A comparison of the impact of avoidance cues in hazard avoidance during evaluation of text entry

The research presented in this paper is part of an ongoing investigation into how best to support meaningful lab-based evaluations of mobile technologies. In our previous work, we developed a hazard avoidance system for use during lab evaluations [1]; in the work reported here, we further assess the impact of this system, specifically in terms of the effect of avoidance cue type on speech-based text entry tasks.

Anterior eye health recording

Aims: To survey eye care practitioners from around the world regarding their current practice for anterior eye health recording to inform guidelines on best practice. Methods: The on-line survey examined the reported use of: word descriptions, sketching, grading scales or photographs; paper or computerised record cards and whether these were guided by proforma headings; grading scale choice, signs graded, level of precision, regional grading; and how much time eye care practitioners spent on average on anterior eye health recording. Results: Eight hundred and nine eye care practitioners from across the world completed the survey. Word description (p <. 0.001), sketches (p = 0.002) and grading scales (p <. 0.001) were used more for recording the anterior eye health of contact lens patients than other patients, but photography was used similarly (p = 0.132). Of the respondents, 84.5% used a grading scale, 13.5% using two, with the original Efron (51.6%) and CCLRU/Brien-Holden-Vision-Institute (48.5%) being the most popular. The median features graded was 11 (range 1-23), frequency from 91.6% (bulbar hyperaemia) to 19.6% (endothelial blebs), with most practitioners grading to the nearest unit (47.4%) and just 14.7% to one decimal place. The average time taken to report anterior eye health was reported to be 6.8. ±. 5.7. min, with the maximum time available 14.0. ±. 11. min. Conclusions: Developed practice and research evidence allows best practice guidelines for anterior eye health recording to be recommended. It is recommended to: record which grading scale is used; always grade to one decimal place, record what you see live rather than based on how you intend to manage a condition; grade bulbar and limbal hyperaemia, limbal neovascularisation, conjunctival papillary redness and roughness (in white light to assess colouration with fluorescein instilled to aid visualisation of papillae/follicles), blepharitis, meibomian gland dysfunction and sketch staining (both corneal and conjunctival) at every visit. Record other anterior eye features only if they are remarkable, but indicate that the key tissue which have been examined.

Ecfrasis: Escritura y pintura en el costumbrismo argentino

This dissertation examines the discursive practice of Argentine costumbrista texts from a novel perspective. In (re)reading the works of selected prominent writers from the late colonial period to the end of the Nineteenth Century, including those of Alonso Carrió de la Vandera, Emeric Essex Vidal, León Pallière, Lucio Vicente López, Lucio V. Mansilla, and Pastor Obligado we focus on the presence of ekphrastic enunciations with a view toward linking the plastic, painterly dimensions of the prose to parallel representations by artists of the same period. Thus the costumbristas are studied in tandem with the watercolors, oil paintings and lithographic compositions of artists such as Carlos Enrique Pellegrim, César Hipólito Bacle, Raymond Monvoisin and Hipólito Moulin. The resulting comparative study of the two arts---the verbal and the pictorial---illustrates the notion described by W. J. T. Mitchell that a literary text may well "represent a work of visual or graphic art." And thus, it provides us with visual, spatial motifs that enhance its powers of representation. ^ In developing our focus on ekphrastic representations we have followed the theoretic studies of Murray Krieger, Jean H. Hagstrum, James Hefferman, John Hollander, W. J. T. Mitchell, Johann Gottfried Herder, and Wendy Steiner among others, all of whom in various ways take their cue from Horace's Ut pictura poesis and the notion that poetry, that is literary discourse, can be likened to a panting and that in both arts there is a refractive quality that makes literature a spoken vehicle of expression and painting a silent, complementary voice. ^ In studying the literary and plastic discourses comparatively what becomes evident is that they share cultural and ideological concerns that center around the notion of self-definition, national identity, and the relation of the individual to the incipient national community (Benedict Anderson). These concerns are highlighted via the depiction of customs, mores, dress, work habits, professions, and social classes. In late colonial literature and painting and especially in the Nineteenth Century, which constitutes the defining period of Argentine political independence, the confluence of the two disciplinary discourses addresses, and underscores the issues of socio-political empowerment in the new Argentine nation. ^

[Poster] Friends of the Island

This poster presentation will exhibit the ongoing design work within two small islands adjacent to Diner Key Marina gifted by the City of Miami to the non-profit organization, Shake-A-Leg. This organization works to blur the lines between access, recreation, and skill, redefining what is possible. Abled and disabled children, adolescents, and young adults go to Shake-A-Leg to participate in a myriad of activities such as sailing, kayaking, swimming, painting, and socializing in these islands regardless of their inadequate walkways and installations. The users are people from different social statuses, physical and mental abilities. This poster will exhibit the design proposal to enhance the islands’ infrastructure to provide seamless access to all its visitors through the lush habitat in these islands. The proposed program challenges the disabilities of the person and helps them to mediate and transform them into new possibilities and abilities. The program proposes ten components which include a nature trail, restrooms, dinning center, art studio, and observation deck. The design of each space draws from the sailing boat to create solutions were the user will explore, participate and enjoy. The location encourages a feeling of challenge but at the same time it is a place for relief and freedom, allowing them to discover the diversity through experimentation and interaction with the environment. This poster presents design principles that value equal access and experience, celebrating the differences among users and the environment, blurring the lines between nature and access.

An investigation of twentieth century observant Jewish fine artists

People of the Jewish faith base their belief on the written word of the Torah. Presented in this paper are fine artists that produce work within these laws. The Torah sets guidelines for life and morality. The belief system within this domain is that visual images have an impact on the viewers, and artists are accountable for what they produce. This is in opposition with art education, where freedom of expression takes precedence over morality. The results of this study will form the basis for a curriculum for the community college. The researcher's area of inquiry is directed to painting and sculpture made by artists of the Jewish faith who follow the Torah, meaning those who are observant of their faith and practices. Their skills and perceptions will be presented to educate the viewer about their visions. The research questions were posed to rabbinical authorities and artists in order to establish a clear and defined statement of what the Jewish law is regarding the fine arts. The evidence presented was obtained by questionnaires, personal interviews, articles, and opinions from Jewish scholars. Four rabbis were selected based on their erudition on Torah law, and their strong leadership positions in Jewish educational institutions. The ten artists were selected based on recommendations from art historians, and art and gallery directors. The artists and the rabbis were mailed questionnaires, which was followed by an interview. The conclusion from this study is that fine artists are encouraged to use their talents, this is supported by the Torah text, and rabbinic explanation. The restriction for the Jewish artist is in making a replication of a realistic full-scale figure, making a visual rendition of G-d, a nude, or violent image. Art is made by the observant Jew with the intention of enhancing the world with visions inspired by their belief in the Torah. A crucial belief in Judaism is that there is but one G-d, and all man-made images should reflect the majesty of G-d's creations.

Modelling of stiffness degradation due to cracking in laminates subjected to multi-axial loading

Funding Financial support of this research by the Engineering and Physical Sciences Research Council (EPSRC/GR/L51348) and the British Ministry of Defence is gratefully acknowledged.

Radon: indicative atlas for Northern Ireland

Radon Affected Area potential in Northern Ireland was estimated using a joint mapping method. This method allows variation of radon potential both between and within geological units. The estimates are based on the results of radon measurements and geological information for more than 23,000 homes. Elevated radon potential is presented here as indicative maps based on the highest radon potential for each 1 kilometre square of the Irish grid. The full definitive detail is published as a digital dataset for geographical information systems, which can be licensed. The estimated radon potential for an individual home can be obtained through the Public Health England (PHE) UKradon website. The work was partially funded by the Northern Ireland Environment Agency and was prepared jointly by PHE and the British Geological Survey. This report replaces the 2009 review and atlas (HPA-RPD-061).

Pourquoi et comment désarmer? Le discours public de la SFIO et du Labour sur le désarmement (1925-1932) : étude d'histoire comparée

Pour les partis politiques attachés à des idéaux pacifiques et internationalistes, comme les partis socialistes, la période de préparation à la Conférence mondiale du désarmement, soit entre 1925 et 1932, put paraître pleine de possibilités pour la réduction des armements nationaux. Bien que ces partis aient partagé un lien transnational, par leur adhésion à l’Internationale ouvrière socialiste, ils étaient avant tout des organisations évoluant dans des cadres nationaux différents. Ainsi, les positions qu’ils mirent de l’avant afin de convaincre leur électorat respectif ne purent être totalement semblables. Dans ce mémoire, le discours public, ainsi que les arguments le sous-tendant, de la SFIO et du Labour concernant le désarmement entre le 12 décembre 1925 et le 3 février 1932 est décrit, analysé et comparé. Les raisons du désarmement, les appréciations des développements sur la question autant dans le contexte de la SDN que dans les autres réunions internationales ainsi qu’au niveau strictement national pour les deux partis sont l’objet de cette étude. Il apparaît que la SFIO et le Labour ont présenté des arguments similaires afin de justifier le désarmement. De plus, bien qu’ils aient tous deux appuyé un potentiel rôle d’arbitrage pour la SDN, alors que les socialistes ont insisté sur leur rôle de lobbyistes, les travaillistes tablèrent plutôt sur les responsabilités des chefs d’État et des « grands hommes » dans le processus, tout particulièrement lorsque leur parti fut au pouvoir. Les travaillistes démontrèrent également une ouverture pour toute avancée du désarmement, même minime, alors que les socialistes préférèrent manifestement les ententes globales. Finalement, des approches nationales aux implications différentes furent promues : l’organisation de la nation en temps de guerre en France et la promotion d’un esprit de paix en Grande-Bretagne.

Enhancing Quality of Life for People who are Blind or Low Vision Using Computing Technology

Thesis (Ph.D.)--University of Washington, 2016-08

Towards Night

Sixty artists explore the nocturnal. Curated by Tom Hammick. The evening hour too gives us the irresponsibility which darkness and lamplight bestow. We are no longer quite ourselves. – Virginia Woolf, Street Haunting: A London Adventure, 1930 Towards Night is an exhibition exploring the nocturnal through paintings, prints and drawings by over sixty artists. Drawing on the nineteenth century European Romantic tradition, the show surveys contemporary and historical connections to wonderment and dystopia at dusk, twilight, night and dawn. Towards Night juxtaposes key paintings and prints by Constable, Friedrich, Munch, Nolde, Palmer and Turner, some of the best known visionaries of the Romantic tradition with contemporary artists who work with the transformative aspects of nightfall to convey emotional responses of awe, anxiety and solitude, love and loss, revelry, insomnia, and journey’s end. The exhibition opens with direct and positive responses to the natural world; Marc Chagall’s exotic dreamlike evening in The Poet Reclining (1915) sits close to eighteenth century Indian miniatures depicting brightly painted figures offset against darkening monsoon clouds, and William Crozier’s Balcony at Night, Antibes (2007), of a plant, blue and iridescent against the cool night sky. As the exhibition progresses, the dystopias become darker and more disturbing, and the connections between artists and works intensify: Emma Stibbon’s Rome Aqueduct (2011) takes on a heightened sense of pathos alongside Caspar David Friedrich’s Winter Landscape (1811); Peter Doig’s cinematic Echo Lake (1998) conjures up an increased sense of contemporary angst; and Prunella Clough’s False Flower (1993), a magical tree defying brutalism by growing out of concrete, becomes more miraculous near Night Shift (2015) Nick Carrick’s tomblike high rise. Tom Hammick’s Violetta Alone (2015) and Michael Craig Martin’s Ash Tray (2015), reinforce hedonistic aspects of night-time revelry alongside Four AM, Betsy Dadd’s young woman drinking in the early hours of the morning and L.S. Lowry’s drunken people in a pub in The Crowd (1922). In the final room, a cluster of works explores dreams and insomnia, from Louise Bourgeois’ Spirals (2010) to Munch’s lovers embracing in The Kiss (1902). Tom Hammick, curator of the show said “This exhibition has grown way beyond its original conception, to become a magnificent survey of painting and printmaking from over two hundred years based around the central tenet of night. The exhibition is a kind of painterly response to the way figurative artists use their artistic heroes as starting points for their own work, both compositionally and emotionally.” Artists featured in Towards Night: Christiane Baumgarter, Michael Craig-Martin, Julian Opie, Will Gill, Merlin James, Howard Hodgkin, WillIam Scott, Patrick Caulfield, George Shaw, Stephen Chambers, Basil Beattie, Betsy Dadd, Christopher Le Brun, L.S Lowry, Andrew Cranston, David Willetts, James Fisher, Emma Stibbon, Vija Celmins, William Blake, William Crozier, Tom Hammick, Georgia Keeling, Helen Turner, Humphrey Ocean, Julian Bell, Craigie Aitchison, Mark Wright, Ken Kiff, Matthew Burrows, Andrzej Jackowski, Sarah Raphael, Nick Bodimeade, Nick Carrick, Mary Newcomb, Hurvin Anderson, Peter Doig, Phoebe Unwin, Danny Markey, Sara Lee, Simon Burton, Susie Hamilton, Marc Chagall, Alfred Wallis, Emil Nolde, J.M.W. Turner, Prunella Clough, Samuel Palmer, Louise Bourgeois, Caspar David Friedrich, Alex Katz, Ewan Gibbs, Susie Hamilton, Andrzej Jackowski, Amanda Vesey, Edward Stott, Gertrude Hermes, Rose Wylie, Sidney Nolan, John Constable, J.M.W. Turner, Emil Nolde, Hiroshige, Edvard Munch, Samuel Palmer, Eileen Cooper, Charles Neame-Spencer, Samantha Cary.

La pintura que no se deja ver. La pintura avergonzada, la pintura escondida (a propósito de los escritos de Ángela de La Cruz, Georges didi-Huberman y Honoré de Balzac)

El artículo «La pintura que no se deja ver: la pintura avergonzada, la pintura escondida» relaciona una de las primeras obras de la artista Ángela de la Cruz ashamed (1995), con La pintura encarnada (1984) de Georges Didi-Huberman, ensayo que a su vez analiza La obra maestra desconocida (1837) de Honoré de Balzac. Entre Ángela de la Cruz, didi-Huberman y Balzac se establece un triángulo en torno al concepto cuadro-cuerpo. A través de una pintura, un ensayo filosófico y un relato, tres autores de tres tiempos distintos recuperan las mismas ideas de carne y piel pictórica y cuadro humanizado. Su objetivo: superar las barreras de representación en la pintura para crear un ser más allá del objeto pictórico. Sin embargo, cuanto más idealizan la pintura y más pretenden superar la pantallapictórica, más se desvanece el concepto de «cuadro»; cuanto más acercan el cuadro a ser, más se aleja de ser un cuadro y menos se permite el acceso a lo que representa. La persecución del ideal implica que el cuadro se vea sometido a su ocultación, al deterioro y a la destrucción de su imagen.

Obrazy muzyki w twórczości Janiny Kraupe-Świderskiej

Filologii Polskiej i Klasycznej: Zakład Dydaktyki Literatury i Języka Polskiego

The development of the accounting professional in a postcolonial context: evidence from Sierra Leone

Despite increasing interest in the development of the accountancy profession and constitutive professional bodies in ex-colonies, little is known about the development of professional accountants as individuals. Similarly, although the continuing influence of the legacies of colonialism and imperialism on the accounting professionalisation trajectory in ex-colonies has been recognised, little attempt has been made to theorise such continuing colonial intervention as a postcolonial condition of accommodation and resistance, with implications for the development of professional accountants. This thesis fills this vacuum by employing four aspects of the critical lens of postcolonial theory – local-global nexus, psycho-existential complex, postcolonial hybridity and diaspora - to gain an insight into the development of accounting professionals in ex-colonies with specific reference to Sierra Leone. Specifically, it examines the current model of accounting professionalisation adopted in Sierra Leone and implications for the development of professional accountants in the country; investigates the historical and ideological legacies of colonialism that shaped and continue to influence the professionalisation trajectory in Sierra Leone; explores the perceptions of Sierra Leonean chartered and aspiring accountants of their professional identity in terms of their professional development within Sierra Leone; and explores the lived experiences of Sierra Leonean chartered and aspiring accountants in the diaspora and the diaspora effect on accountancy in Sierra Leone. The empirical evidence presented here emanated from two sources: a web-based survey and semi-structured interviews with Sierra Leonean chartered and aspiring accountants both within and outside the country at the time of the study. The model for developing professional accountants in Sierra Leone comprises a partnership between the local professional body, ICASL, and the British-based global body, the ACCA. A postcolonial analysis of the empirical evidence reveals that an unintended consequence of this model is that the local is co-opted within the global while the global becomes increasingly localised. The analysis also shows that the presence of a perceived global body ‘inferiorises’ the local body to the point of undesirability among local chartered and aspiring accountants. Thus the partnership has to date done little by way of developing ICASL’s capacity to ensure the development of a localised profession and professionals. Instead, it produces, within the Sierra Leone accountancy space, professional hybrids that at once pose as global as well as local accountants. This has significant implications for the local profession because many of the hybrid professional accountants who could potentially drive the local profession forward end up in the diaspora, which leaves the local profession in a weaker state. Also, given the established link between a robust accountancy profession and sustainable economic development, such professional diasporisation could negatively impact on the country’s economic development. In sum, Sierra Leone has failed to establish an accounting professionalisation model that develops professional accountants (through contextualised professional education and training) that meets the specific accounting needs of its growing economy.

La compra de pintura por parte del maestro de obra: elementos cognitivos, afectivos, conductuales y de entorno

RESUMEN: A pesar del posicionamiento que la marca Pintuco tiene entre los consumidores, su participación en el mercado nacional viene cayendo en los últimos años. El presente trabajo aporta elementos para mejorar esta situación por medio de una mayor fidelización de los maestros de obra, en su calidad de influenciadores del proceso de compra de pintura. El objetivo de este trabajo es identificar los factores que influyen en este proceso y la relación que el maestro de obra tiene con la pintura a nivel cognitivo, afectivo, conductual y de entorno, usando técnicas como las metáforas de Zaltman, la cadena de medios y fines, y la observación etnográfica. El trabajo muestra que el maestro de obra se ve a sí mismo como un artista y un experto deseoso de compartir sus conocimientos con sus compañeros y ayudantes. También se identificaron los principales valores asociados a la pintura y a la labor de pintar, tales como el reconocimiento por parte de los clientes, la credibilidad, y la estabilidad para su familia al conseguir más clientes. Finalmente se vio un alto interés por el precio en el punto de venta. Es así como se proponen en tres estrategias para fidelizar a este grupo en torno a su experticia y necesidad de reconocimiento, estabilidad familiar y credibilidad: La Escuela del Maestro Pintuco, el plan de Maestro Recomendado Pintuco, y los Puntos de Venta Certificados Pintuco.

Lições Aprendidas (Lessons Learned) no Exército Português

As Lições Aprendidas em contexto militar permite reduzir o risco operacional e, simultaneamente, aumentar o grau de sucesso das operações. Desde a década de cinquenta, o Exército português demostrou querer aprender com a experiência, nomeadamente com os Franceses na Argélia e Indochina e com os Ingleses no Quénia e Malásia. Na década de sessenta e início dos anos setenta, durante a denominada Guerra de África, acentuou-se esta necessidade. O Exército Português, desde 2012, dispõe de uma capacidade de Lições Aprendidas, constituída por um processo, estrutura e ferramentas, que tem como principal objetivo, precisamente, facilitar o desiderato de se tornar uma organização aprendente. Neste sentido, é pertinente estudar e comparar estes dois sistema, para melhor perceber o fenómeno no passado e evidenciar a capacidade de hoje em dia. Para isso é necessário descreve-los segundo certos parâmetros ou indicadores. Estes indicadores estão evidentes no modelo criado pela Organização Tratado Atlântico Norte para uma capacidade de Lições Aprendidas. Na Investigação foi utilizado uma abordagem Dedutiva, como procedimentos podemos já depreender que foram utilizados o Histórico e Comparativo, as técnicas de recolha de dados foram as Entrevistas e Análise Documental. O estudo proporcionou a materialização do processo, a perceção da estrutura dedicada, das ferramentas, a influência da mentalidade, liderança, e difusão de informação feitas na guerra de África. Na atualidade, muitos dos indicadores de análise estão descritos em diretivas e doutrina de referência, no entanto é pertinente perceber como é que funcionam e criam melhorias hoje em dia. Conclui-se que o modelo criado pela Organização Tratado Atlântico Norte, que valida uma capacidade de Lições Aprendidas nas organizações militares é intemporal, pois depreende-se, que a lógica que a sustenta em tudo se aplica à guerra de África Portuguesa e à atualidade, o que demostra que esta capacidade é fundamental para tornar o Exército Português mais eficaz e eficiente nas suas atividades e missões futuras.