A compositional data analysis package for R providing multiple approaches

”compositions” is a new R-package for the analysis of compositional and positive data. It contains four classes corresponding to the four different types of compositional and positive geometry (including the Aitchison geometry). It provides means for computation, plotting and high-level multivariate statistical analysis in all four geometries. These geometries are treated in an fully analogous way, based on the principle of working in coordinates, and the object-oriented programming paradigm of R. In this way, called functions automatically select the most appropriate type of analysis as a function of the geometry. The graphical capabilities include ternary diagrams and tetrahedrons, various compositional plots (boxplots, barplots, piecharts) and extensive graphical tools for principal components. Afterwards, ortion and proportion lines, straight lines and ellipses in all geometries can be added to plots. The package is accompanied by a hands-on-introduction, documentation for every function, demos of the graphical capabilities and plenty of usage examples. It allows direct and parallel computation in all four vector spaces and provides the beginner with a copy-and-paste style of data analysis, while letting advanced users keep the functionality and customizability they demand of R, as well as all necessary tools to add own analysis routines. A complete example is included in the appendix

Human heart

A colour image of the human heart. This is an image taken from Anatomy tv, an interactive resource for teaching and learning in anatomy and physiology which the University Library subscribes to. This image may not be changed, but you may take a copy and present it with other materials and resources you are using so long as they are password protected for access by members of the University only. All products and all images within the products are protected by copyright. The products and images can only be used for private educational purposes, unless a specific license is purchased for any other usage. For any commercial usage of the images, please contact Primal Pictures Limited. The products allow members of the University of Southampton to ‘copy and paste’ all of the text as well as the images in the 3D-model window and all of the slides. These can then be pasted into nearly any other word-processing or graphics program, including Powerpoint. These resources can be made available to members of the University of Southampton via a password-protected service. This again is designed solely as a service for private educational uses. Like any publisher, Primal Pictures protects itself against copyright infringement. Please do contact Debra Morris in the University Library before using these resources to ensure that conditions are respected. ©Primal Pictures Limited 2007

University of Southampton logos

This PowerPoint file has the new-brand University logo in a format that you can copy-and-paste to Word and PowerPoint. You can scale them without 'jaggies' and they have a transparent background. Several approved colours are included.

Lecture Capture Powerpoint slides

Copy and paste this slide to the start of your own presentations.

O ritual simbólico do Ctrl+C (copiar ) e Ctrl+V (colar) no ensino médio

Nowadays, technology has a direct influence on the relationship student and teacher have with language. The internet is a powerful tool in helping work with the language and, through it, the knowledge comes to the student easily and intensely. Furthermore, this facility has enhanced and made visible what has been called, within the University community, "plagiarism generation." This work assumes that this generation has, in their written texts, symbolic movements similar to those of "copy and paste" applied to research work carried out by high school students. Taking this as starting point, this dissertation aims to analyze how high school students of the 1st year from a school in Natal (RN) construct texts, under the movements known as "Ctrl + c" and "Ctrl + v", with reference to the text of the "other". More specific issues are behind the general objective, namely: 1. how the student appropriates the source-text when he copies and pastes? 2. What are the categories of analysis that allow us to look analytically and theoretically for the "ctrl + c / ctrl + v" practice made by the student? 2. how the studies developed in the fields of "Genetic Criticism" (Grésillon, 1987), the "school manuscripts" (Calil, 2004) and "paraphrase" (Fuchs, 1982) may help in working with writing in the classroom standing as a possible way to minimize the copy and paste effects in the students texts? Thus, we observe the categories of analysis that allow us to look, theoretically and analytically, for the symbolic ritual of the "ctrl + c" (copy) and "ctrl + v" (paste) in high school. Our study shows that the student text is a "hybrid body" whose writing is a drawing entanglement because of the presence of the foreign text, verbatim, and the presence of linguistic elements to paraphrase the original text.This textual embodiment has, behind it, certain operations, namely: replacing, moving, adding and deleting statements. Given the specificity of the data and the research objectives, this study aligns with qualitative research methods (SILVERMAN, 2009) and falls within the knowledge field of Applied Linguistics, which is characterized especially by investigating problems, phenomena in which language in a real situation is taken as central (BRUMFIT, 1995).Theoretically, our work follows the approach of studies on the paraphrase (Fuchs, 1982, 1994a, 1994b; DAUNAY, 1997, 1999, 2002a, 2002b), the studies developed in the field of Genetic Criticism (Grésillon, 1987, 1994, 1992, 2008 ) and those developed by Eduardo Calil (2004) on "school manuscripts"

Webjornalismo e violações de direitos da cidadania: análise de coberturas sobre trabalho escravo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Jornalismo impresso na era da internet: como funciona a redação do jornal Correio do Estado, de Campo Grande, Mato Grosso do Sul

Pós-graduação em Comunicação - FAAC

Proposição dos modelos de expansão genômica dos elementos de transposição 412 e Bari no genoma de espécies do grupo melanogaster e em populações naturais de Drosophila melanogaster e de D. simulans

Pós-graduação em Genética - IBILCE

raubkopie

zum Thema des nächsten Heftes

Gefälschte Identität oder Sehnsucht nach Exotik

Auch im Kopieren fremder Vorbilder bleibt Architektur auf technische, materielle und ökonomische Aspekte der Gesellschaft bezogen, in der sie entsteht. Dies unterscheidet "Immobilien"-Architekturen von Produkten, die weltweit verschickt und gehandelt werden. Die Übernahme westlicher, aber auch eigener historischer Architekturvorbilder im chinesischen Immobilenmarkt ist insofern ein Anzeiger für spezifische Bedürfnisse und für ein spezielles Verständnis von Kopie. Die Vermarktung westlicher Architekturkopien ist die Inszenierung einer als fortschrittlich empfunden Lebenswelt, die sich aus dem Umfeld der allgemeinen Entwicklung abhebt und damit exotisch und begehrenswert wirkt. Dabei kommt zum Tragen, dass Architektur in China traditionell nicht als Kunst angesehen, sondern in den Zünften der Handwerker weitergegeben wurde. Das kommunistische Regime tat über Jahrzehnte ein übriges zur Anonymisierung der Entwurfspraxis. Erst seit den letzten Jahren entwickelt sich in China eine Architekturszene, die sowohl die eigene Tradition wie die globale Entwicklung im Blickfeld hat.

Re-framing fashion : from original and copy to adaptation

Partington notes that clothing produced by individual consumers through adaptation of patterns is contextualised as a watered down version of original couture. In its most reductive form, this notion characterises fashion as commercial and exploitative. Descriptors such as appropriation, imitation, copy and so forth have restricted the opportunity to understand fashion as a major global cultural form and institution. Therefore exploring and understanding the concept of adaptation will shift the attention from a superficial assessment of original versus imitation or copy to adaptation as a practice that provides a better framework for the understanding of designers’ and couturiers’ innovative practices and creativity, describing also the active engagement of consumers with fashion at the micro level. Adaptation can also provide a way to understand different historical shifts in the fashion system, from individual creative agency with home dressmaking and re-making to the explosion of the mass market and the consequent abandonment of such practices. Home dressmaking has been replaced by fashion remix of mass produced garments, a practice that thrives in our environment of globalised fast fashion. Thus this chapter suggests the need for a contextual requalification of concepts such as original, copy, imitation and copyright, and argues that these categories have been played against each other, but they are in fact interdependent. Today, big labels and conglomerates try to control knowledge and innovation through copyright, but, fashion escapes copyright because, in fashion, creativity is contextual. The institutionalisation of couture from 1868 served as a way to control knowledge about production processes in fashion; on the other hand, adaptation practices, often subversive, have been fundamental to the democratisation of fashion.

The Memorial of Nicholas Sever, and William Welsteed (manuscript copy), 1721 June 21

One folio-sized leaf containing a handwritten draft of the June 21, 1721 memorial from Nicholas Sever and William Welsteed to the Harvard Board of Overseers. The document is labeled "a true copy" and begins, "Sheweth That ye next &..." and contains struck-through words and edits.

Great adaptations : China's creative clusters and the new social contract

The transformation of China's urban landscape has witnessed a boom in cultural adaptation, namely the adaptation of a Western idea, the creative cluster. This chapter examines the formatting of hundreds of creative clusters-art centres, animation bases, cultural zones, and incubators. The cluster has important implications for how we understand China going forward into the second decade of the 21st century. The cluster phenomenon has resulted in to a substantive remaking of the social contract, between officials, entrepreneurs, local residents, academics-and most significantly cultural producers. However, these processes of adaption are mostly driven by real estate developers working in partnership with local government officials. Cut and paste design is the fast road to completion. In this sense, the description 'creative' may well be redundant.

Rethinking public service media and citizenship: digital strategies for news and current affairs at Australia’s Special Broadcasting Service

This article considers the concept of media citizenship in relation to the digital strategies of the Special Broadcasting Service (SBS). At SBS, Australia’s multicultural public broadcaster, there is a critical appraisal of its strategies to harness user-created content (UCC) and social media to promote greater audience participation through its news and current affairs Web sites. The article looks at the opportunities and challenges that user-created content presents for public service media organizations as they consolidate multiplatform service delivery. Also analyzed are the implications of radio and television broadcasters’ moves to develop online services. It is proposed that case study methodologies enable an understanding of media citizenship to be developed that maintains a focus on the interaction between delivery technologies, organizational structures and cultures, and program content that is essential for understanding the changing focus of 21st-century public service media.

Designing and evaluating mobile multimedia user experiences in public urban places : Making sense of the field

The majority of the world’s population now lives in cities (United Nations, 2008) resulting in an urban densification requiring people to live in closer proximity and share urban infrastructure such as streets, public transport, and parks within cities. However, “physical closeness does not mean social closeness” (Wellman, 2001, p. 234). Whereas it is a common practice to greet and chat with people you cross paths with in smaller villages, urban life is mainly anonymous and does not automatically come with a sense of community per se. Wellman (2001, p. 228) defines community “as networks of interpersonal ties that provide sociability, support, information, a sense of belonging and social identity.” While on the move or during leisure time, urban dwellers use their interactive information communication technology (ICT) devices to connect to their spatially distributed community while in an anonymous space. Putnam (1995) argues that available technology privatises and individualises the leisure time of urban dwellers. Furthermore, ICT is sometimes used to build a “cocoon” while in public to avoid direct contact with collocated people (Mainwaring et al., 2005; Bassoli et al., 2007; Crawford, 2008). Instead of using ICT devices to seclude oneself from the surrounding urban environment and the collocated people within, such devices could also be utilised to engage urban dwellers more with the urban environment and the urban dwellers within. Urban sociologists found that “what attracts people most, it would appear, is other people” (Whyte, 1980, p. 19) and “people and human activity are the greatest object of attention and interest” (Gehl, 1987, p. 31). On the other hand, sociologist Erving Goffman describes the concept of civil inattention, acknowledging strangers’ presence while in public but not interacting with them (Goffman, 1966). With this in mind, it appears that there is a contradiction between how people are using ICT in urban public places and for what reasons and how people use public urban places and how they behave and react to other collocated people. On the other hand there is an opportunity to employ ICT to create and influence experiences of people collocated in public urban places. The widespread use of location aware mobile devices equipped with Internet access is creating networked localities, a digital layer of geo-coded information on top of the physical world (Gordon & de Souza e Silva, 2011). Foursquare.com is an example of a location based 118 Mobile Multimedia – User and Technology Perspectives social network (LBSN) that enables urban dwellers to virtually check-in into places at which they are physically present in an urban space. Users compete over ‘mayorships’ of places with Foursquare friends as well as strangers and can share recommendations about the space. The research field of Urban Informatics is interested in these kinds of digital urban multimedia augmentations and how such augmentations, mediated through technology, can create or influence the UX of public urban places. “Urban informatics is the study, design, and practice of urban experiences across different urban contexts that are created by new opportunities of real-time, ubiquitous technology and the augmentation that mediates the physical and digital layers of people networks and urban infrastructures” (Foth et al., 2011, p. 4). One possibility to augment the urban space is to enable citizens to digitally interact with spaces and urban dwellers collocated in the past, present, and future. “Adding digital layer to the existing physical and social layers could facilitate new forms of interaction that reshape urban life” (Kjeldskov & Paay, 2006, p. 60). This methodological chapter investigates how the design of UX through such digital placebased mobile multimedia augmentations can be guided and evaluated. First, we describe three different applications that aim to create and influence the urban UX through mobile mediated interactions. Based on a review of literature, we describe how our integrated framework for designing and evaluating urban informatics experiences has been constructed. We conclude the chapter with a reflective discussion on the proposed framework.