5,184 research outputs found
Exploring Automated Code Evaluation Systems and Resources for Code Analysis: A Comprehensive Survey
The automated code evaluation system (AES) is mainly designed to reliably
assess user-submitted code. Due to their extensive range of applications and
the accumulation of valuable resources, AESs are becoming increasingly popular.
Research on the application of AES and their real-world resource exploration
for diverse coding tasks is still lacking. In this study, we conducted a
comprehensive survey on AESs and their resources. This survey explores the
application areas of AESs, available resources, and resource utilization for
coding tasks. AESs are categorized into programming contests, programming
learning and education, recruitment, online compilers, and additional modules,
depending on their application. We explore the available datasets and other
resources of these systems for research, analysis, and coding tasks. Moreover,
we provide an overview of machine learning-driven coding tasks, such as bug
detection, code review, comprehension, refactoring, search, representation, and
repair. These tasks are performed using real-life datasets. In addition, we
briefly discuss the Aizu Online Judge platform as a real example of an AES from
the perspectives of system design (hardware and software), operation
(competition and education), and research. This is due to the scalability of
the AOJ platform (programming education, competitions, and practice), open
internal features (hardware and software), attention from the research
community, open source data (e.g., solution codes and submission documents),
and transparency. We also analyze the overall performance of this system and
the perceived challenges over the years
Information Outlook, March 1999
Volume 3, Issue 3https://scholarworks.sjsu.edu/sla_io_1999/1002/thumbnail.jp
NEBLINE, January 2016
CONTENTS
Feature: Extension 2015 Highlights
Food & Health
Farm & Acreage
Horticulture
Family Living
Pests & Wildlife
4-H & Youth
Extension Calendar
and other extension news and event
Legal crowdsourcing and relational law : what the semantic web can do for legal education
Crowdsourcing and Relational Law are interrelated concepts that can be successfully applied to the legal domain and, more specifically, to the field of legal education. 'Crowdsourcing' means 'participation of people (crowds)' and refers theoretically to the aggregated production of a common knowledge in a global data space. 'Relational law' refers to the regulatory link between Web 2.0 and 3.0, based on trust and dialogue, which emerges from the intertwining of top-down existing legal systems and bottom-up participation (the Web of People). Legal education today has a major role to play in the broad space opened up in terms of future potential of the Semantic Web. The following paper places a lens on the educational value of crowdsourcing and the relational approach to governance and law
Interactive Food and Beverage Marketing: Targeting Children and Youth in the Digital Age
Looks at the practices of food and beverage industry marketers in reaching youth via digital videos, cell phones, interactive games and social networking sites. Recommends imposing governmental regulations on marketing to children and adolescents
Culture IS> development
Sumario: Las instituciones evolucionan con el tiempo, como lo hacen los humanos, e inevitablemente desarrollan un personalidad que surge de lo que una vez fueron y quisieron llegar a ser - y de hecho, lo que la realidad permitÃa. Este ha sido el caso de los Centros Culturales de la Agencia Española de Cooperación Internacional para el Desarrollo (AECID). Su evolución también les ha dotado de una singular personalidad. El tiempo los ha dejado con lÃneas de arrugas reveladoras; y ahora, al igual que con
personas al llegar a la madurez, los Centros pueden dar un paso atrás y observarse a sà mismos en el espejo y ver quiénes son y en qué se han convertido. Los centros no sólo cumplen el propósito de promover la cultura española sino que pretenden ayudar a los creadores y a la industria cultural a nivel local, formando parte del tejido mismo del paÃs donde están ubicados, y convirtiéndose en un centro para desarrollo. La pandemia de COVID-19 ha tenido un impacto devastador para el sector cultural en todo el mundo. El cierre durante largos periodos de tiempo, la restricción de aforos y las limitaciones a la movilidad han provocado graves pérdidas en museos, galerÃas, centros culturales y salas de cine; la cancelación masiva de espectáculos ha tenido el mismo efecto
en el ámbito de las artes escénicas y la música, dejando sin trabajo
a miles de profesionales. Sin embargo, se ha dado la paradoja de que la cultura ha sido también uno de los servicios más solicitados para combatir las secuelas negativas de los confinamientos y la fatiga pandémica
Employment and Working Conditions of Selected Types of Platform Work
Platform work is a form of employment that uses an online platform to match the supply of and demand for paid labour. In Europe, platform work is still small in scale but is rapidly developing. The types of work offered through platforms are ever-increasing, as are the challenges for existing regulatory frameworks.
This report explores the working and employment conditions of three of the most common types of platform work in Europe. For each of these types, Eurofound assesses the physical and social environment, autonomy, employment status and access to social protection, and earnings and taxation based on interviews with platform workers. A comparative analysis of the regulatory frameworks applying to platform work in 18 EU Member States accompanies this review. This looks into workers’ employment status, the formal relationships between clients, workers and platforms, and the organisation and representation of workers and platforms
Sex in the city: the rise of soft-erotic film culture in Cinema Leopold, Ghent, 1945-1954
Since the 1990s, film studies saw a disciplinary shift from approaches favoring a textual and ideological analysis of films to a broader understanding of the socio-cultural history of cinema under the banner of new cinema history. This turn not only allowed for ‘niche’ research domains to flourish such as film economics or cinema memory research, or for new empirical and critical methodologies to be applied to film and cinema history. This change in researching and writing film/cinema history also shed light on previously marginalized, neglected or uncharted film cultures and histories, burgeoning scholarship in for instance (s)exploitation cinema.
This contribution examines a peculiar part of post-war local film culture in the Belgian city of Ghent, more precisely the one around the city-center soft-erotic cinema Cinema Leopold (1945-54). The research is based on a programming and box-office database compiled from archival sources and contextualized by other data (internal and external correspondence, posters,…) coming from the business archive of Octave Bonnevalle, Cinema Leopold’s founding pater familias (material kept in the State Archives of Belgium; RAB/B70/1928-1977). The database now contains information on 625 film titles shown between 1945 and 1954, out of which 233 were unidentified (due to lack of information). Although the database is at times crippled by source inconsistencies, it is extremely rich in documenting the everyday practices of a cinema that gradually turned into a soft-erotic movie theater.
The database allows for some remarkable findings concerning shifts in the origin of films, their production years, genres, censorship and popularity. The key finding is that Cinema Leopold started out after the Second World War with a child-friendly, mainstream Hollywood-oriented film program, as did most cinemas in Ghent, but its profile slowly tilted towards more mature audiences and provocative film genres. These included French ‘risqué’ feature films containing some forms of nudity like Perfectionist/Un Grand Patron (Ciampi, 1951) and documentaries on venereal diseases like the successful Austrian Creeping Poison/Schleichendes Gift (Wallbrück, 1946), but also auteur movies such as Bergman’s Port of Call/Hamnstad (1948) were shown. It is interesting how Leopold walked a fine line between innovative, bold European art-house cinema, soft-erotic ‘didactic’ movies and flat-out commercial soft-porn. By 1954, Leopold had gathered a loyal crowd, which kept the cinema alive until 1981 despite the several law suits and trials. This micro-history offers a remarkable example of the post-war flourishing of alternative, yet profit-driven cinema circuits, riddled with media controversies and censorship
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