (as opposed to continuous) basis; the need for integrated display of parameter controls with their target data; and the tildegraph concept that began as a conceptual model of a gramophone and which is a spatio-visual sound synthesis technique related to wave terrain synthesis. The spiroid-frequency-space representation is introduced, contextualised, and combined both with those themes and a bespoke geometrical drawing system (named thisis), to create a new modular computer music software environment named sdfsys

Voicing Kinship with Machines: Diffractive Empathetic Listening to Synthetic Voices in Performance.

This thesis contributes to the field of voice studies by analyzing the design and production of synthetic voices in performance. The work explores six case studies, consisting of different performative experiences of the last decade (2010- 2020) that featured synthetic voice design. It focusses on the political and social impact of synthetic voices, starting from yet challenging the concepts of voice in the machine and voice of the machine. The synthetic voices explored are often playing the role of simulated artificial intelligences, therefore this thesis expands its questions towards technology at large. The analysis of the case studies follows new materialist and posthumanist premises, yet it tries to confute the patriarchal and neoliberal approach towards technological development through feminist and de-colonial approaches, developing a taxonomy for synthetic voices in performance. Chapter 1 introduces terms and explains the taxonomy. Chapter 2 looks at familiar representations of fictional AI. Chapter 3 introduces headphone theatre exploring immersive practices. Chapters 4 and 5 engage with chatbots. Chapter 6 goes in depth exploring Human and Artificial Intelligence interaction, whereas chapter 7 moves slightly towards music production and live art. The body of the thesis includes the work of Pipeline Theatre, Rimini Protokoll, Annie Dorsen, Begüm Erciyas, and Holly Herndon. The analysis is informed by posthumanism, feminism, and performance studies, starting from my own practice as sound designer and singer, looking at aesthetics of reproduction, audience engagement, and voice composition. This thesis has been designed to inspire and provoke practitioners and scholars to explore synthetic voices further, question predominant biases of binarism and acknowledge their importance in redefining technology

A Review of Resonant Converter Control Techniques and The Performances

paper first discusses each control technique and then gives experimental results and/or performance to highlights their merits. The resonant converter used as a case study is not specified to just single topology instead it used few topologies such as series-parallel resonant converter (SPRC), LCC resonant converter and parallel resonant converter (PRC). On the other hand, the control techniques presented in this paper are self-sustained phase shift modulation (SSPSM) control, self-oscillating power factor control, magnetic control and the H-∞ robust control technique