852 resultados para Textual-interactive grammar
Resumo:
Interactive intention understanding is important for Pen-based User Interface (PUI). Many works on this topic are reported, and focus on handwriting or sketching recognition algorithms at the lexical layer. But these algorithms cannot totally solve the problem of intention understanding and can not provide the pen-based software with high usability. Hence, a scenario-based interactive intention understanding framework is presented in this paper, and is used to simulate human cognitive mechanisms and cognitive habits. By providing the understanding environment supporting the framework, we can apply the framework to the practical PUI system. The evaluation of the Scientific Training Management System for the Chinese National Diving Team shows that the framework is effective in improving the usability and enhancing the intention understanding capacity of this system.
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The primary goal of this report is to demonstrate how considerations from computational complexity theory can inform grammatical theorizing. To this end, generalized phrase structure grammar (GPSG) linguistic theory is revised so that its power more closely matches the limited ability of an ideal speaker--hearer: GPSG Recognition is EXP-POLY time hard, while Revised GPSG Recognition is NP-complete. A second goal is to provide a theoretical framework within which to better understand the wide range of existing GPSG models, embodied in formal definitions as well as in implemented computer programs. A grammar for English and an informal explanation of the GPSG/RGPSG syntactic features are included in appendices.
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Electrical circuit designers seldom create really new topologies or use old ones in a novel way. Most designs are known combinations of common configurations tailored for the particular problem at hand. In this thesis I show that much of the behavior of a designer engaged in such ordinary design can be modelled by a clearly defined computational mechanism executing a set of stylized rules. Each of my rules embodies a particular piece of the designer's knowledge. A circuit is represented as a hierarchy of abstract objects, each of which is composed of other objects. The leaves of this tree represent the physical devices from which physical circuits are fabricated. By analogy with context-free languages, a class of circuits is generated by a phrase-structure grammar of which each rule describes how one type of abstract object can be expanded into a combination of more concrete parts. Circuits are designed by first postulating an abstract object which meets the particular design requirements. This object is then expanded into a concrete circuit by successive refinement using rules of my grammar. There are in general many rules which can be used to expand a given abstract component. Analysis must be done at each level of the expansion to constrain the search to a reasonable set. Thus the rule of my circuit grammar provide constraints which allow the approximate qualitative analysis of partially instantiated circuits. Later, more careful analysis in terms of more concrete components may lead to the rejection of a line of expansion which at first looked promising. I provide special failure rules to direct the repair in this case.
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Bases de dados da pesquisa agropecuária. Indexação textual com o Lucene. Lucene. Lucene no sistema das bases de dados da pesquisa agropecuária. Comparação de desempenho infra-estrutura de hardware e software. Conjunto de consultas testes e resultados. Ponderações. Nova BDPA.
Pequeno manual para escrita de artigos científicos: estrutura textual, dicas e compêndio gramatical.
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Introdução. Estrutura textual. Recursos linguísticos. Tópicos gramaticais. relação autor-leitor. Refacção textual.
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2005
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Recent developments in higher education have seen the demise of much didactic, teacher-directed instruction which was aimed mainly towards lower-level educational objectives. This traditional educational approach has been largely replaced by methods which feature the teacher as an originator or facilitator of interactive and learner-centred learning - with higher-level aims in mind. The origins of, and need for, these changes are outlined, leading into an account of the emerging pedagogical approach to interactive learning, featuring facilitation and reflection. Some of the main challenges yet to be confronted effectively in consolidating a sound and comprehensive pedagogical approach to interactive development of higher level educational aims are outlined.
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The PIC model by Gati and Asher describes three career decision making stages: pre-screening, in-depth exploration, and choice of career options. We consider the role that three different forms of support (general career support by parents, emotional/instrumental support, and informational support) may play for young adults in each of these three decision-making stages. The authors further propose that different forms of support may predict career agency and occupational engagement, which are important career decision precedents. In addition, we consider the role of personality traits and perceptions (decision-making window) on these two outcomes. Using an online survey sample (N = 281), we found that general career support was important for career agency and occupational engagement. However, it was the combination of higher general career support with either emotional/instrumental support or informational support that was found to lead to both greater career agency and higher occupational engagement. Personality also played a role: Greater proactivity also led to greater occupational engagement, even when there was little urgency for participants to make decisions (window of decision-making was wide open and not restricted). In practical terms, the findings suggest that the learning required in each of the three PIC processes (pre-screening, in-depth exploration, choice of career options may benefit when the learner has access to the three support measures.
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As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.
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Form-focused instruction is usually based on traditional practical/pedagogical grammar descriptions of grammatical features. The comparison of such traditional accounts with cognitive grammar (CG) descriptions seems to favor CG as a basis of pedagogical rules. This is due to the insistence of CG on the meaningfulness of grammar and its detailed analyses of the meanings of particular grammatical features. The differences between traditional and CG rules/descriptions are exemplified by juxtaposing the two kinds of principles concerning the use of the present simple and present progressive to refer to situations happening or existing at speech time. The descriptions provided the bases for the instructional treatment in a quasi-experimental study exploring the effectiveness of using CG descriptions of the two tenses, and of their interplay with stative (imperfective) and dynamic (perfective) verbs, and comparing this effectiveness with the value of grammar teaching relying on traditional accounts found in standard pedagogical grammars. The study involved 50 participants divided into three groups, with one of them constituting the control group and the other two being experimental ones. One of the latter received treatment based on CG descriptions and the other on traditional accounts. CG-based instruction was found to be at least moderately effective in terms of fostering mostly explicit grammatical knowledge and its effectiveness turned out be comparable to that of teaching based on traditional descriptions.
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The role of the explicit teaching and learning of grammar in the process of foreign language teaching is a very controversial issue. Language teachers and language teaching methodologists differ in their opinions as to whether grammar should be taught at all and, if so, what is the best way of presenting it. In order to find out students’ opinions on the usefulness of the explicit teaching and learning of grammar a questionnaire was given to fifty-one English majors studying in the Institute of English at Adam Mickiewicz University in Poznań. The results of the questionnaire reveal a very positive attitude on the part of the students towards the explicit learning of grammar. The deductive way of learning seems to be favoured by the majority of the respondents, who also unanimously point to translation as a very effective form of grammar exercise.