46,168 research outputs found
Dominique Gummelt
No full textIt is so easy to live or work alongside someone for many years and not really know them. I have always been inspired by the energy, passion and cheerfulness of our director of University Health & Wellness, Dominique Gummelt, but I have never spent time getting to know her. This week I decided it was time to change that reality. I am glad I did. As she shared her story with me, I discovered some interesting facts. Dominique came to the United States as an exchange student at age 16 and has lived here since that time. Life had been difficult in her home country of Germany for the previous few years, and she had found her escape in competitive sport. She started, for example, to play tennis at age 5, so by the time she came to the U.S. she was already a competitive player. And she was clearly very good, as after finishing high school she was recruited to play for a college in California, soon rising to be their number one player. Dominique was also a skier and competed in both downhill and slalom. Dominique’s journey from competitive sport to her current position started after her adult conversion as a college sophomore, the result of watching Dwight Nelson on NET ‘98. That led her to make some important decisions. And that journey has brought her to her lived conviction in the phenomenal potential God has given each of us and her passion for helping others live out more of that potential every day. But this conviction and passion have not been born without personal physical and emotional trauma. Let Dominique tell you more in her own words in Stories of Andrews at andrews.edu/stories. Thank you, Dominique, for sharing your story and your passion with all of us at Andrews University.
Andrea Luxtonhttps://digitalcommons.andrews.edu/stories-2018-summer/1000/thumbnail.jp
Senior Recital Sarrah Dominique 2016
No full textDegree Recital - Sarrah Dominique in partial fulfillment of the requirements for the degree of Bachelor of Arts.
You can find the program here.https://digitalcommons.andrews.edu/posters-2015-2016/1007/thumbnail.jp
Folge 20: Dominique, was ist das Reallabor DCE?
No full textYes – pünktlich zur Jubiläumsfolge, die eigentlich gar keine ist, ist unser Podcast-Trio wieder glücklich vereint im Studio. Da haben sich Norman, Sebastian und Rebecca direkt einen Gast in eingeladen: Dominique! Dominique ist wissenschaftlicher Mitarbeiter am DIGIT und verantwortlich für den Aufbau unseres Reallabors Digitized Circular Economy. Er erklärt euch, was eigentlich ein Reallabor genau ist, welche Themen in unserem Reallabor DCE erforscht und erprobt werden und welche Pilotprojekte hier starten.
Außerdem sprechen die Vier unter anderem über die neusten News aus dem Metaverse und den aktuell wertvollsten Affen der Welt.
Und wer sich schon immer gefragt hat was dieses Online überhaupt ist, hört einfach mal in unser Wörterbuch zum Buchstaben „O“ rein. In unserem Funfact könnt ihr lernen, was genau ein digitales Hausverbot ist.
Fragen, Anregungen und Wünsche…? Schreibt un seine E-Mail an [email protected] oder tretet unserer DIGIT-Community auf Discord bei! https://discord.com/invite/ReZxFyTW9
Author, publisher and bookseller : a tripartite synergy in Nigerian book industry
No full textThis work is about the roles of Author, Publisher and Bookseller in Book development in
Nigeria. The paper started by delving into the history of Book Publishing in Nigeria after
which it proceeded by defining who an author, a publisher, and a bookseller is and
expatiated on the indispensable roles of these key actors in Nigerian Book Industry and in
the emerging Information Society. Furthermore, the various constraints to book
development were identified while the paper advised on how the Book Industry can be
further promoted in Nigeria. However, the paper concluded and made recommendations
on how the Book sector can help in enhancing scholarship in the country
Why you don't need to write much to be the world's bestselling author
No full textAn account of my use of stylometry to analyse the works of James Patterson, written for a public audience
Checking recognition: do you remember and do you know in talk-in-interaction
No full textThis dissertation examines how speakers check recognition of knowledge and memory they presume to be shared by their co-participants. In this conversation analytic study, I analyze recognition checks with (do you) remember (Chapter 3), (do) you know (Chapter 4) in American English and German everyday conversation, and in English classroom interaction, specifically, in teacher talk (Chapter 5). Independent of their sequential position or their position within a turn, do you remember and do you know in both English and German are expansions of talk that help to structure sequences and turns to avoid problems of intersubjectivity (Auer, 1984; Schegloff et al., 1977) and to establish common ground among participants.
Chapter 1 introduces the topic of this study. Chapter 2 reviews the notions reference, knowledge and memory and describes the major characteristics of spoken German and teacher talk. Chapter 3 investigates English and German do you remember recognition checks in everyday conversation. I show how speakers back up their claims or (counter-)challenge their coparticipant with do you remember using memory that is assumed to be in the knowledge domain of the recipient (Antaki & Leudar, 1990; Golato, 2012). Chapter 4 explores English and German do you know constructions in everyday interaction. For both English and German do you know constructions, speakers initiate topic shifts and pursue a response after no or insufficient uptake from the participants (Bolden et al., 2012). Chapter 5 examines do you remember and do you know as employed in teacher talk. While do you remember organizes classroom talk by giving step-by-step information or connecting old with new information, do you know either self-repairs teacher talk by reformulating or making a previous teacher question more specific. Chapter 6 summarizes the major findings of this dissertation focusing on a comparison of the two constructions under investigation. It also discusses the limitations of this study and the avenues of future research. This dissertation addresses issues relevant to the field of conversation analysis, pedagogy, second language acquisition research, linguistics, cognitive science and sociology.Item withdrawn by Laura Spradlin ([email protected]) on 2014-10-16T19:15:41Z
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University of Illinois Theses & Dissertations (ID: 1)
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You Know What You Write, But Do You Know Your Rights? Understanding and Protecting Your Rights As an Author
No full textWhen you publish a journal article, you sign a copyright or licensing agreement. Do you know what you’re agreeing to when you sign it?
Different journals have different policies: Some journals require you to relinquish your copyright. (You then have to ask permission or even pay to share your article with students and colleagues!) Some journals allow you to retain some rights (e.g., the right to post online). Some journals leave copyright in your hands. (You simply give the journal a non-exclusive license to publish the article.)
How can you find out a journal’s policy? How can you negotiate your contract to make the most of your rights as a scholar, researcher, and author? This presentation covers how you can protect your rights to reproduce, distribute, and display the work you create
What You Show is What You Get!: Gestures for Microtask Crowdsourcing
No full textCrowdsourcing is a valuable tool to gather human input which enables the development of reliable artificial intelligence systems. Microtask platforms like Prolific and Amazon's Mechanical Turk have flourished by creating environments where crowd workers can provide such human input in a diverse and representative manner. Such marketplaces have evolved to support several hundreds of workers in earning their primary livelihood through crowd work. Crowd workers, however, often perform these tasks in sub-optimal work environments with poor ergonomics. Additionally, many of the various microtasks require input via the standard method of a mouse and keyboard and are repetitive in nature. As such, crowd workers who primarily earn their livelihoods in microtask marketplaces are at risk of injuries such as carpal tunnel syndrome. By changing the input modality from a mouse and keyboard to gesture-driven input, crowd workers can complete their work while simultaneously improving or safeguarding their physical health. Through three distinct microtasks, we constructed a dataset that enables the exploration of the physical and mental health of crowd workers while using gestures. In this work, we present the process of constructing this dataset, how we applied it, and the future applications we foresee. Green Open Access added to TU Delft Institutional Repository 'You share, we take care!' - Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Web Information System
Dominique Gonzalez-Foerster: jugar imaginando
No full text[EN] The purpose of the research was the study of the creative process of Dominique Gonzalez-Foerster. She will do a retrospective exhibition next September in the Center Pompidou. The French artist works the video and the installation – exhibition. Her work has direct relation with the theatre and the literatura, especially with the writer Enrique Vila-Matas in which novels she appears. For analyze these relations we have placed in the point of view of the player. Through the elements of the game: the creation of histories, toys and spaces of game, we have done a comparative study of the elements that are common to the plastic arts and the theatre and that are directly related to Gonzalez-Foerster's work. The works with which we have worked are the exhibitions: Double Terrain de Jeu. Pavillon/Marquise, Sao Paulo’s Bienal, 2006, Turbine Hall 205 in the Tate Gallery, 200 , Nocturama en el MUSAC, 200 , Chronotopes Dioramas in the DIA in New York, 2010, and Hotel Splendide in the Cristal Palace of Madrid, 2014. During the research you could have seen that Dominique Gonzalez-Foerster creates a fiction world, as it happens in the games of situation, from a context you play at being or living different. She develops a spatial dramaturgy with the creation of a background of an epoch or a situation. Before that, she realizes a previous study on writers and artists who already have treated or who are of the above mentioned epoch or place from the literature, cinema and photography that then they will include in her installation – exhibition. Dominique Gonzalez-Foerster, through the objects that have served her to make the installation – exhibition like this a part of her memories, creates new souvenirs in the visitors.[ES] El propósito de la investigación fue el estudio del proceso creativo de Dominique Gonzalez-Foerster, que realizará una exposición retrospectiva el próximo mes de septiembre en el Centro Pompidou. La artista francesa trabaja el vídeo y la instalación-exposición. Su obra guarda relación directa con el teatro y la literatura, sobre todo con la obra del escritor Enrique Vila-Matas en cuyas novelas aparece. Para analizar estas relaciones nos hemos situado en el punto de vista del jugador. A través de determinados elementos del juego: como la creación de historias, juguetes y espacios de juego, hemos realizado un estudio comparativo de los elementos que son comunes a las artes plásticas y el teatro y que están directamente relacionados con la obra de Gonzalez-Foerster. Las obras sobre las que hemos trabajado son las exposiciones, Roman de Münster, 2007, Turbine Hall 2058 en la Tate Gallery, 2008, Nocturama en el MUSAC, 2008, Cronotopos & Dioramas en el DIA en Nueva York, 2010, y Hotel Splendide en el Palacio de Cristal de Madrid, 2014. Durante la investigación se ha podido observar que Dominique Gonzalez-Foerster crea un mundo ficticio, tal como sucede en los juegos de situación, en el que a partir de un contexto determinado se juega a ser o vivir algo diferente. Gonzalez-Foerster desarrolla una dramaturgia espacial con la creación de un trasfondo de época o planteando una situación específica en un lugar determinado. Para ello realiza un estudio previo sobre escritores y artistas que ya han tratado dicha época a partir de la literatura, cine y fotografía, y que luego ella incluirá en sus instalaciones-exposiciones. A través de los objetos que le han servido para confeccionar la instalación-exposición y que forman parte de sus recuerdos, Dominique Gonzalez-Foerster crea nuevos recuerdos al espectador.Machuca Casares, B. (2015). Dominique Gonzalez-Foerster: jugar imaginando. En II CONGRESO INTERNACIONAL DE INVESTIGACIÓN EN ARTE VISUALES. Editorial Universitat Politècnica de València. 912-917. https://doi.org/10.4995/ANIAV2015.1233OCS91291
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