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What can co-speech gestures in aphasia tell us about the relationship between language and gesture?: A single case study of a participant with Conduction Aphasia
Cross-linguistic evidence suggests that language typology influences how people gesture when using ‘manner-of-motion’ verbs (Kita 2000; Kita & Özyürek 2003) and that this is due to ‘online’ lexical and syntactic choices made at the time of speaking (Kita, Özyürek, Allen, Brown, Furman & Ishizuka, 2007). This paper attempts to relate these findings to the co-speech iconic gesture used by an English speaker with conduction aphasia (LT) and five controls describing a Sylvester and Tweety1 cartoon. LT produced co-speech gesture which showed distinct patterns which we relate to different aspects of her language impairment, and the lexical and syntactic choices she made during her narrative
Supporting public participation through interactive
A thesis submitted in partial fulfillment of the requirements for the degree of Doctor in Information Management, specialization in Geographic Information SystemsCitizen participation as a key priority of open cities, gives citizens the chance to
influence public decision-making. Effectively engaging broader types of citizens into
high participation levels has long been an issue due to various situational and technical
constrains. Traditional public participation technologies (e.g. public hearing)
usually are blame for low accessibility by the general public. The development of
Information Communication Technology brings new methods to engage a broader
spectrum of citizens in deeper participation level during urban planning processes.
Interactive public displays as a public communication medium, hold some key advantages
in comparison to other media. Compared to personal devices, public displays
make public spaces into sociable places, where social communication and interaction
can be enriched without intentionally or unintentionally excluding some groups’
opinions. Public displays can increase the visibility of public events while it is more
flexible and up-to-date regarding showing information. Besides, they can also foster
a collective awareness and support group behavioral changes. Moreover, due to the
public nature of public displays, they provide broad accessibility to different groups
of citizens.
Public displays have a great potential in bringing new opportunities to facilitate
public participation in an urban planning process. In the light of previous work on
public displays, the research goal is to investigate a relatively new form of citizen
participation known as Public Display Participation. This participation form refers to
the use of public displays for citizen participation in the context of urban planning.
The main research question of the thesis is how public displays can be used for
facilitating citizen consultation in an urban planning process. First, a systematic
literature review is done to get an understanding of the current achievements and
gaps of research on public displays for public participation. Second, an elicitation
study has been conducted to design end user centered interactions with public
displays for citizens’ consulting activities. Finally, we run a usability to evaluate the
usability of public displays for citizen consultation and their user experience.
The main contributions of this thesis can be summarized as: (1) the identification
of key challenges and opportunities for future research in using public displays
for public participation in urban contexts; (2) two sets of user-defined gestures
for two sets of user-defined phone gestures and hand gestures for performing
eleven consulting activities, which are about examining the urban planning designs
and giving feedback related to design alternatives, are also identified. (3) a new
approach for using public displays for voting and commenting in urban planning,
and a multi-level evaluation of a prototypical system implementing the proposed
approach. Designers and researchers can use the contributions of this thesis, to
create interactive public displays for supporting higher public participat i.e.
citizen collaboration and empowerment
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
Translation across modalities : the practice of translating written text into recorded signed language : an ethnographic case study
This study creates a space for analysing an emerging translational activity, the practice
of translating written text into recorded signed language. With its non-prototypical
modality pair of source and target texts, the activity neither matches existing
conceptualisations of interpreting nor those of translation modes. In an ethnographic
case study I investigate the translational mode displayed, paying particular attention to
the translational process designed by the practitioner and the impact of source and
target text modalities. Drawing on literacy and multimodality research, this work reaffirms
that communication is embedded in social, cultural, historical and ideological
contexts and foregrounds the involved (human and non-human) agents. Data generated
through observation, interviews and analysis of source, target and preparatory
documents reveal an event influenced by the intrinsic properties of text modalities, the
translator’s socio-professional background, and socially constructed constraints and
opportunities. Developing concepts of “translational practice”, “translational events” and
“affordances”, I challenge the prototype-based dichotomy (translation/interpreting) used
to conceptualise translational activity. By negotiating data of a non-central practice with
theoretical concepts developed within Western Translation Studies, this research
contributes to enlarging and de-centralising the discipline. Thickly describing one
translational event, conceptualising written-signed translation practice and re-thinking
central translational concepts, this study highlights implications for theory, pedagogy
and the profession
Reimagining the Flute Masterclass: Case Studies Exploring Artistry, Authority, and Embodiment
This work explores the flute masterclass as an aesthetic, ritualized, and historically reimagined cultural practice. Based on fieldwork that took place between 2017 and 2019 in the United States, in Italy, and on the social media platforms Instagram, Facebook, and YouTube, I argue that the masterclass—an extension of the master/apprentice system that dominates learning in the classical music tradition—is characterized by embodied qualities of artistry and authority. These qualities are not inherent, but are perceived through subjective, social, familied, and affective bodies.
Chapter One outlines the main themes and the research design. Chapter Two is a case study that analyzes the concept of charismatic authority in relation to an established flutist, his former teacher, and the influence of the French School of flute playing. Chapter Three discusses the role of sociality in professionalization and the search for artistry in a ten-day masterclass. Chapter Four, a case study of masterclasses at the National Flute Association Annual Convention, explores how flutists perform identity within the “imagined flute community” through gestural excess and modes of conduct. Chapter Five investigates flute masterclasses on the social media platforms Instagram, Facebook, and YouTube and the impact of online media on artistry, authority, and embodiment. Keeping in mind Latour’s actor-network theory, the “post-internet,” and the centralized web, I consider the reshaping and disruptive effects of social media on the traditional flute masterclass. I conclude that in order to continue as a relevant site for aesthetic experience and meaning-making, the flute masterclass must fashion a disciplined authority that respects the identity and selfhood of the student performer
Designing instruments towards networked music practices
It is commonly noted in New Interfaces for Musical Expression (NIME) research that
few of these make it to the mainstream and are adopted by the general public. Some
research in Sound and Music Computing (SMC) suggests that the lack of humanistic
research guiding technological development may be one of the causes. Many new
technologies are invented, however without real aim else than for technical
innovation, great products however emphasize the user-friendliness, user involvement
in the design process or User-Centred Design (UCD), that seek to guarantee that
innovation address real, existing needs among users. Such an approach includes not
only traditionally quantifiable usability goals, but also qualitative, psychological,
philosophical and musical such. The latter approach has come to be called experience
design, while the former is referred to as interaction design. Although the Human
Computer Interaction (HCI) community in general has recognized the significance of
qualitative needs and experience design, NIME has been slower to adopt this new
paradigm. This thesis therefore attempts to investigate its relevance in NIME, and
specifically Computer Supported Cooperative Work (CSCW) for music applications
by devising a prototype for group music action based on needs defined from pianists
engaging in piano duets, one of the more common forms of group creation seen in the
western musical tradition. These needs, some which are socio-emotional in nature, are
addressed through our prototype although in the context of computers and global
networks by allowing for composers from all over the world to submit music to a
group concert on a Yamaha Disklavier in location in Porto, Portugal. Although this
prototype is not a new gestural controller per se, and therefore not a traditional NIME,
but rather a platform that interfaces groups of composers with a remote audience, the
aim of this research is on investigating how contextual parameters like venue, audience, joint concert and technologies impact the overall user experience of such a
system. The results of this research has been important not only in understanding the
processes, services, events or environments in which NIME’s operate, but also
understanding reciprocity, creativity, experience design in Networked Music
practices.É de conhecimento generalizado que na área de investigação em novos interfaces para
expressão musical (NIME - New Interfaces for Musical Expression), poucos dos
resultantes dispositivos acabam por ser popularizados e adoptados pelo grande
público. Algum do trabalho em computação sonora e musical (SMC- Sound and
Music Computing) sugere que uma das causas para esta dificuldade, reside
numalacuna ao nível da investigação dos comportamentos humanos como linha
orientadora para os desenvolvimentos tecnológicos. Muitos dos desenvolvimentos
tecnológicos são conduzidos sem um real objectivo, para além da inovação
tecnológica, resultando em excelentes produtos, mas sem qualquer enfâse na
usabilidade humana ou envolvimento do utilizador no processo de Design (UCDUser
Centered Design), no sentido de garantir que a inovação atende a necessidades
reais dos utilizadores finais. Esta estratégia implica, não só objectivos quantitativos
tradicionais de usabilidade, mas também princípios qualitativos, fisiológicos,
psicológicos e musicológicos. Esta ultima abordagem é atualmente reconhecida como
Design de Experiência (Experience Design) enquanto a abordagem tradicional é
vulgarmente reconhecida apenas como Design de Interação (Interaction Design).
Apesar de na área Interação Homem-Computador (HCI – Human Computer
Interaction) as necessidades qualitativas no design de experiência ser amplamente
reconhecido em termos do seu significado e aplicabilidade, a comunidade NIME tem
sido mais lenta em adoptar este novo paradigma. Neste sentido, esta Tese procura
investigar a relevância em NIME, especificamente nu subtópico do trabalho
cooperativo suportado por Computadores (CSCW – Computer Supported Cooperative
Work), para aplicações musicais, através do desenvolvimento de um protótipo de um
sistema que suporta ações musicais coletivas, baseado nas necessidades especificas de Pianistas em duetos de Piano, uma das formas mais comuns de criação musical em
grupo popularizada na tradição musical ocidental. Estes requisitos, alguns sócioemocionais
na sua natureza, são atendidos através do protótipo, neste caso aplicado ao
contexto informático e da rede de comunicações global, permitindo a compositores de
todo o mundo submeterem a sua música para um concerto de piano em grupo num
piano acústico Yamaha Disklavier, localizado fisicamente na cidade do Porto,
Portugal. Este protótipo não introduz um novo controlador em si mesmo, e
consequentemente não está alinhado com as típicas propostas de NIME. Trata-se sim,
de uma nova plataforma de interface em grupo para compositores com uma audiência
remota, enquadrado com objectivos de experimentação e investigação sobre o
impacto de diversos parâmetros, tais como o espaço performativo, as audiências,
concertos colaborativos e tecnologias em termos do sistema global. O resultado deste
processo de investigação foi relevante, não só para compreender os processos,
serviços, eventos ou ambiente em que os NIME podem operar, mas também para
melhor perceber a reciprocidade, criatividade e design de experiencia nas práticas
musicais em rede
Technology and Contemporary Classical Music: Methodologies in Practice-Based Research
This position paper provides a distillation of the NCRM Innovation Forum, ‘Technology and Contemporary Classical Music: Methodologies in Creative Practice Research’, hosted by Cyborg Soloists in June 2023. It features contributions from a variety of creative practitioner-researchers to debate the current state and future of technologically focused, practice-based research in contemporary classical music.
The position paper is purposefully polyphonic and pluralistic. By collating a range of perspectives, experiences and expertise, the paper seeks to provoke and delineate a space for further questioning, inquiry, and response. The paper will be of interest to those working within creative practice research, particularly in relation to music, music technologists and those interested in research methodologies more broadly
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