What’s ‘critical’ in creative writing PhDs?

The use of hand-struck tools is still a necessary job function for technicians in several industries throughout the world. Despite the importance of these tools, evolving concerns regarding the detrimental effects of their long-term use continue to grow. Repetitive motion injuries, nerve damage of the hands and arms, and hearing loss are some of the problems that continue to afflict users of these types of tools. Although hammer-tool systems are relatively simple mechanical systems that have required very little improvement historically, the growing concerns associated with their use necessitate a thorough evaluation of current tool designs. In addition, the introduction of new and modified tools with improved performance characteristics will be essential to maintaining their long term, effective use in the workplace. Currently, no standard test methods exist to assess the performance characteristics of hand-struck tools. This makes evaluations and comparisons very difficult since performance characteristics are significantly influenced by the user of the tool. As a result, for the purposes of assessing the performance of current hammer-tool systems as well as evaluating alternate designs, a new testing device for hand-struck tools was developed. The device is designed to simulate the approximate cyclic kinematic motion of a user repeatedly hitting a tool with a conventional hammer. A computer controller automates the striking and return stroke actions, and the resulting impact velocity and force exerted by the hammer are adjustable and approximate the performance of a human. For the purpose of development, the testing device was designed to accept steel hand-struck chisels. As configured, a chisel is placed in the device and used to shear a standard, replaceable work piece. The key output of this test is the number of impacts needed to fail the standard piece. Other features integrated into the device include a load cell under the work piece to capture the force exerted during a hammer impact, measurement of the hammer velocity at impact, noise measurements, and an automatic counter to record the number of hammer impacts required to fail the work piece. Preliminary tests with standard, conventional chisels indicate the device is capable of failing a standard 6.5 mm steel drill rod work piece in the same number of hammer blows as an experienced chisel user. Subsequent work will focus on characterizing and improving the properties of hammer-chisel systems relevant to the detrimental effects associated with their long term use.

The aim of the article is to provide a rationale for principles of a working intermedial relations typology in the modern poetry. The work reviews foreign and Russian classifications of interaction between different codes within a piece of work as a whole. Basing on the systematic review, the author determines the principles relevant to the typology of intermedial relations in the modern poetry. Scientific novelty of the study lies in classifying the mechanisms of interaction between various media, which are referred to by contemporary poets in their creative work. The research findings consist in identifying and describing such types of intermedial relations in the modern poetry as reference, modification, transformation, incorporation, synthesis.

In the past decade, Artificial Intelligence (AI) has become a revolutionary power in the solar energy industry, dealing with essential issues related to intermittency, resource forecasting, efficiency of systems, and upkeep. This survey thoroughly examines and synthesizes AI methods—ranging from classical models such as artificial neural networks (ANN) and support vector machines (SVM) to current methods like deep learning, hybrid models, and reinforcement learning—that are employed in solar energy optimization between 2013 and 2023. We analyze the technical merits and demerits of each model along with its practical performance across applications like irradiance forecasting, energy management, and predictive maintenance. Experimental comparisons, case studies, and an advocated theoretical framework are included to substantiate the findings. The review delineates research gaps like unavailability of standard datasets, poor interpretability of models, and difficulty in model deployment in data-scarce domains. It concludes with a forward-looking discussion on trends like edge-AI, federated learning, and explainable AI. This piece of work is set to inform researchers, policymakers, and stakeholders in the industry on how to better utilize AI to facilitate global solar energy uptake.

How to Structure a Thesis, Report or Paper provides concise practical guidance for students to help make their writing more structured at any level. It assists students in demonstrating what they have learned in the relevant course or degree programme in a way that is accessible to the supervisor and the examiner. Drawing on almost 20 years of supervision experience, the author presents the eight sections of a well-structured thesis, report or paper, together with discussing other relevant issues. Each chapter provides a detailed description of why each section of a thesis, report or paper is structured in the way it is, and its relationship to the whole piece of work. Good and bad examples are provided throughout the book, and there is a focus on key areas such as the six parts of an Introduction and its relationship to the Conclusion, how to phrase clear research questions and hypotheses to the use of references and how to make the thesis, report or paper easier to read. The structure presented in this book can be used to support many courses on the student's entire degree programme, as the structure can be adapted by re-arranging or deleting sections. This book is an invaluable aid to students at all stages in higher education, from their first report or paper until they write their final thesis. It provides clear guidelines for when students should ask their supervisors for advice, and when students can use their own initiative to learn the most. It makes writing a thesis, report or papers more straightforward!

The European Community Action Scheme for the Mobility of University Students (ERASMUS) supports students to pursue temporary periods of study in other European universities. During the academic year 2007/08 the UK received 15, 975 ERASMUS students. Although much research exists about the experiences of international students less attention has been given to the specific disciplines of study and the ways this might mediate the experience. With this in mind this paper is based on a piece of work currently in progress with ERASMUS students from Poland who have engagedin an exchange onto the final year of a UK Psychology degree course. Observations are made about the relative compatibility of Psychology in Poland and Britain by considering the course structure, curriculum and modes of assessment. Interview data is drawn on to explore the students’ accounts of their experiences of studying Psychology in the UK. Findings indicate that that there are some contrasting pedagogical and epistemological areas within the two systems which make integrating thema challenge for students. It is suggested that flexibility is required in order tobetter accommodate the students prior learning experiences.

As a filmmaker and scholar I have been involved in the project of creating knowledge through making films, even before I did a PhD and became an academic. It has always been unclear to me why there is the curious divide between the so called ‘academic’ and creative’. All my documentaries for the broadcasters in some way I would argue were ‘practice research’ without me being quite aware of it. The paper considers the notion of what ‘knowledge’ might be for a creative research practitioner and how ‘high theory’ might be of assistance in inspiring ideas and creative strategies. I will share my most recent experience of working across disciplines with the new experimental film Wash (2022). It is a hybrid documentary with element of animation and drama dealing with serious issues of development in Zimbabwe, a country in which I have done much work over the years. The piece of work has been funded by Strategic England Research 2021 and the University of Edinburgh. In terms of methodology for any creative practice research work, here I suggest that casting a wide net in the search for theoretical and artistic inspirations, using what Donna Haraway would call ‘tentacular thinking’ is not only not a hindrance in the creative process but could be positively helpful. In this context I discuss here Surrealism, arguably the most influential artistic and theoretical movement, which itself began with a bold drawing from a different praxis and theory, namely psychoanalysis and the work of Sigmund Freud. Surrealism as a creative tool has of course been re-framed, re-thought and re-positioned by various cultures as demonstrated by Venice Bienale and the recent exhibition at Tate Modern in London.) In some way it has also influenced the hybrid film Wash I am presenting here, even as it deals with important issues of understanding a given community before introducing practices that might even be ‘good for them. In the film I have used a patchwork of knowledge, a patchwork of influences, drawing from Surrealism as well as other influences such as postcolonial theories and intangible local knowledge reservoirs.

The main objective of this research is to obtain a good model for the tasks performed by a flexible manufacturing mechatronics line (FMML) with integrated complex autonomous systems (CASs). The FMML has four collaborative workstations, line shaped, and being serviced by two CASs, wheeled mobile robots (WMRs) with robotic manipulators (RMs), for caching, transporting and releasing work piece. The decision of a good or bad work piece is being taken after a quality test that is performed by last stations in the line. Following this hypothesis, the processing/reprocessing mechatronics line (P/RML) serviced by two complex autonomous systems, and visual servoing systems, was modelled as synchronized hybrid Petri nets (SHPN). The complex autonomous system are controlled in trajectory tracking using sliding mode control (SMC) method, while RMs are positioned by visual servoing systems for caching and releasing work piece.

An ARIMA-LSTM model for predicting volatile agricultural price series with random forest technique

Inquiry-based learning (IBL) is one of the most effective teaching methods to follow the trend of constructivism. Its main premise is the dominant role of the cognitively activated student, who, like the researcher, has the opportunity to pose questions, test hypotheses and solve problems by using a wide range of tools and techniques. The output of the IBL method is usually a presentation or a piece of work. In the experiment carried out, the IBL method was used during the interdisciplinary course “Building Information Modelling (BIM)”, taught at the master’s degree programme majoring in spatial management at the Warsaw University of Technology. The aim of the class was to solve a specific problem and develop a scientific and technical manuscript, which at the same time could form the basis of a scientific publication. The class was first experimentally implemented with a mixed-methods approach based mainly on IBL. Students were introduced to IBL techniques and tools as part of a project exercise, then were presented with problem and research topics. Participants in the classes chose an issue from those presented or created a topic of interest themselves. Peer learning, Montessori silent lessons or supervision were used during the implementation of the activities. Students were not assessed digitally, but their activity was marked in the form of pluses (+) and the focus was on providing quick and complete feedback (always individually to the individual or group). The class concluded with a self-assessment and a research questionnaire, which concluded that an authoritative teaching process was a far better choice than an authoritarian or liberal process.

The goal of research is to create or modify knowledge. But whose knowledge? It isn’t productive to do research and then keep the outcomes to yourself; part of the aim is to make others aware of what you have found. The purpose of research can be viewed as being intended to have impact, that is, to change the minds of others. Successful research influences people to behave differently and undertake new activities. Do not be daunted by the task of “writing up”. Work on the text as your PhD takes shape, remember that all writers need editing, and help yourself by using these basic tips to make life easier. Read what great writers say about how to write before you start, and take their advice to heart. There is no dark art to clear, concise work; it is mostly a result of editing, and editing again. Thesis must demonstrate logical, structured, and defensible reasoning based on credible and verifiable evidence presented in such a way that it makes an original contribution to knowledge, as judged by experts in the field. The dissertation or project should demonstrate knowledge of the relevant literature; show that the student has executed a substantial piece of advanced individual work and should bring together the independent work with the knowledge gained in the literature and theory. Where creative work is involved this should be informed by and be related to the theoretical aspect of the work. Recognize your own motivation for carrying out research Identify your belief system that underpins your view of knowledge. Appreciate the broad nature of the research process within a research community.

This chapter presents a case study of how the UCLA Extension Writers’ Program, which is America’s largest continuing education provider of online creative writing and screenwriting courses and services, offers individualized feedback and mentoring to 1,000’s of aspiring and practicing writers worldwide. Writing creatively is singularly private and can be isolating; the Writers’ Program’s 220 annually-offered online courses in fiction writing, memoir, personal essay, children’s literature, playwriting, poetry, publishing, feature film writing, and television writing provide access to in-depth instructor/student, student/student, and student/advisor relationships designed to help meet individual writing goals. Writing education is particularly well-suited for online delivery because writers write: students submit their work in writing; the teacher and fellow students give their feedback in writing. For students, the act of learning to write online reinforces their accountability to create in a disciplined way and allows time to absorb and respond to critiques with reflection. For teachers, e-mentoring requires unusual rigor and preciseness in order to give thoughtful feedback on each piece of creative work, and the 80 professional writers who teach the Writers’ Program online courses employ a range of pedagogical strategies to do so. In addition, the Writers’ Program provides personalized guidance and advice on writing online through its student advisors as well as an array of services, including one-on-one manuscript and script consultations; feature film mentorships for which students sign up monthly and receive “on demand” guidance on their projects; and a first-of-its-kind course limited to six advanced students in which they hold virtual internships at production companies and studios as script readers. The chapter begins with an overview of UCLA Extension and the Writers’ Program’s history, mission, products, services, and managerial structure, and then describes the origins and current status of the Writers’ Program’s online curriculum and educational services. The ways in which writing education comprises a near-perfect match for a virtual delivery system are explored, followed by a discussion of what makes Writers’ Program’s products and services uniquely suited to deliver e-mentoring for a global, mostly post-baccalaureate student body who puts a high premium on results and quality of interaction. The chapter next outlines how clear expectations, course design, lectures and critiquing guidelines ensure successful response to creative work (instructor/student and student/peers), and then focuses on “best practices” techniques and strategies that online Writers’ Program instructors use to shape and deliver critiques, including a common critiquing vocabulary and methodology, use of technological tools to provide sustained, personalized feedback, and ways to cultivate the individual writer’s sense of place in the global literary and entertainment communities. The chapter concludes by addressing technological, pedagogical, and economic challenges and future directions of e-mentoring aspiring creative writers and screenwriters.

PurposeThe purpose of this paper is to present a general overview of the kinds of regional cooperation that are commonly found in the higher education (HE) sector among countries in Asia and the Pacific.Design/methodology/approachThe research methodology is literature review, collecting primary data from the web sites set up by the various organizations that are being reviewed.FindingsThe types of university exchanges can be broadly categorized as academic exchange, research collaboration and university‐community engagement. Some of the regional cooperation are initiated by intergovernmental organizations while others are initiated by non‐governmental organizations. The paper reviews intergovernmental initiatives by UNESCO, SEAMEO RIHED, ASEAN, ASEM, EAS, and APEC. It also reviews several higher education networks including ASAHIL, UMAP, APRU, AUF, AAOU and APAIE, as well as two regional initiatives, APQN and the UNESCO Regional Convention on the Recognition of Studies, Diplomas and Degrees in Higher Education in Asia and the Pacific.Originality/valueThis is an original piece of analytical work on the roles and functions of various HE organizations and networks in the Asia‐Pacific region.

서구 유럽 및 일본애니메이션에 비해 짧은 역사를 지닌 한국 애니메이션은 1950년대 후반 광고애니메이션과 문화영화의 일환으로 제작된 비상업용 단편애니메이션으로 출발하였다. 1960년대 영화법과 문화정책이 투영된 문화영화 애니메이션은 한국애니메이션의 역사에서 거의 언급되지 않고 있지만, 극장용 장편애니메이션 이전에 제작된 귀중한 문화 창작물이다. 특히 15초 내외의 짧은 CF애니메이션에 비해 4분에서 10분 내외의 단편애니메이션으로 그 당시 한국애니메이션의 수준을 가늠할 수 있는 사료적 가치가 있는 작품들이다. 1960년대에 20여편의 단편애니메이션이 제작 되었으며, 주로 근대화 정책추진과정에서 국민들을 계몽하기 위한 교육 내용을 담고 있다. 국립영화제작소에서 문화영화로 제작된 단편애니메이션은 셀을 활용한 카툰애니메이션 이외에도 페이퍼애니메이션, 퍼핏애니메이션도 제작되었다. 이러한 배경에서 본 논문은 1960년대에 국립영화제작소에서 제작된 단편애니메이션에 주목해보고자 한다. CF 이외에 초기 단편애니메이션의 연구가 거의 없는 상태에서 작품의 발굴과 분석은 의미 있는 일이라 생각하며, 이 창작과정에 참여했던 박영일감독, 한성학감독, 정도빈감독, 신동헌감독, 넬슨신감독 등이 이후 극장용 애니메이션 감독으로 활동하였기에 그 작품에 대한 분석은 한국애니메이션을 이해하는 중요한 기반 연구가 될 것이라고 본다. 논문에서는 국립영화제작소 창설의 시대적 상황 및 1960년대 국립영화제작소에서 창작된 단편애니메이션 중 감독 등 참여인력을 확인할 수 있는 10편의 작품을 중심으로 서사적 의미와 조형적 특징을 연구해보고자 한다. 이를 통해 그간 한국애니메이션역사 연구에서 간과된 비상업적 단편애니메이션에 대한 고찰과 향후 한국애니메이션사에 대한 보다 풍부한 연구가 진행되는 단초를 마련해보고자 한다. The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

CNC machining is the only option for rapid manufacturing of components with stringent quality requirements. But the bottleneck to CNC machining is the generation of fool-proof CNC programs. While the CNC programmer is able to generate the correct cutter paths using CAM systems, it is not as easy with the cutting parameters. Adaptive control is able to overcome this difficulty but it requires expensive online force measurements. An alternative is to predict the cutting forces offline from the geometry, kinematics, material properties and cutting parameters. A process model developed for this calculates the optimal cutting parameters at any instant from the contact surface between the cutter and work piece. This hybrid model captures the invariant characteristics of the process in six cutting coefficients determined through simple experiments. This model is applicable to complex machining involving the generic cutter and motions up to five degrees of freedom.

This article discusses the teaching and learning that takes place during the project work performed by final year students on a B.A. Humanities with Applied Computing degree course. This is perhaps the first time that the student has had to tackle a large piece of independent research work. It marks a period of transition between the much more constrained and often unavoidably artificial exercises of earlier undergraduate years and the ill-defined and open-ended problems of the real world. As such it acts as a valuable preparation for the independent analytical thinking required in every profession. The pedagogy of the project work, methods of assessment and details of the support offered to students are explored. The article also discusses the students' experiences of research processes in the humanities and humanities computing. It is illustrated with two case study projects. The experiences of students and staff during the projects raise many issues concerning humanities computing as a field of study and are used as a starting point for exploring the nature of the discipline.