MyRoom: A user-centred model of affective responsive architecture

Can my immediate physical environment affect how I feel? The instinctive answer to this question must be a resounding “yes”. What might seem a throwaway remark is increasingly borne out by research in environmental and behavioural psychology, and in the more recent discipline of Evidence-Based Design. Research outcomes are beginning to converge with findings in neuroscience and neurophysiology, as we discover more about how the human brain and body functions, and reacts to environmental stimuli. What we see, hear, touch, and sense affects each of us psychologically and, by extension, physically, on a continual basis. The physical characteristics of our daily environment thus have the capacity to profoundly affect all aspects of our functioning, from biological systems to cognitive ability. This has long been understood on an intuitive basis, and utilised on a more conscious basis by architects and other designers. Recent research in evidence-based design, coupled with advances in neurophysiology, confirm what have been previously held as commonalities, but also illuminate an almost frightening potential to do enormous good, or alternatively, terrible harm, by virtue of how we make our everyday surroundings. The thesis adopts a design methodology in its approach to exploring the potential use of wireless sensor networks in environments for elderly people. Vitruvian principles of “commodity, firmness and delight” inform the research process and become embedded in the final design proposals and research conclusions. The issue of person-environment fit becomes a key principle in describing a model of continuously-evolving responsive architecture which makes the individual user its focus, with the intention of promoting wellbeing. The key research questions are: What are the key system characteristics of an adaptive therapeutic single-room environment? How can embedded technologies be utilised to maximise the adaptive and therapeutic aspects of the personal life-space of an elderly person with dementia?.

Chicana poetics: genre and style in Gloria Anzaldúa and Lorna Dee Cervantes

This thesis conducts a formal study of the poetry of Gloria Anzaldúa and Lorna Dee Cervantes, placing their work in dialogue with genre and style. These two Chicana poets are exemplary of politicised experimentation with poetics, underpinned by a keen awareness of the rich history of form, genre and style. In the work of each poet, two poetic modes are examined: one traditional, and one experimental. Anzaldúa’s uses of the dramatic monologue as a border genre, and her construction of [auto]poetics, stemming from her multi-genre, autobiographical approach to writing, are considered. Cervantes’s complex approach to the construction of docupoetics that achieves a depth of field in terms of merging a multidimensional approach to aesthetics with highly politicised transnational content, as well as her engagement with the longstanding poetic of elegy via various formal points of entry, is investigated. These poetic modes are primarily explored via close readings, supported by a multidisciplinary framework that includes Anzaldúa’s feminist theories of identity and writing, abjection theory, postcolonialism, and transnationalism. Overall, these four key areas demonstrate the ways in which aesthetics is a crucial consideration in the exploration of the broader issues of content and context in Chicana poetry.

Affective and Experiential Influences on English Skills of Heritage Spanish Speakers

Gemstone Team GABS (Grammar Acquisition in Bilingual Students)

Memory and learning for a novel written style.

Subjects read and recalled a series of five short stories in one of four plot and style combinations. The stories were written in one of two styles that consisted of opposing clause orders (i.e., independent-dependent vs. dependent-independent), tense forms (i.e., past vs. present), and descriptor forms (modifier modifier vs. modifier as a noun). The subjects incorporated both plot and style characteristics into their recalls. Other subjects, who, after five recalls, either generated a new story or listed the rules that had been followed by the stories read, included the marked forms of the characteristics they learned more often, except for tense. The subjects read and recalled four stories of the same plot and style and then read and recalled a fifth story of the same plot and style or of one of the other three plot/style combinations. Ability to switch style depended on both the characteristic and the markedness.

The Evolution of Rachmaninov's Pianistic Style from 1892 to 1941 as Seen in Selected Original Works and Transcriptions for Piano

Unlike some other major composer-pianists (Franz Liszt and Alexander Scriabin being the most notable examples), Sergei Rachmaninov did not experience any dramatic changes in his compositional style; one can, however, notice certain stylistic differences between piano works composed during different periods of his long creative life. This dissertation argues that a clear evolution of Rachmaninov's pianistic style through his three creative periods can be traced by examining a selection of his compositions, from his first significant cycle for piano, 5 Marceaux de fantaisie, Op. 3 (1892), all the way through to his last piano work, a transcription of P.I.Tchakovsky's Lullaby, Op. 16, No. 1 (1941). Rachmaninov's life as a composer can be divided into three periods. His early period was ended abruptly by the disastrous premiere ofhis First Symphony in 1897, which caused a deep psychological crisis in the life of the young composer. Piano works of this period are often characterized by relatively simple homophonic texture, when Rachmaninov was clearly influenced by some of his Russian predecessors, most notably Tchaikovsky. His second and most productive period, also known as the period of"Russian maturity," started in 1900, when he began working on the Second Suite for two pianos, Op. 17, and the Second Concerto, Op. 18; this phase ended with the Russian Bolshevik revolution of 1917. Works of this time exhibit a mature style of piano writing, with rich, virtuosic - often considered excessive by many critics - texture and ever-increasing use of chromatic harmonies. Rachmaninov's works of the third period are limited in number owing to the composer's preoccupation with a career as pianist. Original works for piano now give way to revisions of earlier compositions and transcriptions: Rachmaninov's piano writing becomes more efficient and economical without losing any of its virtuosic brilliance. This dissertation project examines in detail, over the course of three piano recitals, a variety of works composed during the "Russian maturity" period, from several Preludes from Op. 23 (1903), the first major cycle for solo piano of the period, to 9 Etudes-Tableaux, Op.39 (1917), the last one; the early period is represented by 3 of 5 Marceaux defantaisie, Op. 3 (1892), while the late period is shown through several piano transcriptions and revised versions of the remaining 2 pieces from Op. 3.

THE COMPLETE PRELUDES OF ALEXANDER SCRIABIN: THE EVOLUTION OF HIS REVOLUTIONARY COMPOSITIONAL STYLE

During the second half of the nineteenth century, a series of remarkable advances in musical composition emerged in the works of such innovative spirits as Franz Liszt, Hector Berlioz and Richard Wagner. Their pioneering works exerted an extraordinary impact on the music of the subsequent generation of composers--of disparate nationalities-who were active at the dawn of the 20th century: Including most notably Claude-Achille Debussy, Gustav Mahler, Richard Strauss, and Alexander Nikolayevich Scriabin. These important musical figures, each one leaving an indelible and formative imprint on late-nineteenth century Romantic style, together launched the modern era in music. Scriabin stands alone as a transcendental visionary: His music, initiated in the fashion of Chopin and Liszt, wanders through the realms of Debussy and Wagner, and, ultimately abandoning late Romantic tradition, unlocks the heretofore unforeseen power of atonality, bitonality, polyrhythms and key-signature free compositions. Arguably, Scriabin's compositions count among the most innovative, idiosyncratic and bewitching of all time. The development of Scriabin's groundbreaking compositional style is best understood by means of his piano works, which comprise the majority of his oeuvre. Beyond the larger works-his twelve sonatas, a concerto and a fantasy-Scriabin's piano explorations are also represented by miniature gems: The mazurkas, impromptus, waltzes, poems, a polonaise, etudes, nocturnes, morceaux and, in particular, the preludes. Scriabin's 90 preludes for piano, arranged in several opus numbers, richly exemplify the striking evolution of his ingenious music, his idiosyncratic philosophy and his provocative personality.

[Book review] Rosalind W. Picard, Affective Computing

Review of: Rosalind W. Picard, Affective Computing

Evaluation of a suitable learning style for iLearn: a personalised e-learning platform

Brusilovsky and Millan (2007) state that learning styles are typically defined as the way people prefer to learn. Learning styles and how we learn is a vast research area and many research projects (SMILE, INSPIRE, iWeaver amongst others) attempt to incorporate these learning styles into e-Learning systems. This paper describes commonly used learning styles and how they are currently being used within the area of adaptive e-Learning. This work also builds upon current research and evaluates learning styles using criteria proposed by Sampson and Karagiannidis (2004) in order to select a suitable learning methodology for the iLearn e-Learning platform. The Sampson and Karagiannidis (2004) criteria is adapted for the purpose of the research and describes the measurability, time effectiveness and descriptiveness and prescriptiveness of the specific learning style. A suitable learning style for the iLearn e-Learning platform is then proposed within the paper and finally the research briefly introduces how the chosen learning style will be used for the proposed e-Learning platform.

Pinter and style

This short article considers Harold Pinter’s dramatic style, looking at the ways in which it has been defined, imitated and parodied over the years, and concludes with an exploration of the way in which some of Pinter’s work may be seen as self-parody. [From the Author]

Dining in style between the wars

On the theatricality of dining room design between the wars

Tied to the job: affective and relational components of nurse retention

Paper investigates whether affective and relational components of nurses' experience of work have a significant impact on their intentions to leave either the job or the nursing profession in models that control for other factors (sociodemographic, work conditions, perceptions of quality of care) that are known to affect career decisions. [Abridged Abstract]

Towards Real-time Speech Emotion Recognition for Affective E-Learning

The original article is available as an open access file on the Springer website in the following link: http://link.springer.com/article/10.1007/s10639-015-9388-2