Why do we struggle when we try to learn a language as adults?

Whereas the acquisition of a first language is successful for normally developing individuals, native-like attainment in a language learnt as adults is not guaranteed. As far as grammar is concerned, the area that typically shows up as more problematic is that of Morphology, and more specifically, that part of Morphology related to the specific ways languages have to indicate notions like temporal location (e.g. English –-ed for past tense She walked) or person agreement (e.g. English –s for the third person singular She sings). Language students and teachers are familiar with exclamations like “Oh, after so many years I still have problems with the past tenses in Spanish!” or “I cannot cope with the masculine/feminine thing in French!” In this talk I will present two different accounts that are currently debated in the field of Second Language Acquisition about why it is not enough to memorize those “blessed endings” for us to master their use in our speech production. I will also introduce the latest study I have conducted in collaboration with colleagues, with the aim of evaluating the explanatory power of the hypotheses debated in current literature. [From the Author]

Playhouse creatures: the struggle towards virtuosity

The conflation of the actress and the whore is as old as time, and, perhaps unsurprisingly, continues to excite interest from academics, writers and audiences. April de Angelis’ Playhouse Creatures was inspired by Elizabeth Howe’s seminal The First English Actresses (1992), which was the first academic reading of the Restoration actress, since the 1950’s. Howe saw the first English actresses as victims of the Restoration male gaze: sexually displayed and exploited. In this paper Howe’s reading and de Angelis’s realisation will be examined alongside archival research and the help of the cast of this year’s production of Playhouse Creatures in order to discover another story, the development of the actress as virtuoso. [From the Author]

Investigation into the performance of turbulence models for fluid flow and heat transfer phenomena in electronic applications

Heat is extracted away from an electronic package by convection, conduction, and/or radiation. The amount of heat extracted by forced convection using air is highly dependent on the characteristics of the airflow around the package which includes its velocity and direction. Turbulence in the air is also important and is required to be modeled accurately in thermal design codes that use computational fluid dynamics (CFD). During air cooling the flow can be classified as laminar, transitional, or turbulent. In electronics systems, the flow around the packages is usually in the transition region, which lies between laminar and turbulent flow. This requires a low-Reynolds number numerical model to fully capture the impact of turbulence on the fluid flow calculations. This paper provides comparisons between a number of turbulence models with experimental data. These models included the distance from the nearest wall and the local velocity (LVEL), Wolfshtein, Norris and Reynolds, k-ε, k-ω, shear-stress transport (SST), and kε/kl models. Results show that in terms of the fluid flow calculations most of the models capture the difficult wake recirculation region behind the package reasonably well, although for packages whose heights cause a high degree of recirculation behind the package the SST model appears to struggle. The paper also demonstrates the sensitivity of the models to changes in the mesh density; this study is aimed specifically at thermal design engineers as mesh independent simulations are rarely conducted in an industrial environment.

Home is where my archive is

The miniaturization and dissemination of audiovisual media into small, mobile assemblages of cameras, screens and microphones has brought "database cinema" (Manovich) into pockets and handbags. In turn, this micro-portability of video production calls for a reconsideration of database cinema, not as an aesthetic but rather as a media ecology that makes certain experiences and forms of interaction possible. In this context the clip and the fragment become a social currency (showing, trading online, etc.), and the enjoyment of a moment or "occasion" becomes an opportunity for recording, extending, preserving and displaying. If we are now the documentarists of our lives (as so many mobile phone adverts imply), it follows that we are also our own archivists as well. From the folksonomies of Flickr and YouTube to the slick "media centres" of Sony, Apple and Microsoft, the audiovisual home archive is a prized territory of struggle among platforms and brands. The database is emerging as the dominant (screen) medium of popular creativity and distribution – but it also brings the categories of "home" and "person" closer to that of the archive.