The authors show how to strengthen the educational power of the museum. Emphasize the historical and contextual variability of the main functions performed by museum, indicate that the location of the museum in the community of the city and broaden the scope of its activities to different communities. Characterized by contemporary models of museum education, along with the arguments for taming the different models of learning both by visitors and museum’s staff. & e article presents two practices, which, in the opinion of the authors are conducive to learning in/and by the museum.
The paper considers the technique of modeling and formation educational components of the planned training of CDIO Syllabus, realized in the form of the educational adaptive environment of engineering education. The following key concepts of the methodology have been accepted: competence models of the stages of the CDIO initiative, the method of project training, syntax for describing the concepts of the domain, models for mapping support concepts in the form of expressions of knowledge and ontological engineering.
Personality, demographics and art experience proved to play an important role in reactions to visual art. Nevertheless, research attempts that take into account all those factors when determining predictors of aesthetic responses to different artistic styles are quite rare. The study presented here investigates predictors of aesthetic experience across figurative, abstract and contemporary paintings in individuals with varying expertise. Students enrolled in Sport, Humanities and the Arts programmes (N = 181) declared their art exposure and filled out personality measures (Big Five, alexithymia, need for closure). Next participants evaluated three paintings using a tool constructed by the authors to track various dimensions of aesthetic reactions (i.e. negative/positive affective responses, self-references, explicit knowledge and perceived mastery of the artwork). Reactions to figurative painting depended mostly on formal knowledge about arts, not personality traits. Aesthetic perception of abstract art rely not only on art exposure, but also on some individual characteristics (openness to experience, tolerance of ambiguity and ability to identify one’s own emotions and track their source). Reception of contemporary art was predicted mostly by art exposure variables and in the case of negative emotionality by ability to identify one’s own emotions and track their source. Both formal art education and art experience were stronger predictors of aesthetic responses than personality traits, for all art styles and dimensions of aesthetic experience. Personality predictors were significant mostly for abstract art. Personal interest in the arts seems to be as good predictor of aesthetic reactions as formal expertise.
To gather reproducible measurement results, metrologists need a variety of competences. Yet, also other groups of staff in a manufacturing enterprise need competences in metrology in order to assure the appropriate specification of tolerances or sufficient consideration of inspectional requirements in production processes. Therefore, the strict focus of metrological qualification on staff preparing or performing the actual measurements is insufficient for the efficient assurance of conformity. Additionally, on the one hand a demand-oriented qualification concept is needed to impart required fundamental knowledge on manufacturing metrology according to the specific needs of each user group. On the other hand, appropriate measures of knowledge management have to be applied in order to assure a proper application of the gathered knowledge and enhance mutual understanding for the requirements of other involved user groups. Thus, as amendment for user-specific measures of formal qualification, a concept has been developed to enable knowledge transfer among different groups and departments in an enterprise. By this holistic approach, the impact of measures of qualification can be increased and high product quality can be achieved as a common aim of all related groups of staff.
In recent years the application of computer software to the learning process has been found to be an indisputably effective tool supporting the traditional teaching methods. Particular focus has been put on the application of techniques based on speech and language processing to the second language learning. Most of the commercial self-study programs, however, do not allow for introduction of an individualized learning course by the teacher and to concentrate on segmental features only. The paper discusses the use of speech technology in the training of foreign languages' pronunciation and prosody and defines pedagogical requirements for an effective training with CAPT systems. In this context, steps taken in the development of the intelligent tutoring system AzAR3.0 (German ‘Automat for accent reduction’) in the scope of the Euronounce project (Cylwik et al., 2008) are described with the focus on creation of the linguistic content. In response to the European Union's call for promoting less widely spoken languages, the project focuses on German as a target language for native speakers of Polish, Slovak, Czech, and Russian, and vice versa. The paper presents the design of the speech corpus for the purpose of the tutoring system and the analysis of pronunciation errors. The results of the latter provide information which is important for Automatic Speech Recognition (ASR) training on the one hand, and for automatic error detection and feedback generation on the other hand. In the end, Pitch Line software for implementation in the prosody visualization and training module of AzAR3.0 tutoring system is described.
The use of individualised Head Related Transfer Functions (HRTF) is a fundamental prerequisite for obtaining an accurate rendering of 3D spatialised sounds in virtual auditory environments. The HRTFs are transfer functions that define the acoustical basis of auditory perception of a sound source in space and are frequently used in virtual auditory displays to simulate free-field listening conditions. However, they depend on the anatomical characteristics of the human body and significantly vary among individuals, so that the use of the same dataset of HRTFs for all the users of a designed system will not offer the same level of auditory performance. This paper presents an alternative approach to the use on non-individualised HRTFs that is based on a procedural learning, training, and adaptation to altered auditory cues.We tested the sound localisation performance of nine sighted and visually impaired people, before and after a series of perceptual (auditory, visual, and haptic) feedback based training sessions. The results demonstrated that our subjects significantly improved their spatial hearing under altered listening conditions (such as the presentation of 3D binaural sounds synthesised from non-individualized HRTFs), the improvement being reflected into a higher localisation accuracy and a lower rate of front-back confusion errors.
The article focuses on the term “train situation” created by Vyacheslav Kuricin, which is considered a metaphor of the work of the contemporary Russian writer Elena Dolgopyat. The proper analysis of Dolgopyat’s works is preceded by an introduction in which the definition of magical realism and its history in Russia is briefl y presented. The attitude of the Russian literary scholars to this phenomenon is presented as well. Next, the meanings of the figure of train in the writer’s stories are discussed. It is noteworthy that the features of magical realism (specific space-time construction, polyphonic narrative, fantastic elements perceived as something natural) are realized in her texts often through the image of a train. In works in which this picture does not exist, we deal with the „train situation”, which boils down to the combination in the presented world of various aspects of reality, unlimited by matter. The heroes live between different dimensions of reality, and combining into one cohesive whole of various space-times, ways of existence, realistic and fantastic elements allows to see the term of Kuricin also as a metaphor of all magical realism.
This article presents a study on music genre classification based on music separation into harmonic and drum components. For this purpose, audio signal separation is executed to extend the overall vector of parameters by new descriptors extracted from harmonic and/or drum music content. The study is performed using the ISMIS database of music files represented by vectors of parameters containing music features. The Support Vector Machine (SVM) classifier and co-training method adapted for the standard SVM are involved in genre classification. Also, some additional experiments are performed using reduced feature vectors, which improved the overall result. Finally, results and conclusions drawn from the study are presented, and suggestions for further work are outlined.