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Human team members show a remarkable ability to infer the state of their partners and anticipate their needs and actions. Prior research demonstrates that an artificial system can make some predictions accurately concerning artificial agents. This study investigated whether an artificial system could generate a robust Theory of Mind of human teammates. An urban search and rescue (USAR) task environment was developed to elicit human teamwork and evaluate inference and prediction about team members by software agents and humans. The task varied team members’ roles and skills, types of task synchronization and interdependence, task risk and reward, completeness of mission planning, and information asymmetry. The task was implemented in MinecraftTM and applied in a study of 64 teams, each with three remotely distributed members. An evaluation of six Artificial Social Intelligences (ASI) and several human observers addressed the accuracy with which each predicted team performance, inferred experimentally manipulated knowledge of team members, and predicted member actions. All agents performed above chance; humans slightly outperformed ASI agents on some tasks and significantly outperformed ASI agents on others; no one ASI agent reliably outperformed the others; and the accuracy of ASI agents and human observers improved rapidly though modestly during the brief trials.
The idea that adaptive evolution could be rapid and highly localized was a significant enabling condition for the emergence of ecological genetics in the second half of the 20th century. Most of what historians know about that conceptual shift and the rise of ecological genetics centers on the work of Oxford zoologist E. B. Ford and his students on polymorphism in Lepidotera, especially industrial melanism in Biston betularia. I argue that ecological genetics in Britain was not the brainchild of an infamous patriarch (Ford), but rather the outgrowth of a long tradition of pastureland research at plant breeding stations in Scotland and Wales, part of a discipline known as “genecology” or “experimental taxonomy.” Bradshaw’s investigative activities between 1948 and 1968 were an outgrowth of the specific brand of plant genecology practiced at the Welsh and Scottish Plant Breeding stations. Bradshaw generated evidence that plant populations with negligible reproductive isolation—separated by just a few meters—could diverge and adapt to contrasting environmental conditions in just a few generations. In Bradshaw’s research one can observe the crystallization of a new concept of rapid adaptive evolution, and the methodological and conceptual transformation of genecology into ecological genetics.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.