Critiquing Antipatterns In Novice Code

Students in introductory computer science courses, are learning to program. Indeed, most students perceive that learning to code is the central topic explored in the courses. Students spend an enormous amount of time struggling to learn the syntax and understand semantics of a particular language. Instructors spend a similar amount of time reading student code and explaining the meaning of the cryptic error messages displayed by compilers. Messages provided by compilers are intended to give feedback on the adherence of one’s code to the language specification and conventions. Unfortunately, these message are geared towards experts who have a clear understanding of the language syntax and semantics and a deep model of what comprises a program and how a program is developed. These students are novices who lack fundamental understanding of the structure of a program and have no basic mental model of how a program works. Novices make different kinds of mistakes than experts. Instructors need to spend a lot of time simply assisting novices in using compilers and understanding their output. In addition to mastering the syntax and semantics of their first programming language, novices are exposed to the question of what constitutes good design. Instructors can identify virtuous design choices and articulate areas of improvement. But contact time with students is limited, and waiting for in-person feedback or replies to personal messages can be a critical delay. Novices, still struggling to use the compiler, have not yet developed the sophisticated analytical processes employed by experts and this is reflected in their design choices and the kinds of mistakes they make. When a novice approaches an instructor with a question, the instructor must often provide a balanced critique that assists the student with understanding both the structure and the design aspects of their own code. My research has focused on whether we can identify examples of early programming antipatterns that have arisen from our teaching experience, and describe different ways of detecting them automatically. Novice students may produce code that is close to a correct solution but contains syntactic errors; code critiquers attempt to salvage the promising portions of the students submission and suggest repairs in ways more meaningful than typical compiler error messages. Alternatively, a student misunderstanding may result in well-formed code that passes unit tests yet contains clear design flaws; through additional analysis, code critiquers can detect and flag these flaws. Finally, certain types of antipatterns can be anticipated and flagged by the instructor, based on the context of the course and the programming activity; code critiquers allow for customizable critique triggers and messages. This dissertation presents several key contributions to our understanding of novice misconceptions and their representation, diagnosis and repair using antipatterns. My research focuses on identifying antipatterns and detecting them in novice code, then using this information to provide the student with a meaningful critique of their work. I have developed WebTA, a tool to critique student programs in introductory computer science courses. WebTA is used to teach students test-driven agile development methods through small cycles of teaching, coding integrated with testing, and immediate feedback.Through the use of WebTA in introductory computer science courses since 2014, I have amassed a significant corpus of novice programmer submission data. Lastly, I have compiled a library of antipatterns found in novice code

Street Furniture and the Nation State: A Global Process

In the popular imagination, street furniture has traditionally been understood as evoking a sense of national or local identity. From Paris’ metro entrances, DDR lampposts in Berlin, and London’s york stone pavements, the designed environment has been able to contribute to the unique qualities of a place. In some instances this was deliberate. In postwar Britain for instance, the Council of Industrial Design – a state-funded design organization - often appeared to measure the quality of street furniture on the basis of its national characteristics. On other occasions, the relationship between such objects and identity emerged accidentally. In Britain during the 1980s, for example, the replacement of Gilbert Scott's red telephone box with an alternative BT model provoked considerable debate. For many people, this act was not just a Conservative attack on nationalization and state-ownership, but also on the very fabric of British identity. This understanding of street furniture has retained its currency for many years, and cities across the world have used street furniture to provide a sense of visual coherency for neighbourhoods in need of new identities, strengthening their character and improving the public's relationship to them. In this way, street furniture has been employed as a cipher for the narrative of regeneration, in which - as a means of altering the identity of a space - street furniture can project a new face upon the street. Increasingly however, advertising companies are able to lever themselves into the street furniture market by offering to provide the service to the local authorities for free in return for advertising space. In offering this service, global companies like JC Decaux, Wall and Clear Channel command a huge amount of commercial power within the city. The excessive homogenization of street furniture coupled with the overwhelming presence of advertising which is increasingly sanctioned by local authorities keen to reduce costs, has resulted in the perception of poorer quality streets. Thus, the irony of regeneration is that by seeking to promote the unique identity of a city, many places often end up looking more and more alike. This paper will examine recent developments in the process by which the street is furnished and the agents responsible. It will specifically look at how these changes have affected the relationship between street furniture and identity, and equally the effect this process has had on understandings of national design histories. Clearly, evaluating contemporary street furniture through the lens of the nation-state is of very little value, since the international differences between street furniture are considerably less marked than they used to be. This extraordinary aesthetic convergence is partly linked to economies of scale - after all, just how many different kinds of bus stop can Europe afford to have? Yet it also reflects some of the challenges posed by globalization and privatization of public space. This paper will reflect upon that process, and how these bigger narratives increasingly affect the landscape of the street

HERITAGE 2022. International Conference on Vernacular Heritage: Culture, People and Sustainability

Vernacular architecture, tangible and intangible heritage of great importance to European and global culture, represents the response of a society culturally linked to its territory, in terms of climate and landscape. Its construction features are born from the practical experience of the inhabitants, making use of local materials, taking into consideration geographical conditions and cultural, social and constructive traditions, based on the conditions of the surrounding nature and habitat. Above all, it plays an essential role in contemporary society as it is able to teach us important principles and lessons for a respectful sustainable architecture. Vernacular Heritage: Culture, People and Sustainability will be a valuable source of information for academics and professionals in the fields of Environmental Science, Civil Engineering, Construction and Building Engineering and ArchitectureMileto, C.; Vegas López-Manzanares, F.; Cristini, V.; García Soriano, L. (2022). HERITAGE 2022. International Conference on Vernacular Heritage: Culture, People and Sustainability. Editorial Universitat Politècnica de València. https://doi.org/10.4995/HERITAGE2022.2022.15942EDITORIA