Silent Communication Device

Oral communication has constituted as a necessary aspect of how people interact with one another, but there are always situations where this form of communication can create distractions, irritation, or even danger. Take for example, a student in a laboratory who needs to communicate effectively with a lab partner without creating a distraction to those trying to work around said student or a soldier on a battlefield who needs to relay information effectively to his or her comrades without revealing his or her position to the enemy. It becomes apparent that people need a more exclusive form of communication in order to ensure not only the safety of soldiers, but efficiency in the workplace as well. This project focuses on solving these problems by developing a small, concealable, and non-invasive, electronic device capable of transmitting communication silently by linking to a phone, computer, or radio channel. This device ensures completely silent communication between only those who use communicating devices and only requires that the user apply nodes to his or her throat when thinking of what he or she wishes to communicate with another for proper operation. Unlike other devices which rely on EEG and thus involve cumbersome headwear, this device performs as easily removable, concealable, hands free, conveniently pocket-sized, compatible with other devices used for communication, and able to have a user input versus device output accuracy of at least 70%. Using wavelet analysis and a MSP432 microcontroller, subvocal signals originating from the throat can be classified to an overall accuracy of at least 70% within a project budget of $50

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

Examining the appropriateness of nonverbal measures of intelligence with deaf and hard-of-hearing children: a critical review of the literature

There are a variety of assessment instruments available today that are widely used to assess the intellectual abilities of children. Specific considerations should be made when using these instruments to assess the deaf and hard-of-hearing population. This critical review of the literature begins with a brief overview of the D-HH population, a general history of intellectual assessment, and assessment considerations that are specific to the D-HH population. Information obtained from available literature regarding the internal consistency of six assessment instruments is presented. The instruments reviewed include the UNIT, the Leiter-R, the WISC-IV, the SB5, the CTONI, and the CAS. The results indicated that all of the measures examined show sufficient reliability and validity when applied to the general population. However, Braden (2005) has suggested that a measurement instrument is appropriate for a particular group when similar reliability and validity values are found for that group as for the general population. Of the measures examined, CTONI reported internal consistency studies with a subgroup of D-HH children in the manual. Additional independent research on the internal consistency of the UNIT and the WISC-IV is available. The literature review suggests that there are several factors that can influence test results when working with the D-HH population that have not been examined through independent research to date. Areas of interest for future research are presented

Critical Programming: Toward a Philosophy of Computing

Beliefs about the relationship between human beings and computing machines and their destinies have alternated from heroic counterparts to conspirators of automated genocide, from apocalyptic extinction events to evolutionary cyborg convergences. Many fear that people are losing key intellectual and social abilities as tasks are offloaded to the everywhere of the built environment, which is developing a mind of its own. If digital technologies have contributed to forming a dumbest generation and ushering in a robotic moment, we all have a stake in addressing this collective intelligence problem. While digital humanities continue to flourish and introduce new uses for computer technologies, the basic modes of philosophical inquiry remain in the grip of print media, and default philosophies of computing prevail, or experimental ones propagate false hopes. I cast this as-is situation as the post-postmodern network dividual cyborg, recognizing that the rational enlightenment of modernism and regressive subjectivity of postmodernism now operate in an empire of extended mind cybernetics combined with techno-capitalist networks forming societies of control. Recent critical theorists identify a justificatory scheme foregrounding participation in projects, valorizing social network linkages over heroic individualism, and commending flexibility and adaptability through life long learning over stable career paths. It seems to reify one possible, contingent configuration of global capitalism as if it was the reflection of a deterministic evolution of commingled technogenesis and synaptogenesis. To counter this trend I offer a theoretical framework to focus on the phenomenology of software and code, joining social critiques with textuality and media studies, the former proposing that theory be done through practice, and the latter seeking to understand their schematism of perceptibility by taking into account engineering techniques like time axis manipulation. The social construction of technology makes additional theoretical contributions dispelling closed world, deterministic historical narratives and requiring voices be given to the engineers and technologists that best know their subject area. This theoretical slate has been recently deployed to produce rich histories of computing, networking, and software, inform the nascent disciplines of software studies and code studies, as well as guide ethnographers of software development communities. I call my syncretism of these approaches the procedural rhetoric of diachrony in synchrony, recognizing that multiple explanatory layers operating in their individual temporal and physical orders of magnitude simultaneously undergird post-postmodern network phenomena. Its touchstone is that the human-machine situation is best contemplated by doing, which as a methodology for digital humanities research I call critical programming. Philosophers of computing explore working code places by designing, coding, and executing complex software projects as an integral part of their intellectual activity, reflecting on how developing theoretical understanding necessitates iterative development of code as it does other texts, and how resolving coding dilemmas may clarify or modify provisional theories as our minds struggle to intuit the alien temporalities of machine processes

Flesh made word: secondary orality and the materialism of sound

Approaching the subject of 'orality' as a complex social-historical practice containing fissures of technological inversion and spatial-acoustic transgression, this thesis seeks to understand the implications of an electronically realised 'secondary orality'. In particular, it seeks to understand this idea as it is elaborated in the media theory of Marshall McLuhan. The approach taken here attests to a vitally important, if often' ghosted', materialism of acoustic space, a context which is immediately and ambivalently implicated in the institutionalising and ideologising of communications technology. It is argued that a cultural media theory must address those forms of managed communicative experience that serve to diminish the everyday vernacular. The Introduction of the thesis identifies developments that have brought the idea of a 'secondary orality' into being. Chapter One examines Havelock's and Innis's privileging of technology in the orality question, as well as the general denial of acoustic practice within the orality-literacy debate. Chapter Two explores Ong's ideas on 'presence' as well as Derrida' s critique of Western phonocentrism in terms of the larger historical denial of sound. Chapter Three explores McLuhan's position on the techno-evolutionary overcoming of rationalism in the new electronic landscape and argues that his 'electronic materialism' is a form of interiorisation. Chapter Four turns to a discussion of the ancient world to consider oral ambivalence and the paradox of orality in the transition to literacy. Consideration is also given to the early modern emergence of a paradigm of abstract visualisation. Chapter Five examines the modern emergence of an oral resistance found in the acoustic otherworld of the' chapbook' and the poetics of Wordsworth, Blake, and Clare. Chapter Six discusses issues of the oral 'other' as found in the theories of Bakhtin, Volosinov, and Kristeva. Chapter Seven investigates a varied postmodern neo-McLuhanism in relation to issues of ecology, intertextuality, and the feminisation of technology. The Conclusion argues that 'secondary orality' involves a technological inversion of oral powers serving an electronic hegemony. The mimetically engineered spatial disorientation of transgressive sociality is further considered

Understanding User Cognition: From Spatial Ability to Code Writing and Review

Understanding how developers carry out different computer science activities with objective measures can help to improve productivity and guide the use and development of supporting tools in software engineering. In this thesis, we present three research components using three different objective measures including neuroimaging (functional magnetic resonance imaging (fMRI) and functional near-infrared spectroscopy (fNIRS)) and eye tracking. We evaluate on over 140 human subjects to explore multiple computing activities, including data structure manipulations, code writing and code review. This thesis presents a systematic framework and shows that it is possible to conduct studies that acquire objective data in a natural setting to provide an understanding of users' underlying cognitive processes in software engineering tasks. We also provide basic principles and guidelines to adapt multiple psycho-physiological measures to software engineering.PHDComputer Science & EngineeringUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/169678/1/yhhy_1.pd