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ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
The recent spotlight on concussion has illuminated deficits in the current standard of care with regard to addressing acute and persistent cognitive signs and symptoms of mild brain injury. This stems, in part, from the diffuse nature of the injury, which tends not to produce focal cognitive or behavioral deficits that are easily identified or tracked. Indeed it has been shown that patients with enduring symptoms have difficulty describing their problems; therefore, there is an urgent need for a sensitive measure of brain activity that corresponds with higher order cognitive processing. The development of a neurophysiological metric that maps to clinical resolution would inform decisions about diagnosis and prognosis, including the need for clinical intervention to address cognitive deficits. The literature suggests the need for assessment of concussion under cognitively demanding tasks. Here, a joint behavioral- high-density electroencephalography (EEG) paradigm was employed. This allows for the examination of cortical activity patterns during speech comprehension at various levels of degradation in a sentence verification task, imposing the need for higher-order cognitive processes. Eight participants with concussion listened to true-false sentences produced with either moderately to highly intelligible noise-vocoders. Behavioral data were simultaneously collected. The analysis of cortical activation patterns included 1) the examination of event-related potentials, including latency and source localization, and 2) measures of frequency spectra and associated power. Individual performance patterns were assessed during acute injury and a return visit several months following injury. Results demonstrate a combination of task-related electrophysiology measures correspond to changes in task performance during the course of recovery. Further, a discriminant function analysis suggests EEG measures are more sensitive than behavioral measures in distinguishing between individuals with concussion and healthy controls at both injury and recovery, suggesting the robustness of neurophysiological measures during a cognitively demanding task to both injury and persisting pathophysiology.
ContributorsUtianski, Rene (Author) / Liss, Julie M (Thesis advisor) / Berisha, Visar (Committee member) / Caviness, John N (Committee member) / Dorman, Michael (Committee member) / Arizona State University (Publisher)
Created2014
Description
Everyday speech communication typically takes place face-to-face. Accordingly, the task of perceiving speech is a multisensory phenomenon involving both auditory and visual information. The current investigation examines how visual information influences recognition of dysarthric speech. It also explores where the influence of visual information is dependent upon age. Forty adults participated in the study that measured intelligibility (percent words correct) of dysarthric speech in auditory versus audiovisual conditions. Participants were then separated into two groups: older adults (age range 47 to 68) and young adults (age range 19 to 36) to examine the influence of age. Findings revealed that all participants, regardless of age, improved their ability to recognize dysarthric speech when visual speech was added to the auditory signal. The magnitude of this benefit, however, was greater for older adults when compared with younger adults. These results inform our understanding of how visual speech information influences understanding of dysarthric speech.
ContributorsFall, Elizabeth (Author) / Liss, Julie (Thesis advisor) / Berisha, Visar (Committee member) / Gray, Shelley (Committee member) / Arizona State University (Publisher)
Created2014
Description
Often termed the "gold standard" in the differential diagnosis of dysarthria, the etiology-based Mayo Clinic classification approach has been used nearly exclusively by clinicians since the early 1970s. However, the current descriptive method results in a distinct overlap of perceptual features across various etiologies, thus limiting the clinical utility of such a system for differential diagnosis. Acoustic analysis may provide a more objective measure for improvement in overall reliability (Guerra & Lovely, 2003) of classification. The following paper investigates the potential use of a taxonomical approach to dysarthria. The purpose of this study was to identify a set of acoustic correlates of perceptual dimensions used to group similarly sounding speakers with dysarthria, irrespective of disease etiology. The present study utilized a free classification auditory perceptual task in order to identify a set of salient speech characteristics displayed by speakers with varying dysarthria types and perceived by listeners, which was then analyzed using multidimensional scaling (MDS), correlation analysis, and cluster analysis. In addition, discriminant function analysis (DFA) was conducted to establish the feasibility of using the dimensions underlying perceptual similarity in dysarthria to classify speakers into both listener-derived clusters and etiology-based categories. The following hypothesis was identified: Because of the presumed predictive link between the acoustic correlates and listener-derived clusters, the DFA classification results should resemble the perceptual clusters more closely than the etiology-based (Mayo System) classifications. Results of the present investigation's MDS revealed three dimensions, which were significantly correlated with 1) metrics capturing rate and rhythm, 2) intelligibility, and 3) all of the long-term average spectrum metrics in the 8000 Hz band, which has been linked to degree of phonemic distinctiveness (Utianski et al., February 2012). A qualitative examination of listener notes supported the MDS and correlation results, with listeners overwhelmingly making reference to speaking rate/rhythm, intelligibility, and articulatory precision while participating in the free classification task. Additionally, acoustic correlates revealed by the MDS and subjected to DFA indeed predicted listener group classification. These results beget acoustic measurement as representative of listener perception, and represent the first phase in supporting the use of a perceptually relevant taxonomy of dysarthria.
ContributorsNorton, Rebecca (Author) / Liss, Julie (Thesis advisor) / Azuma, Tamiko (Committee member) / Ingram, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
Distorted vowel production is a hallmark characteristic of dysarthric speech, irrespective of the underlying neurological condition or dysarthria diagnosis. A variety of acoustic metrics have been used to study the nature of vowel production deficits in dysarthria; however, not all demonstrate sensitivity to the exhibited deficits. Less attention has been paid to quantifying the vowel production deficits associated with the specific dysarthrias. Attempts to characterize the relationship between naturally degraded vowel production in dysarthria with overall intelligibility have met with mixed results, leading some to question the nature of this relationship. It has been suggested that aberrant vowel acoustics may be an index of overall severity of the impairment and not an "integral component" of the intelligibility deficit. A limitation of previous work detailing perceptual consequences of disordered vowel acoustics is that overall intelligibility, not vowel identification accuracy, has been the perceptual measure of interest. A series of three experiments were conducted to address the problems outlined herein. The goals of the first experiment were to identify subsets of vowel metrics that reliably distinguish speakers with dysarthria from non-disordered speakers and differentiate the dysarthria subtypes. Vowel metrics that capture vowel centralization and reduced spectral distinctiveness among vowels differentiated dysarthric from non-disordered speakers. Vowel metrics generally failed to differentiate speakers according to their dysarthria diagnosis. The second and third experiments were conducted to evaluate the relationship between degraded vowel acoustics and the resulting percept. In the second experiment, correlation and regression analyses revealed vowel metrics that capture vowel centralization and distinctiveness and movement of the second formant frequency were most predictive of vowel identification accuracy and overall intelligibility. The third experiment was conducted to evaluate the extent to which the nature of the acoustic degradation predicts the resulting percept. Results suggest distinctive vowel tokens are better identified and, likewise, better-identified tokens are more distinctive. Further, an above-chance level agreement between nature of vowel misclassification and misidentification errors was demonstrated for all vowels, suggesting degraded vowel acoustics are not merely an index of severity in dysarthria, but rather are an integral component of the resultant intelligibility disorder.
ContributorsLansford, Kaitlin L (Author) / Liss, Julie M (Thesis advisor) / Dorman, Michael F. (Committee member) / Azuma, Tamiko (Committee member) / Lotto, Andrew J (Committee member) / Arizona State University (Publisher)
Created2012
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Pandora is a play exploring our relationship with gendered technology through the lens of artificial intelligence. Can women be subjective under patriarchy? Do robots who look like women have subjectivity? Hoping to create a better version of ourselves, The Engineer must navigate the loss of her creation, and Pandora must navigate their new world. The original premiere run was March 27-28, 2018, original cast: Caitlin Andelora, Rikki Tremblay, and Michael Tristano Jr.
ContributorsToye, Abigail Elizabeth (Author) / Linde, Jennifer (Thesis director) / Abele, Kelsey (Committee member) / Department of Information Systems (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
After freelancing on my own for the past year and a half, I have realized that one of the biggest obstacles to college entrepreneurs is a fear or apprehension to sales. As a computer science major trying to sell my services, I discovered very quickly that I had not been prepared for the difficulty of learning sales. Sales get a bad rap and very often is the last thing that young entrepreneurs want to try, but the reality is that sales is oxygen to a company and a required skill for an entrepreneur. Due to this, I compiled all of my knowledge into an e-book for young entrepreneurs starting out to learn how to open up a conversation with a prospect all the way to closing them on the phone. Instead of starting from scratch like I did, college entrepreneurs can learn the bare basics of selling their own services, even if they are terrified of sales and what it entails. In this e-book, there are tips that I have learned to deal with my anxiety about sales such as taking the pressure off of yourself and prioritizing listening more than pitching. Instead of trying to teach sales expecting people to be natural sales people, this e-book takes the approach of helping entrepreneurs that are terrified of sales and show them how they can cope with this fear and still close a client. In the future, I hope young entrepreneurs will have access to more resources that handle this fear and make it much easier for them to learn it by themselves. This e-book is the first step.
ContributorsMead, Kevin Tyler (Author) / Sebold, Brent (Thesis director) / Kruse, Gabriel (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05