The Frequency of Texting on Middle School Students\u27 Writing Achievement

The purpose of this correlational study was to discover the impact of texting on writing achievement for middle school students. The theory guiding this study is Vygotsky’s Social Cognitive Theory (Newman & Holzman, 2013) as it explains that learning is influenced by one’s social environment. The data that will be collected consists of the scores of the writing portion of the 2014-2015 state standardized test (ISTEP), a student survey answering questions about texting practices, and student status information on Free and Reduced Meals. The multiple regression analysis will be used to analyze this data because as inferential statistics it can be used to predict whether this information can apply to other future populations. Texting is a common practice and so is utilizing textspeak, (the digital language developed in order to make written communication on cellular devices more efficient). Middle school students represent the largest demographic of frequent texters, therefore one may assume this practice has the potential to influence daily writing habits throughout one’s lifetime. This study must be conducted in order to determine how textspeak is impacting the evolution of language and document the changes in language on education and the world as a whole. This quantitative, correlational study analyzes state standardized test, writing scores and the effects of frequent texting of middle school students. The middle school has a population of approximately 1500 students and the sample will be selected by meeting the following requirements: any sixth through eighth grader who has a personal cellular device and who has returned a parent consent form. This study seeks to answer the questions: Is there a relationship between frequency of texting and adolescent writing achievement? and Is there a difference in the impact of texting between adolescents eligible for Free and Reduced Meals and those adolescents who are not eligible

Towards an automatic speech recognition system for use by deaf students in lectures

According to the Royal National Institute for Deaf people there are nearly 7.5 million hearing-impaired people in Great Britain. Human-operated machine transcription systems, such as Palantype, achieve low word error rates in real-time. The disadvantage is that they are very expensive to use because of the difficulty in training operators, making them impractical for everyday use in higher education. Existing automatic speech recognition systems also achieve low word error rates, the disadvantages being that they work for read speech in a restricted domain. Moving a system to a new domain requires a large amount of relevant data, for training acoustic and language models. The adopted solution makes use of an existing continuous speech phoneme recognition system as a front-end to a word recognition sub-system. The subsystem generates a lattice of word hypotheses using dynamic programming with robust parameter estimation obtained using evolutionary programming. Sentence hypotheses are obtained by parsing the word lattice using a beam search and contributing knowledge consisting of anti-grammar rules, that check the syntactic incorrectness’ of word sequences, and word frequency information. On an unseen spontaneous lecture taken from the Lund Corpus and using a dictionary containing "2637 words, the system achieved 815% words correct with 15% simulated phoneme error, and 73.1% words correct with 25% simulated phoneme error. The system was also evaluated on 113 Wall Street Journal sentences. The achievements of the work are a domain independent method, using the anti- grammar, to reduce the word lattice search space whilst allowing normal spontaneous English to be spoken; a system designed to allow integration with new sources of knowledge, such as semantics or prosody, providing a test-bench for determining the impact of different knowledge upon word lattice parsing without the need for the underlying speech recognition hardware; the robustness of the word lattice generation using parameters that withstand changes in vocabulary and domain

Perceptual fail: Female power, mobile technologies and images of self

Like a biological species, images of self have descended and modified throughout their journey down the ages, interweaving and recharging their viability with the necessary interjections from culture, tools and technology. Part of this journey has seen images of self also become an intrinsic function within the narratives about female power; consider Helen of Troy “a face that launched a thousand ships” (Marlowe, 1604) or Kim Kardashian (KUWTK) who heralded in the mass mediated ‘selfie’ as a social practice. The interweaving process itself sees the image oscillate between naturalized ‘icon’ and idealized ‘symbol’ of what the person looked like and/or aspired to become. These public images can confirm or constitute beauty ideals as well as influence (via imitation) behaviour and mannerisms, and as such the viewers belief in the veracity of the representative image also becomes intrinsically political manipulating the associated narratives and fostering prejudice (Dobson 2015, Korsmeyer 2004, Pollock 2003). The selfie is arguably ‘a sui generis,’ whilst it is a mediated photographic image of self, it contains its own codes of communication and decorum that fostered the formation of numerous new digital communities and influenced new media aesthetics . For example the selfie is both of nature (it is still a time based piece of documentation) and known to be perceptually untrue (filtered, modified and full of artifice). The paper will seek to demonstrate how selfie culture is infused both by considerable levels of perceptual failings that are now central to contemporary celebrity culture and its’ notion of glamour which in turn is intrinsically linked (but not solely defined) by the province of feminine desire for reinvention, transformation or “self-sexualisation” (Hall, West and McIntyre, 2012). The subject, like the Kardashians or selfies, is divisive. In conclusion this paper will explore the paradox of the perceptual failings at play within selfie culture more broadly, like ‘Reality TV’ selfies are infamously fake yet seem to provide Debord’s (1967) illusory cultural opiate whilst fulfilling a cultural longing. Questions then emerge when considering the narrative impact of these trends on engendered power structures and the traditional status of illusion and narrative fiction

Spirited media : revision, race, and revelation in nineteenth-century America

text"Spirited Media" analyzes distributed structures of authorship in the reform literature of the nineteenth-century United States. The literature that emerged out of reform movements like abolitionism often was a product of complex negotiations between speech and print, involving multiple people working across media in relationships that were sometimes collaborative, sometimes cooperative, and sometimes antagonistic. The cultural authority of print and individual authorship, often unquestioned in studies that focus on major or canonical figures of the nineteenth century, has tended to obscure some of this complexity. Moving from phonography, to Josiah Henson and Uncle Tom’s Cabin, to spiritualism, to Sojourner Truth and Walt Whitman, I consider four cases in which reporters, amanuenses, spirit mediums, and poets revived and remediated the voices of abolitionists, fugitive slaves, and figures from American history. By separating publication into events—speech, inscription, revision, and print—I show that "authorship" consisted of a series of interactions over time and across media, but that in the case of reform, the stakes for proving that authorship was a clear and indisputable characteristic of print were high. For abolitionist, African American, and spiritualist speakers and writers, authority depended on authorship, which in turn depended on the transparency of the print or the medium, or the perception of a direct relationship between speaker and reader. Like authorship, this transparency was constructed by a variety of social actors for whom the author was a key site of empowerment. It was authorized by appeals to revelation and race, two constructs often sidelined in media histories, yet central to discussions of society and politics in nineteenth-century America. Thinking of authorship as a distributed phenomenon disrupts models of the unitary subject and original genius, calling attention instead to uncanny acts of reading and writing in nineteenth-century literature. This dissertation argues that we should think about the transformative power of U.S. literature as located in revelation, not just creation, and in congregating people, not just representing them.Englis

ELO2019: Electronic Literature Organization Conference & Media Arts Festival, Programme and Book of Abstracts

The Electronic Literature Organization (ELO) is pleased to announce its 2019 Conference and Media Arts Festival, hosted by University College Cork. The conference and exhibition will be held from July 15-17, 2019, on UCC’s campus in the heart of Cork city, Ireland. The theme for ELO2019 #ELOcork is “peripheries”: delegates are invited to explore the edges of literary and digital culture, including emerging traditions, indeterminate structures and processes, fringe communities of praxis, effaced forms and genres, marginalised bodies, and perceptual failings. ELO2019 #ELOcork will mark the first time that the ELO conference has been hosted by an Irish institution: join us for this momentous gathering

ELO2019 Programme & Books of Abstracts

ELO2019 Programme & Books of Abstracts, University College Cork, July 15-17, 201

More than words: text art since conceptualism

Since 2009, there has been an increased presence of group exhibitions in public institutions in the UK and the US which address the ways contemporary artists in the past two decades have used text as a material, a subject, and a conceptual device. Significant amongst these exhibitions are Poor. Old. Tired. Horse. held at the Institute of Contemporary Art in London in 2009, and Ecstatic Alphabets/Heaps of Language held at the Museum of Modern Art in New York in 2012. Within their curatorial strategies, and independently from one another, both exhibitions draw a binary of the genealogy of text in art practice as emerging either from the international movement of concrete poetry of the mid-1950s to 1971 (including the work of Décio Pignatari, or Haraldo de Campos), or from conceptual art of the mid-1960s-early 1970s (including the work of Joseph Kosuth, Art & Language, Robert Smithson, or Mel Bochner). Such group exhibitions have overlooked how feminist, second generation conceptual artists embraced language as material. Artists of this second generation of conceptual art were critiquing conceptualism by introducing subject matter which looked outward from art and which demanded the audience to engage with language as a material through their use of the printed word, typography, written language, and methods of printing. For these artists, such as Mary Kelly, language was not presumed natural, and the materiality of text was necessary in order to engage an art audience in questions of power, representation, gender, and socialisation. With the rise of the digital age, the materiality of the linguistic signifier offers artists today something different than it did in the 1960s. Since the late 1990s, there has been a proliferation of works by contemporary artists in the UK and US that I refer to as text art, made by artists such as Fiona Banner, Janice Kerbel, Shannon Ebner, Pavel Büchler, or Paul Elliman. Part of my original contribution to knowledge is to explore the ways contemporary artists use text, to interrogate how this is different from work seen before, and to question the demands it places on the audience who reads it, as well as the challenges it places on the act of reading an artwork made of words. The literature emphasises a turn away from looking or the visual to a turn towards reading which occurred in conceptualism (Kotz, 2007; Blacksell, 2013). I explore the binary of this turn in the conceptual art period of 1966-1973 and I suggest that artists are engaging with text today not only to challenge how an audience encounters written language as art, but the very act of reading text in a digital world. The first three chapters explore the materiality of text in a historical genealogy of conceptual art, conceptual art in relationship to concrete poetry, and the feminist critique in second generation of conceptual art. The latter three chapters explore the materiality of text in contemporary art practices. This is the focus of the thesis, which builds on the foundation for materiality of text argued in chapters one, two, and three. I argue not for a cohesive movement of contemporary text artists, but rather, that diverse, contemporary artists’ practices are making similar investigations across text in art, and that this warrants attention to explore how we consider text as a medium today

"Doubtful Characters": Alphabet Books and Battles over Literacy in Nineteenth-Century British Print Culture

More than mere tools for reading instruction, alphabet books offered nineteenth-century writers and illustrators a site for contesting dominant versions of literacy. They could address broad audiences in a genre that was uniquely suited to registering shifts in the social and material conditions of publishing, literacy, and education. This historical study recovers these efforts and traces the genre’s co-evolution with Victorian ideas about literacy. It exploits an overlooked material archive in order to refocus attention from the history of rising literacy rates, toward concurrent debates over how visual and oral culture should complement printed text within domestic education and formal schooling. “Doubtful Characters” focuses on figures prominent in Victorian publishing, and reveals how the alphabet books they designed resisted pedagogues’ overweening emphasis on textual decoding. George Cruikshank, William Makepeace Thackeray, and Walter Crane promoted forms of visual literacy, including caricature and holistic book design. Edward Lear revived aspects of oral culture embedded within print. However, after national education reform (ca. 1870), alphabet illustration tended to leverage nostalgia against pedagogy. This is seen in works by Kate Greenaway and Hablot Knight Brown (“Phiz”). The study concludes by exploring satirical interpretations of the alphabet produced by Hilaire Belloc and Rudyard Kipling at the fin de siècle, which reflected growing ambivalence about industrialized print culture. While recovering designers’ strategic use of satire and production values in alphabet books, “Doubtful Characters” resists assumptions about the transparent goals of didactic texts, and exposes the fragility of audience conventions. Satirical alphabets most clearly challenged a child-oriented perspective on literacy education and illustration that took hold by the turn of the twentieth century, and provided an effective platform for commenting on the ways that literacy was taught and exercised. But this study also shows how alphabet books deployed aesthetic theory, commercial contexts, and other rhetorical strategies in order to address adult audiences alongside or even instead of children. Through a combination of close reading, analysis of material culture, and historical contextualization of a series of illustrated alphabets, “Doubtful Characters” demonstrate how the form routinely interrogated and promoted a configuration of relationships among media forms and audience categories