Keystroke dynamics as signal for shallow syntactic parsing

Keystroke dynamics have been extensively used in psycholinguistic and writing research to gain insights into cognitive processing. But do keystroke logs contain actual signal that can be used to learn better natural language processing models? We postulate that keystroke dynamics contain information about syntactic structure that can inform shallow syntactic parsing. To test this hypothesis, we explore labels derived from keystroke logs as auxiliary task in a multi-task bidirectional Long Short-Term Memory (bi-LSTM). Our results show promising results on two shallow syntactic parsing tasks, chunking and CCG supertagging. Our model is simple, has the advantage that data can come from distinct sources, and produces models that are significantly better than models trained on the text annotations alone.Comment: In COLING 201

Utilizing Linguistic Context To Improve Individual and Cohort Identification in Typed Text

The process of producing written text is complex and constrained by pressures that range from physical to psychological. In a series of three sets of experiments, this thesis demonstrates the effects of linguistic context on the timing patterns of the production of keystrokes. We elucidate the effect of linguistic context at three different levels of granularity: The first set of experiments illustrate how the nontraditional syntax of a single linguistic construct, the multi-word expression, can create significant changes in keystroke production patterns. This set of experiments is followed by a set of experiments that test the hypothesis on the entire linguistic output of an individual. By taking into account linguistic context, we are able to create more informative feature-sets, and utilize these to improve the accuracy of keystroke dynamic-based user authentication. Finally, we extend our findings to entire populations, or demographic cohorts. We show that typing patterns can be used to predict a group\u27s gender, native language and dominant hand. In addition, keystroke patterns can shed light on the cognitive complexity of a task that a typist is engaged in. The findings of these experiments have far-reaching implications for linguists, cognitive scientists, computer security researchers and social scientists

On the Horizon: Interactive and Compositional Deepfakes

Over a five-year period, computing methods for generating high-fidelity, fictional depictions of people and events moved from exotic demonstrations by computer science research teams into ongoing use as a tool of disinformation. The methods, referred to with the portmanteau of "deepfakes," have been used to create compelling audiovisual content. Here, I share challenges ahead with malevolent uses of two classes of deepfakes that we can expect to come into practice with costly implications for society: interactive and compositional deepfakes. Interactive deepfakes have the capability to impersonate people with realistic interactive behaviors, taking advantage of advances in multimodal interaction. Compositional deepfakes leverage synthetic content in larger disinformation plans that integrate sets of deepfakes over time with observed, expected, and engineered world events to create persuasive synthetic histories. Synthetic histories can be constructed manually but may one day be guided by adversarial generative explanation (AGE) techniques. In the absence of mitigations, interactive and compositional deepfakes threaten to move us closer to a post-epistemic world, where fact cannot be distinguished from fiction. I shall describe interactive and compositional deepfakes and reflect about cautions and potential mitigations to defend against them.Comment: CCC Blue Sky Ideas paper, published at the ACM International Conference on Multimodal Interaction (ICMI '22), November 7-11, 202

Alternate Means of Digital Design Communication

This thesis reconceptualises communication in digital design as an integrated social and technical process. The friction in the communicative processes pertaining to digital design can be traced to the fact that current research and practice emphasise technical concerns at the expense of social aspects of design communication. With the advent of BIM (Building Information Modelling), a code model of communication (machine-to-machine) is inadequately applied to design communication. This imbalance is addressed in this thesis by using inferential models of communication to capture and frame the psychological and social aspects behind the communicative contracts between people. Three critical aspects of the communicative act have been analysed, namely (1) data representation, (2) data classification and (3) data transaction, with the help of a new digital design communication platform, Speckle, which was developed during this research project for this purpose. By virtue of an applied living laboratory context, Speckle facilitated both qualitative and quantitative comparisons against existing methodologies with data from real-world settings. Regarding data representation (1), this research finds that the communicative performance of a low-level composable object model is better than that of a complete and universal one as it enables a more dynamic process of ontological revision. This implies that current practice and research operates at an inappropriate level of abstraction. On data classification (2), this thesis shows that a curatorial object-based data sharing methodology, as opposed to the current file-based approaches, leads to increased relevancy and a reduction in noise (information without intent, or meaning). Finally, on data transaction (3), the analysis shows that an object-based data sharing methodology is technically better suited to enable communicative contracts between stakeholders. It allows for faster and more meaningful change-dependent transactions, as well as allow for the emergence of traceable communicative networks outside of the predefined exchanges of current practices

Reading for Fictional Worlds in Literature and Film

The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo Del Toro [1993]), El espinazo del diablo (film, Guillermo Del Toro [2001]), and El laberinto del fauno (film, Guillermo Del Toro [2006])