Speech and Speaker Recognition for Home Automation: Preliminary Results

International audienceIn voice controlled multi-room smart homes ASR and speaker identification systems face distance speech conditionswhich have a significant impact on performance. Regarding voice command recognition, this paper presents an approach whichselects dynamically the best channel and adapts models to the environmental conditions. The method has been tested on datarecorded with 11 elderly and visually impaired participants in a real smart home. The voice command recognition error ratewas 3.2% in off-line condition and of 13.2% in online condition. For speaker identification, the performances were below veryspeaker dependant. However, we show a high correlation between performance and training size. The main difficulty was the tooshort utterance duration in comparison to state of the art studies. Moreover, speaker identification performance depends on the sizeof the adapting corpus and then users must record enough data before using the system

Hearing their voices : building a career development model for women in engineering

This study is an interpretive investigation of the life-career histories of 53 women in engineering; and a case study of one woman's account of present-lived career and her quest for identity in engineering over an eight year period (1992-1999). This study had two broad aims. First, it aimed to give voice to women's stories derived from their own reflective accounts, and to compare and contrast their perspectives with feminist writers' reviews of non-traditional girls' and women's career experiences, and with the organisational career story of itself. Second, it aimed to evaluate the adequacy of my convergence of a socialist feminist "unified systems" theory of social relations (Jaggar, 1983, 1989; Jaggar & Rothenberg, 1984, 1993) with Super's segmental life-span, lifespace theory (Super, 1980, 1990, 1994) to explain women's career and personality development. Further to this theoretical convergence, I elaborated on Super's original models and evaluated their usefulness for my gender analysis of career from four perspectives. I conceptualised "career" as both "subjective" and "organisational" (Dale, 1972; Hughes, 1937) and, using Benhabib's (1986b) terminology, created four perspectives by further differentiating career into either "generalised other" or "concrete other" (see Figure 1.1). Drawing on the findings of my exploration of the women's careers, I extended the range of Jaggar's/Super's explanatory theories of career and personality development (Figure 2.2) in an elaboration of Supers archway model (Figure 8.1). I found that my combined Jaggar/Super career archway and spider web model (Figure 2.3) represented the life-space tensions in each individual woman's career decision-making in engineering.The life-career rainbow was a valuable subsidiary model (Figure 2.4) in highlighting the complexities of gender as an overarching socio-cultural factor for theoretical and conceptual analyses of career and its effect on salient role relationships and personality development at each life-stage. My convergence career ladder represented the organisational career statuses and the successive development of the subjective career and identity through the completion of developmental tasks (Figure 2.6). My case study Cecilia, in common with other participants, I found to be an accomplished "feminine ambivalent" (Douvan & Adelson, 1966) and "paver of the way" (Josselson, 1987), yet she (like several others) floundered in the milieux of engineering. Her story indicates the continued need for engineering educators: to acknowledge the significance of women's subjective constructs of career to effect transformative change by promoting equity and excellence; to recognise ways in which the subjective and the organisational constructs of career can complement one another; and to implement changes which facilitate such complementarity. This study fills a space in the research literature on non-traditional girls' and women's career development. It also has potential to assist those who wish to gain a better understanding of the career pathways of women in engineering

Kurrwa (stone tool/axehead) to Kartak (container, cup, billycan, pannikin): hand-made/held-ground. An enduring, collaborative, practice-led research journey representing a distinct Australian First Nations Storying/Storywork and First Nations Performative Autoethnography as subalter/N/ative archive and methodology – created from the rememorying, re/imagined standpoint of a Gurindji | Malngin | Mudburra | Anglo-Australian | Chinese | German | Irish woman

Can a visual arts-Gurindji-specific culturally based, creative-led framework comprising collaborative exhibition and performative thesis, develop and present a Gurindji-specific storying of dispossession, cultural reclamation, transmission and exchange through dislocated kinship connections; and if so, how? What does a Gurindji-specific framework look like conceptually, creatively, critically? What does it do to and for history, to theory, to cultural analysis? Is this framework relevant and if so, for whom? This exegesis is a practice-led analysis drawing upon key cultural events and sites, and the involvement and displacement associated with singular and shared Gurindji ‘experience, location and visuality’. As a critical exploration, it radically inverts the limited recognition of what it is to be, do and enact as a Gurindji community member.My research takes shape from the diverse standpoints of descendants living on/in traditional homelands, and from members of the significant Gurindji displaced community. It is conducted through methodologies of critical First Nations Performative Autoethnography, First Nations Storying/Storywork (creative narratives), and what I call “cultural archaeology”. My mode of analysis engages with experimental, intra- and intercultural First Nations aesthetics and embodied action

Contesting the vision: Mahathirism, the power bloc and the crisis of hegemony in Malaysia

Abstract available: p.

Radio After Radio: Redefining radio art in the light of new media technology through expanded practice

I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice-based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms. Exploring the implications of this transition through my radio practice focuses upon the productive tensions which characterise the artist‟s engagement with radio technology, specifically between the autonomous potentialities offered by the reappropriation of obsolete technology and the proliferation of new infrastructures and networks promised by the exponential development of new media. Switch Off takes as its overarching theme the possible futures for FM radio, incorporating elements from eight „trace‟ stations, produced as a series of radio actions investigating these tensions. Interviews have been conducted with case study subjects Vicki Bennett, Anna Friz, LIGNA, Hildegard Westerkamp and Gregory Whitehead, whose work was chosen as being exemplary of the five recurrent facets of radio arts practice I have identified: Appropriation, Transmission, Activism, Soundscape and Performance. These categories are derived from the genealogy of experimental radiophonic practice set out in Chapter One