Non-English-speaking defendants in the magistrates court:a comparative study of face-to-face and prison video link interpreter-mediated hearings in England

This study compares interpreter-mediated face-to-face Magistrates Court hearings with those conducted through prison video link in which interpreters are located in court and non- English-speaking defendants in prison. It seeks to examine the impact that the presence of video link has on court actors in terms of interaction and behaviour. The data comprises 11 audio-recordings of face-to-face hearings, 10 recordings of prison video link hearings, semistructured interviews with 27 court actors, and ethnographic observation of hearings as viewed by defendants in Wormwood Scrubs prison in London. The over-arching theme is the pervasive influence of the ecology of the courtroom upon all court actors in interpretermediated hearings and thus on the communication process. Close analysis of the court transcripts shows that their relative proximity to one another can be a determinant of status, interpreting role, mode and volume. The very few legal protocols which apply to interpretermediated cases (acknowledging and ratifying the interpreter, for example), are often forgotten or dispensed with. Court interpreters lack proper training in the specific challenges of court interpreting, whether they are co-present with the defendant or not. Other court actors often misunderstand the interpreter’s role. This has probably come about because courts have adjusted their perceptions of what they think interpreters are supposed to do based on their own experiences of working with them, and have gradually come to accept poor practice (the inability to perform simultaneous interpreting, for example) as the norm. In video link courts, mismatches of sound and image due to court clerks’ failure to adequately track current speakers, poor image and sound quality and the fact that non-English-speaking defendants in pre-and post-court consultations can see and hear interpreters but not their defence advocates are just some of the additional layers of disadvantage and confusion already suffered by non- English-speaking defendants. These factors make it less likely that justice will be done.

Speech and non-speech stimuli in the prediction of early reading skills:the influence of processing demands and response-type

Purpose: Both phonological (speech) and auditory (non-speech) stimuli have been shown to predict early reading skills. However, previous studies have failed to control for the level of processing required by tasks administered across the two levels of stimuli. For example, phonological tasks typically tap explicit awareness e.g., phoneme deletion, while auditory tasks usually measure implicit awareness e.g., frequency discrimination. Therefore, the stronger predictive power of speech tasks may be due to their higher processing demands, rather than the nature of the stimuli. Method: The present study uses novel tasks that control for level of processing (isolation, repetition and deletion) across speech (phonemes and nonwords) and non-speech (tones) stimuli. 800 beginning readers at the onset of literacy tuition (mean age 4 years and 7 months) were assessed on the above tasks as well as word reading and letter-knowledge in the first part of a three time-point longitudinal study. Results: Time 1 results reveal a significantly higher association between letter-sound knowledge and all of the speech compared to non-speech tasks. Performance was better for phoneme than tone stimuli, and worse for deletion than isolation and repetition across all stimuli. Conclusions: Results are consistent with phonological accounts of reading and suggest that level of processing required by the task is less important than stimuli type in predicting the earliest stage of reading.

Towards Wider Sharing of Iconographical Art Content

Information and multimedia technologies that have been developed during the past couple of years provided new e-tools to memory institutions (viz. museum, libraries, galleries, etc.), reviving the valuable treasure made by generation of people. Digital libraries (DLs) are such powerful contemporary tools for cultural heritage presentation, preservation and archiving. However, DLs power will in-crease significantly if they use mechanisms for ubiquitous sharing of their e-artefacts and they distribute attractive content in the social networks, reflecting community demands and needs. This paper presents a service for automatic sharing of iconographical artefacts and full collections from the Bulgarian Iconographical Digital Library to selected Facebook communities. In this case the service will be used for widely promotion of knowledge about East-Christian Iconographical Art and Culture, but I could be used not only for this and not only in this domain.

Best Management Practices in Green Lodging Defined and Explained

Best management practices in green lodging are sustainable or “green” business strategies designed to enhance the lodging product from the perspective of owners, operators and guests. For guests, these practices should enhance their experience while for owners and operators, generate positive returns on investments. Best management practices in green lodging typically starts with a clear understanding of each lodging firm’s role in society, its impact on the environment and strategies developed to mitigate negative environmental externalities generated from the production of lodging goods and services. Negative externalities of hotel operations manifest themselves in energy and water usage, waste generation and air pollution. Hence, best management practices in green lodging are dynamic, cost effective, innovative, stakeholder driven and environmentally sound technical and behavioral solutions that attempt to ameliorate or eliminate the negative environmental externalities associated with lodging operations, while simultaneously generate positive returns on green investments. Thus, best management practices in green lodging should reduce lodging firms’ operating costs, increase guest satisfaction, reduce or eliminate the negative environmental impacts associated with hotel operations while simultaneously enhance business operations.

Best Management Practices in Green Lodging Defined and Explained

Best management practices in green lodging are sustainable or “green” business strategies designed to enhance the lodging product from the perspective of owners, operators and guests. For guests, these practices should enhance their experience while for owners and operators, generate positive returns on investments. Best management practices in green lodging typically starts with a clear understanding of each lodging firm’s role in society, its impact on the environment and strategies developed to mitigate negative environmental externalities generated from the production of lodging goods and services. Negative externalities of hotel operations manifest themselves in energy and water usage, waste generation and air pollution. Hence, best management practices in green lodging are dynamic, cost effective, innovative, stakeholder driven and environmentally sound technical and behavioral solutions that attempt to ameliorate or eliminate the negative environmental externalities associated with lodging operations, while simultaneously generate positive returns on green investments. Thus, best management practices in green lodging should reduce lodging firms’ operating costs, increase guest satisfaction, reduce or eliminate the negative environmental impacts associated with hotel operations while simultaneously enhance business operations.

The influence of neurocognitive impairment, alcohol and other drug (AOD) use, and psychosocial factors on antiretroviral treatment adherence, service utilization and viral load among HIV-seropositive adults

Among people living with HIV (PLWH), adherence to antiretroviral therapy (ART) can be affected by problems of neurocognitive (NC) impairment, stress, alcohol and other drug (AOD) abuse, and other barriers. The aims of this research were to: (1) examine factors associated with NC impairment, (2) explore relationships between psychosocial variables with ART adherence and viral load (VL), and (3) evaluate the efficacy of an evidence-based intervention in improving ART adherence, increasing service utilization, and decreasing VL. The first study (n=370) was cross sectional and used structural equation modeling to test whether AOD use, years living with HIV, and time from HIV diagnosis to seeking care were associated with poorer NC functioning. The second study (n=246) used similar methods to test the hypothesis that stress, barriers to adherence, NC impairment, poor social support, and AOD use were related to lower VL mediated by ART adherence. The third study (n=243) evaluated an evidence-based, eight-session program to improve ART adherence, reduce VL, and increase service utilization in a randomized controlled trial. Study participants were PLWH living in South Florida, 18 to 60 years old, with a history of alcohol abuse enrolled from January 2009 through November 2012. Secondary analysis of available data showed: (1) scores on interference with executive functioning increased by 0.32 for each day of marijuana use and 1.18 for each year living with HIV, but no association was found between alcohol use and NC functioning; (2) each barrier to adherence was associated with a 10% decrease in adherence to ART and a 0.42 unit increase in VL (log10) and the relationship between barriers and VL was partially mediated by ART adherence; (3) participants in the evidence-based program were more likely than the comparison group to report an undetectable VL (OR=2.25, p<0.01) at 6 months, but not 3 months, post-intervention. Psychosocial factors affect VL, but ART adherence is essential in achieving an undetectable VL in PLWH.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Infants' detection of synchrony between sounds and pauses in the movement of an object

The present study investigated the development of sensitivity to temporal synchrony between sounds of impact and pauses in the movement of an object by infants of 2 1/2, 4 and 6 months of age. Ninety infants were tested across four experiments with side-by-side videos of a red and white square and a blue and yellow triangle along with a centralized soundtrack which was synchronized with only one of the films. This preference phase was then followed by a search phase, where the two films were accompanied by intermittent bursts of the soundtrack from each object. Twomonth- olds showed no evidence of matching films and soundtracks on the basis of synchrony, however 4-month-olds looked more on the second block of trials to the object which paused when the sound occurred and directed more first looks during the preference phase to the matching object. Six-month-olds demonstrated significantly more first looks to the mismatched object during the search phase only. These results suggest that infants relate impact sounds with synchronous pauses in continuous motion by the age of four months.

The effects of an augmented art curriculum on the attitudes of high school art students toward diversity in art

The purpose of this study was to investigate the effects of an augmented art curriculum on high school art students to determine if those receiving it had more positive attitudes toward diversity in art and used diversity in their art more than students receiving traditional instruction. This study was conducted in a South Florida public high school, with beginning art students. Using a posttest-only control group design and ANOVA (a = .05), it was found that students (n = 54) receiving an augmented art curriculum did not have significantly higher scores on the Attitudes About Art questionnaire than students (n = 57) receiving traditional instruction F (1, 91) =.00, p > .05. However, using the Checklist of Cultural References in Student Art to evaluate student work it was found that there was a significant teacher effect F (1, 30) = 14.14, p

The mermaid series of Elizabethan and Jacobean dramatists (1887-1909): a literary and critical history

The Mermaid Series (1887-1909) edited by Havelock Ellis was a major watershed in appreciation of Elizabethan and Jacobean drama. Before it appeared plays were available to general readers in scattered anthologies, large expensive collected editions or in expurgated selections which included only the more lyrical speeches and memorable scenes. Criticism of the drama followed suit; the majority of critics concentrated on the sections which appealed to the romantic and sentimental tastes of nineteenthcentury readers. The two men who conceived the Mermaid Series, John Addington Symonds and Havelock Ellis, approached the drama differently from their contemporaries; Symonds studied a play as a whole work of art and Ellis concentrated on its view of life. Both were unsatisfied with the "select beauties", fragmented approach and wanted readers to have the best plays in their entirety easily available in handy, inexpensive editions. Symonds's awareness of the drama as theatre was combined with a historical perspective allowing him to judge the drama in relation to its own time. He made a lasting but hitherto underestimated contribution to study of Beaumont and Fletcher, Dekker, Marlowe, and Ford. Ellis's work on the drama is overshadowed today by his studies of sex but his concentration on ideas and appreciation of unconventional behaviour enabled him to formulate new views on Ford, Middleton and Chapman. The two other major editors to work on the series, A. C. Swinburne and Arthur Symons had more conventional nineteenth-century approaches. Both were impressionistic critics who were most attracted to the l~nguage of the drama. Swinburne, however, occasionally transcended his fragmented approach and offered significant interpretations of Tourneur, Massinger; 'The .Changeling, Heywood. Symons's range was more limited but his form of impressionism was valuable for its concentration on the aesthetic experience at the heart of a work of art. His most important contributions were the study of Middleton and Massinger. Besides these four major critics numerous lesser writers worked on the series. Their editorial work was valuable and some, notably Ernest Rhys, c. H. Herford and Thomas Dickinson offered criticism of enduring importance. In my first chapter I consider the general availability of texts of the Elizabethan and Jacobean drama in the nineteenth century, the general attitudes towards the drama, and the critical approaches of each of the editors. The subsequent chapters are organized around the volumes of the series. I consider the climate of opinion in which each appeared, assess its critical and editorial contribution and evaluate the work of the other Mermaid editors on the dramatist included in the volume. My study shows that the concept of the Mermaid Series and the work of its editors helped to revolutionize study of the Elizabethan and Jacobean dramatists by providing good texts and by pointing the way to our present view of the plays as whole works of art.

Study of the calibration method of pressure-velocity probes and its application in a field of progressive plane waves

This dissertation presents a calibration procedure for a pressure velocity probe. The dissertation is divided into four main chapters. The first chapter is divided into six main sections. In the firsts two, the wave equation in fluids and the velocity of sound in gases are calculated, the third section contains a general solution of the wave equation in the case of plane acoustic waves. Section four and five report the definition of the acoustic impedance and admittance, and the practical units the sound level is measured with, i.e. the decibel scale. Finally, the last section of the chapter is about the theory linked to the frequency analysis of a sound wave and includes the analysis of sound in bands and the discrete Fourier analysis, with the definition of some important functions. The second chapter describes different reference field calibration procedures that are used to calibrate the P-V probes, between them the progressive plane wave method, which is that has been used in this work. Finally, the last section of the chapter contains a description of the working principles of the two transducers that have been used, with a focus on the velocity one. The third chapter of the dissertation is devoted to the explanation of the calibration set up and the instruments used for the data acquisition and analysis. Since software routines were extremely important, this chapter includes a dedicated section on them and the proprietary routines most used are thoroughly explained. Finally, there is the description of the work that has been done, which is identified with three different phases, where the data acquired and the results obtained are presented. All the graphs and data reported were obtained through the Matlab® routine. As for the last chapter, it briefly presents all the work that has been done as well as an excursus on a new probe and on the way the procedure implemented in this dissertation could be applied in the case of a general field.

Clay mineral distribution in sediment core AND-2A

Clay mineral assemblages in sediments from ANDRILL drill core AND-2A were used to reconstruct the Neogene palaeoenvironment. For the first time a clay mineral data set can be presented for southern McMurdo Sound, Ross Sea, Antarctica, that covers an expanded and fairly continuous Lower and Middle Miocene section. Although the occurrence of some authigenic smectites, zeolites and opal-CT documents diagenetic processes, the clay mineral assemblages allow a subdivision of the core into three intervals that reflect changes in provenance and volcanic activity. Interval I (1000-440 mbsf, 20.0-16.5 Ma) is characterised by a dominant sediment source in the Transantarctic Mountains. Frequent and short-term changes in the illite and smectite concentrations were caused by the influx of volcanic sediment components from southern McMurdo Sound and by diagenesis. Interval II (440-225 mbsf, 16.5-15.0 Ma) has much more uniform illite and smectite contents. The assemblage is derived from the Transantarctic Mountains. Interval III (225-0 mbsf, 15.0-0 Ma, containing major hiatuses) shows a distinctly enhanced volcanic influence and sediment components that come from the south of McMurdo Sound. The AND-2A clay mineral assemblages indicate persistent physical weathering conditions and do not mirror the Mid-Miocene Climatic Optimum. They indicate that the climatic changes were probably not strong enough to cause a modification in the weathering regime on the Antarctic continent.

The challenges of safeguarding and securing cultural heritage materials during violent conflict in Nigeria.

Almost every community, country and continent is experiencing a form of conflict, war or disaster. These wars have claimed lives, antiquities, heritage materials, contemporary Arts, Galleries, Museums, Archives, Monuments andHeritage sites. The aim of this study is to explore the challenges of safeguarding cultural heritage material during violent conflict in Nigeria bearing in mind the two UNESCO world heritage sites in Nigeria: Sukur kingdom and Osun Oshogbo sacred Grove. The outcome of this study will help the policy makers to address the challenges of safeguarding cultural heritage materials in times of conflicts, bridge the gap on the existing literature concerning the safeguarding of cultural heritage materials in times of conflict and to make a modest contribution to the existing body of knowledge on cultural heritage protection in Nigeria in particular and other parts of the world in general. This study relies on both primary and secondary sources using questionnaire and oral interview to elicit information from selected relevant cultural agencies, journalists and scholars in the field of art and culture. Relevant literature and documents on the challenges of safeguarding and securing of cultural heritage materials during conflicts were reviewed. The data gathered from the questionnaires and the oral interview is presented in frequency tabular form to give precise and comprehensive insight into the study findings. Notable among the challenges were insecurity and lack of professionalism in the field of cultural heritage profession. The study also revealed that governments are not enforcing the global laws and conventions for the protection of cultural heritage materials in times of violent conflict. The communities where these materials are located have little or no knowledge about the import of these materials and do not take part in securing them in the event of conflict. It is crucial that we place high value on heritage materials since they are inextricably linked with our identity and where we come from. It is strongly recommended that Cultural Heritage Institutions should involve as much as possible the local communities living around the sites by creating awareness educating and encouraging them to take ownership of the Sites located within their communities. They must ensure that the site is safeguarded against all forms of threat. Items of heritage value are not often considered in most disaster management plans therefore there is the need to consider heritage as priority just as the protection of lives and property.