Legal translation trainees’ performance in from-scratch translation and post-editing: A product analysis

This study explores the practice of adopting MT tools in the area of legal translation didactics to assess and compare the translation quality of from-scratch vs post-edited translations through an error-based revision. Error analysis highlights both common and unique patterns in the frequency, type and severity of translation errors to possibly determine if and to what extent errors are influenced by the presence of a pre-translated text and which procedure led to higher-quality translations. The study also points out the areas of strength of Machine Translation applied to legal translation didactics alongside its limitations as inferable from the final product.This study explores the practice of adopting MT tools in the area of legal translation didactics to assess and compare the translation quality of from-scratch vs post-edited translations through an error-based revision. Error analysis highlights both common and unique patterns in the frequency, type and severity of translation errors to possibly determine if and to what extent errors are influenced by the presence of a pre-translated text and which procedure led to higher-quality translations. The study also points out the areas of strength of Machine Translation applied to legal translation didactics alongside its limitations as inferable from the final product

The politics of Arabic script

This thesis explores the politics of Arabic script. Across multiple time periods and geographies, I open up the ways in which the Arabic alphabet has been politicised and strategically deployed in cultural debates. Focussing on the cultural dimensions of Arabic - the idea and visual form of script - I investigate how persistent, historical discourses have come to shape the way Arabic has been understood and used to effect complex political outcomes for individuals, communities, and nations. I situate the core of this thesis in the context of contemporary politics – in terror, war, and security – and argue that the ways in which individuals come to ‘know’ the alphabet are often racially coded and can work to reinforce systematic discrimination. While scholarship has begun to open up the field of ‘alphabet politics’, the political role of Arabic had not yet been comprehensively explored. My question therefore required that I build a conceptual foundation – a way of understanding the political work of Arabic script – as well as identifying how the script has contributed to certain social and political environments. Moving between past and present, I demonstrate that the Arabic script has been consistently used to articulate social threats and exclude unwanted identities. In this role, the Arabic script has been used to draw the line between the civilised West and the barbaric East, to inflame fears about immigration, and bolster orientalist discourses. Perhaps most critical of all, the script itself has come to act as a sign of terror. However, the construction of threat is only one aspect of Arabic politics. This thesis also examines the ways in which the script has been used as a powerful tool of art and revolution, particularly in events such as the Arab Spring. To this end, I explore the way in which aesthetic forms of Arabic script have been taken up to challenge totalitarian regimes, define community identities, and produce resistant, urban space. Here, I focus on disciplines such as Arabic calligraphy, digital typography, graphic design, and graffiti. These practices have created a space whereby the Arabic alphabet can be viewed through the frame of active, creative expression rather than simply threat, extremism, or the potential for violence. The Arabic alphabet operates as a complex political artefact, caught by historical discourse but always evolving to meet the demands of the contemporary world. A focus on Arabic script allows for a new lens on a familiar situation and discourse. As a result, this thesis sheds new light on an important cultural artefact - the Arabic script – as well as historical events and the macro-level discourses and practices that have shaped ways of thinking and seeing for decades, and continue to inform our world

Redesigning Arabic Learning Books, An exploration of the role of graphic communication and typography as visual pedagogic tools in Arabic-Latin bilingual design

What are ‘educational typefaces’ and why are they needed today? Do Arabic beginners need special typefaces that can simplify learning further? If so, what features should they have? Research findings on the complexity of learning Arabic confirm that the majority of language textbooks and pedagogic materials lead to challenging learning environments due to the poor quality of book design, text-heavy content and the restricted amount of visuals used. The complexity of the data and insufficient design quality of the learning materials reviewed in this practice-based research demand serious thought toward simplification, involving experts in the fields of graphic communication, learning and typeface design. The study offers solutions to some of the problems that arise in the course of designing language-learning books by reviewing selected English learning and information design books and methods of guidance for developing uniform learning material for basic Arabic. Key findings from this study confirm the significant role of Arabic designers and educators in the production of efficient and effective learning materials. Their role involves working closely with Arabic instructors, mastering good language skills and being aware of the knowledge available. Also, selecting legible typefaces with distinct design characteristics to help fulfil various objectives of the learning unit. This study raises awareness of the need for typefaces that can attract people to learn Arabic more easily within a globalized world. The absence of such typefaces led to the exploration of simplified twentieth-century Arabic typefaces that share a similar idea of facilitating reading and writing, and resolving script and language complexity issues. This study traces their historical context and studies their functional, technical and aesthetic features to incorporate their thinking and reassign them as learning tools within the right context. The final outcome is the construction of an experimental bilingual Arabic-English language book series for Arab and non-Arab adult beginners. The learning tools used to create the book series were tested through workshops in Kuwait and London to measure their level of simplification and accessibility. They have confirmed both accessibility and incompatibility within different areas of the learning material of the books and helped improve the final outcome of the practice. The tools have established the significant role of educational typefaces, bilingual and graphic communication within visual Arabic learning

Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book

Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Back to the Future. The Future in the Past. Conference Proceedings Book

ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

Technology and ontology in electronic music : Mego 1994-present

The Vienna based record label Mego is known for establishing an uncompromising, radically experimental electronic music in the 1990s. This thesis considers the work of various different artists on the label, examining in particular their approaches to technology. The artists discussed appear to share an approach that I describe as pragmatic or experimental, which I contrast with idealist or rational approaches. In the latter, music appears to be understood within the framework of a simplistic model of communication, where technology is seen as a medium that should be transparent, allowing the music to pass unaffected. In the pragmatic approach however, I claim that technology is not seen not as a medium for the communication of ideas, but rather as a source of ideas. Implications follow for the ontology of the music. In the simplistic model of communication, physical sound can be considered merely a representation of something more abstract: musical form conceived by the composer. But if music is materially constructed and based on experimentation with the technology at hand, then the sound should not be considered a representation; there is no preconceived idea for it to be a representation of. This concept, which I refer to as 'literalism', is explored in a number of musical examples, and I link it to a definition of noise