Robustness And Power Comparison Of The Mood-Westenberg And Siegel-Tukey Tests

The author examined how, in the context of experimental design, one might become aware of the Behrens-Fisher problem (heteroscedasticity) in order to apply an approximate solution, such as the Yuen\u27s statistic (1974). It was expected that both the Mood-Westenberg dispersion test (1948) and the Siegel-Tukey test (1960) would remain robust with respect to Type I and Type II error properties (and associated power levels) for detecting variance changes when their assumptions of equal means was slightly violated (i.e., the Behrens-Fisher problem). With the use of Monte Carlo Simulations, the author reviewed 34,606 permutations composed of interactions between various sample sizes, alpha levels, distributions/data sets, variance changes and means shifts. While the Mood-Westenberg (1948) and Siegel-Tukey (1960) tests both remained robust under certain conditions with respect to Type I and II error properties, the Siegel-Tukey test (1960) was by far the most robust of the two statistics, able to handle a more diverse set of conditions and would therefore be the statistic of choice in identifying the Behrens-Fisher problem

Constraints and creativity in the digital arts

In art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed. ' -Henri Matisse Constraints and the Creative Process When we refer to constraints in daily life we usually mean something that limits what we want to do or places boundaries around our choices. In the world of creative endeavour, the word has many interpretations. We think of constraints in creativity as both limiting and liberating. In our personal practice, they are used to impose boundaries upon the creative space we occupy and, at the same time, they enable us to grapple with inherent tensions between different demands, which, if successful, may lead to a new idea, direction or artefact. When we choose particular forms, materials and tools for our creative work, we are also choosing the kinds of constraints that will shape our process and its outcomes. Creativity may be seen as a process of exercising free choice in the context of a range of existing constraints. Constraints may be both negative and positive influences on the creative activity or task: the negative may be externally imposed or the result of unexpected phenomena and the positive may be considered beneficial because they have either been self-imposed or have arisen from the intrinsic characteristics of the work itself. Constraints are restrictions that limit what the individual wishes to do but such restrictions may also be seen as having more a positive and indeed, necessary function by providing the creative person with a more manageable creative space. A totally free or unoccupied space in which to begin a creative work is both unimaginable and probably undesirable. It could be argued that by abandoning all existing constraints we make complete freedom of action possible. In reality, there are few situations where that occurs for we all bring some constraints to the creative process whether we choose to do so or not. The constraints may arise from situational limitations such as organisational rules, or our cognitive attributes of memory and perception. Constraints which impose fundamental limits on our ability to think, perceive and create, for example, mental blocks, are less amenable to change or control by the individual concerned than those that are self-imposed (Smith and Tindall 1997). From this perspective, all creativity is a bounded activity. That the boundaries are extended or redrawn by someone's exceptional effort is what makes the process different and, ultimately, the outcome innovative. Constraints can be seen to work both ways in creativity. When you constrain thought, you automatically prevent ideas from being found outside of the defined territory. However, constraints also cause tension that can result in better ideas being found within the defined scope. The freedom in creativity is the ability to move between constraints or, to put it another way, the creative act is selecting the right path, from among all the possible paths defined by the constraints. By making an explicit statement of constraints, they can be critically examined and, if it seems right, be relaxed. In this way new paths are created. Constraints in Design and Music In the design process, constraints are included in the functional description of the artefact and the production processes used to manufacture it, including materials and dimensions. In engineering, where constraint-based approaches to supporting the design process are well established, it has been long recognised that constraints emerge during the process. There have been many studies into how designers carry out design activities including how they impose constraints that narrow down the number of solutions and help generate new concepts. They also change their goals and may tighten or relax or add constraints during the design process. Constraints are usually characterized as boundaries within which the object or artefact may be designed: for example, knowledge that a particular manufacturing process must be used to construct the product will impose constraints upon the design itself; in architecture, in designing an innovative building without worrying in advance how to construct it may, as in the case of the Sydney Opera House, provide significant challenges later for the structural engineers. In design education, students ar

Evaluation in public art: the Light Logic exhibition.

This paper discusses evaluation in the context of public art and specifically of interactive digital art. The study reported is of 'Light Logic', an exhibition of retrospective and current drawings, paintings and interactive digital works by the second author. The study was conducted by Site Gallery Sheffield in association with UK and Australian researchers. A survey of evaluation practice amongst artists and groups working in digital art is described briefly

Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI linkThis article explores the subject of practice-based research, its application in the creative arts and its role in generating new forms of knowledge in the context of the PhD. Our aim is to provide more clarity about the nature of practice-based research, the approach we advocate and how it contributes to new knowledge that can be shared and scrutinized in a form that is both accessible and rich in its representation of the full scope of creative arts research. We draw on examples spanning over 35 years of experience in supervising interdisciplinary PhD research programs in the arts, design and digital media

The Ursinus Weekly, May 13, 1971

\u2771 CCC forms plans for frosh • H. Salisbury of New York Times to speak at 1971 Commencement • U.C. Sigma Xi chooses new \u2771 members • Campus Chest caps drive with carnival • Application trend up as class of 1975 fills • Area lacrosse squad packed by U.C. girls • Editorial: New McCarthy era on the way? • The cutback • Ursinus grading system often causes problems • Mrs. Gil, Mr. Sorensen leave U.C. faculty • Proposed Limerick power plant presents serious complications • Letters to the editor: J\u27Accuse; Frankly, Scarlett • Movie critic: Father hears no songs • Trackmen finish 7-1 for year; Fourth place in \u2771 MAC meet • Ursinus did it; Beat Swarthmore • Golf team number 10; Peter Allen number 8https://digitalcommons.ursinus.edu/weekly/1146/thumbnail.jp

Middle and Late Pleistocene environmental history of the Marsworth area, south-central England

To elucidate the Middle and Late Pleistocene environmental history of south-central England, we report the stratigraphy, sedimentology, palaeoecology and geochronology of some deposits near the foot of the Chiltern Hills scarp at Marsworth, Buckinghamshire. The Marsworth site is important because its sedimentary sequences contain a rich record of warm stages and cold stages, and it lies close to the Anglian glacial limit. Critical to its history are the origin and age of a brown pebbly silty clay (diamicton) previously interpreted as weathered till. The deposits described infill a river channel incised into chalk bedrock. They comprise clayey, silty and gravelly sediments, many containing locally derived chalk and some with molluscan, ostracod and vertebrate remains. Most of the deposits are readily attributed to periglacial and fluvial processes, and some are dated by optically stimulated luminescence to Marine Isotope Stage (MIS) 6. Although our sedimentological data do not discriminate between a glacial or periglacial interpretation of the diamicton, amino-acid dating of three molluscan taxa from beneath it indicates that it is younger than MIS 9 and older than MIS 5e. This makes a glacial interpretation unlikely, and we interpret the diamicton as a periglacial slope deposit. The Pleistocene history reconstructed for Marsworth identifies four key elements: (1) Anglian glaciation during MIS 12 closely approached Marsworth, introducing far-travelled pebbles such as Rhaxella chert and possibly some fine sand minerals into the area. (2) Interglacial environments inferred from fluvial sediments during MIS 7 varied from fully interglacial conditions during sub-stages 7e and 7c, cool temperate conditions during sub-stage 7b or 7a, temperate conditions similar to those today in central England towards the end of the interglacial, and cool temperate conditions during sub-stage 7a. (3) Periglacial activity during MIS 6 involved thermal contraction cracking, permafrost development, fracturing of chalk bedrock, fluvial activity, slopewash, mass movement and deposition of loess and coversand. (4) Fully interglacial conditions during sub-stage 5e led to renewed fluvial activity, soil formation and acidic weathering

Sun, Moon, Stars, Rain, Vol. 7 No. 11

Official publication of the Sigma Tau Delta English Honor Society, Alpha Zet Chapter, Stephen F. Austin State University. Published one a year in the Fall Semester, in cooperation with the English Department of Stephen F. Austin State University.https://scholarworks.sfasu.edu/smsr/1000/thumbnail.jp

Sun, Moon, Stars, Rain, Vol. 7 No. 11

Official publication of the Sigma Tau Delta English Honor Society, Alpha Zet Chapter, Stephen F. Austin State University. Published one a year in the Fall Semester, in cooperation with the English Department of Stephen F. Austin State University

Creativity support tools: report from a U.S. National Science Foundation sponsored workshop

International Journal of Human-Computer Interaction, 20(2): pp. 61-77.Creativity support tools is a research topic with high risk but potentially very high payoff. The goal is to develop improved software and user interfaces that empower users to be not only more productive but also more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, educators, students, and many others. Enhanced interfaces could enable more effective searching of intellectual resources, improved collaboration among teams, and more rapid discovery processes. These advanced interfaces should also provide potent support in hypothesis formation, speedier evaluation of alternatives, improved understanding through visualization, and better dissemination of results. For creative endeavors that require composition of novel artifacts (e.g., computer programs, scientific papers, engineering diagrams, symphonies, artwork), enhanced interfaces could facilitate exploration of alternatives, prevent unproductive choices, and enable easy backtracking. This U.S. National Science Foundation sponsored workshop brought together 25 research leaders and graduate students to share experiences, identify opportunities, and formulate research challenges. Two key outcomes emerged: (a) encouragement to evaluate creativity support tools through multidimensional in-depth longitudinal case studies and (b) formulation of 12 principles for design of creativity support tools. As Galileo struggled to view Jupiter through his newly built telescope, he adjusted the lenses and saw four twinkling points of light nearby. After recording their positions carefully, Galileo compared them to his drawings from previous nights. His conclusion that Jupiter had four moons circling it was a profound insight with far reaching implications