Journal articles: 'Computers and composition'

1

Lofgreen, Charlotte D. "COMPUTERS AND COLLEGE COMPOSITION." CALICO Journal 1, no. 1 (January 14, 2013): 47–50. http://dx.doi.org/10.1558/cj.v1i1.47-50.

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2

Schlosser, M. "Computers and Chess-Problem Composition." ICGA Journal 11, no. 4 (December 1, 1988): 151–55. http://dx.doi.org/10.3233/icg-1988-11404.

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3

BERNHARDT, STEPHEN A., PENNY EDWARDS, and PATTI WOJAHN. "Teaching College Composition with Computers." Written Communication 6, no. 1 (January 1989): 108–33. http://dx.doi.org/10.1177/0741088389006001007.

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BERNHARDT, STEPHEN A., PATRICIA G. WOJAHN, and PENNY R. EDWARDS. "Teaching College Composition with Computers." Written Communication 7, no. 3 (July 1990): 342–74. http://dx.doi.org/10.1177/0741088390007003003.

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5

Isaiah Smithson. "Computers, composition, critiques, and collaboration." Computers and Composition 7, no. 1 (November 1989): 7–12. http://dx.doi.org/10.1016/s8755-4615(89)80002-7.

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6

McQuesten, Pamela. "Computers, Composition, Cognition and Culture." Convergence: The International Journal of Research into New Media Technologies 4, no. 1 (March 1998): 46–69. http://dx.doi.org/10.1177/135485659800400107.

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7

Kelly, Patricia P., Beatrice Naff, Edgar H. Thompson, and Goran Moberg. "Writing on Computers in English Composition." English Journal 75, no. 7 (November 1986): 84. http://dx.doi.org/10.2307/818514.

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GRIGAR, D. "International section of Computers and Composition." Computers and Composition 21, no. 4 (2004): 471–73. http://dx.doi.org/10.1016/s8755-4615(04)00043-x.

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9

Gerrard, Lisa. "Computers and composition: Rethinking our values." Computers and Composition 10, no. 2 (April 1993): 23–34. http://dx.doi.org/10.1016/s8755-4615(05)80056-8.

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10

Sugimoto, Taku. "How international is Computers and Composition?" Computers and Composition 21, no. 1 (March 2004): 119–27. http://dx.doi.org/10.1016/j.compcom.2003.08.021.

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11

Lord, Russell. "Computers and Composition: Do They Mix?" WAC Journal 3, no. 2 (1992): 36–40. http://dx.doi.org/10.37514/wac-j.1992.3.2.08.

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12

Busch, Tor. "Gender, Group Composition, Cooperation, and Self-Efficacy in Computer Studies." Journal of Educational Computing Research 15, no. 2 (September 1996): 125–35. http://dx.doi.org/10.2190/kqjl-rtw1-vvuy-bhlg.

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This study aimed to investigate whether gender, group composition, or self-efficacy in computing has any impact on cooperation, giving or getting task-related help, and level of activity in student groups. The groups were established during a computer course among 150 college students in business administration. According to our results, students with low self-efficacy in computing, and students in groups with a majority of females, cooperated more than any other categories in their work with computers. Furthermore, students with high self-efficacy in computing, and students with a high degree of previous computer experience, offered more task-related help to other students than did the rest. In terms of gender, the level of activity was evaluated as highest in majority-female or majority-male groups. Moreover, female students had significantly lower self-efficacy in computing, less previous computer experience, and they had received less previous encouragement to work with computers. Finally, female students were receiving more task-related help, while at the same time giving less task-related help than male students.

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Duffelmeyer, Barbara Blakely. "Critical computer literacy: computers in first-year composition as topic and environment." Computers and Composition 17, no. 3 (December 2000): 289–307. http://dx.doi.org/10.1016/s8755-4615(00)00036-0.

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Edwards, Bruce L., Gail E. Hawisher, and Cynthia L. Selfe. "Critical Perspectives on Computers and Composition Instruction." College Composition and Communication 41, no. 3 (October 1990): 342. http://dx.doi.org/10.2307/357665.

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15

Kirke, Alexis. "Application of Musical Computing to Creating a Dynamic Reconfigurable Multilayered Chamber Orchestra Composition." Leonardo Music Journal 29 (December 2019): 55–61. http://dx.doi.org/10.1162/lmj_a_01064.

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With increasing virtualization and the recognition that today’s virtual computers are faster than hardware computers of 10 years ago, modes of computation are now limited only by the imagination. Pulsed Melodic Affective Processing (PMAP) is an unconventional computation protocol that makes affective computation more human-friendly by making it audible. Data sounds like the emotion it carries. PMAP has been demonstrated in nonmusical applications, e.g. quantum computer entanglement and stock market trading. This article presents a musical application and demonstration of PMAP: a dynamic reconfigurable score for acoustic orchestral performance, in which the orchestra acts as a PMAP half-adder to add two numbers.

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16

le Grand, H. "The Impact of Computers on Chess-Problem Composition." ICGA Journal 9, no. 3 (September 1, 1986): 152–53. http://dx.doi.org/10.3233/icg-1986-9306.

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Scenters-Zapico, John. "A Handy User’s Guide to Computers and Composition." Computers and Composition 19, no. 1 (April 2002): 3–6. http://dx.doi.org/10.1016/s8755-4615(02)00076-2.

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Greenia, George D. "Computers and Teaching Composition in a Foreign Language." Foreign Language Annals 25, no. 1 (February 1992): 33–46. http://dx.doi.org/10.1111/j.1944-9720.1992.tb00510.x.

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19

Weatherly, Myra. "G/C/T Review: Computers in Composition Instruction." G/C/T 8, no. 1 (January 1985): 51. http://dx.doi.org/10.1177/107621758500800130.

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20

Grigar, Dene. "Global Dimensions: International section of Computers and Composition." Computers and Composition 22, no. 1 (January 2005): 101–3. http://dx.doi.org/10.1016/j.compcom.2004.12.003.

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21

Webb, Patricia Rose. "Reconceptualizing classroom-based research in computers and composition." Computers and Composition 23, no. 4 (January 2006): 462–76. http://dx.doi.org/10.1016/j.compcom.2006.09.003.

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22

Powers, Patricia M., and Loretta W. Hoover. "Calculating the nutrient composition of recipes with computers." Journal of the American Dietetic Association 89, no. 2 (February 1989): 224–25. http://dx.doi.org/10.1016/s0002-8223(21)02100-3.

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23

Gioti, Artemi-Maria. "From Artificial to Extended Intelligence in Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 25–32. http://dx.doi.org/10.1017/s1355771819000438.

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This article explores the relationship and disparities between human and computational creativity by addressing the following questions: How well are computational creativity systems currently performing at creative tasks? Could computers outperform human composers? And, if not, is computational creativity a utopia? Automatic composition systems are examined with respect to Boden’s three criteria of creativity (novelty, surprise and value), as well as their assumptions about the nature of creativity. As an alternative to a competitive relationship between human and computational creativity, the article proposes the concept of a distributed human–computer co-creativity, in which computational creativity extends – rather than replaces – human creativity, by expanding the space of creative possibilities.

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Tipei, Sever, Alan B. Craig, and Paul F. Rodriguez. "Using High-Performance Computers to Enable Collaborative and Interactive Composition with DISSCO." Multimodal Technologies and Interaction 5, no. 5 (May 5, 2021): 24. http://dx.doi.org/10.3390/mti5050024.

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Composers do not usually collaborate with other composers but, for the last half century, open works were created that invite performers to implement details left undetermined or even decide the order in which various sections of the composition are to be played. Chance operations were also used in the writing of musical pieces and, in music generated with the assistance of computers, controlled randomness found its place. This article proposes a platform designed to encourage collaborative and interactive composition on high-performance computers with DISSCO (Digital Instrument for Sound Synthesis and Composition). DISSCO incorporates random procedures as well as deterministic means of defining the components of a piece. It runs efficiently on the Comet supercomputer of the San Diego Supercomputing Center and uses the Jupyter notebook environment to integrate the end-to-end processes with a user. These tools, the implementation platform, and the collaboration management are discussed in detail. Comments regarding aesthetic implications of the partnership between one or more humans and computer—considered a bona fide collaborator—are also provided. Possible future developments are supplied at the end.

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25

Gilrow, Janet. "Computers in Composition: Inscribing New Facts, Configuring New Knowledge." Canadian Journal for Studies in Discourse and Writing/Rédactologie 8, no. 3 (October 1, 1989): 15—Jan. http://dx.doi.org/10.31468/cjsdwr.291.

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26

Hill Duin, Ann, and Kathleen S. Gorak. "Developing texts for computers and composition: A collaborative process." Computers and Composition 9, no. 2 (April 1992): 17–39. http://dx.doi.org/10.1016/s8755-4615(05)80016-7.

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27

Tobin, Laurence. "Faculty Training in Computers and Composition: Warnings and Recommendations." College Composition and Communication 38, no. 2 (May 1987): 195. http://dx.doi.org/10.2307/357719.

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28

Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.

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Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.

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29

Logie, John. "Champing at the bits: Computers, copyright, and the composition classroom." Computers and Composition 15, no. 2 (January 1998): 201–14. http://dx.doi.org/10.1016/s8755-4615(98)90054-8.

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30

Duffelmeyer, Barbara B. "Critical Work in First-Year Composition: Computers, Pedagogy, and Research." Pedagogy 2, no. 3 (October 1, 2002): 357–74. http://dx.doi.org/10.1215/15314200-2-3-357.

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31

Moran, Charles. "Computers and Composition 1983–2002: What we have hoped for." Computers and Composition 20, no. 4 (December 2003): 343–58. http://dx.doi.org/10.1016/j.compcom.2003.08.011.

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32

Skeen, Thomas J. "Constructing essentialism: Computers and Composition and the “‘risk’ of essence”." Computers and Composition 24, no. 2 (January 2007): 198–213. http://dx.doi.org/10.1016/j.compcom.2007.02.004.

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33

Qodar, Gelar Lailatul. "The Application of Mamdani Method for Predicting The Best Portable Computer Based on Hardware and Price." JOURNAL OF INFORMATICS AND TELECOMMUNICATION ENGINEERING 4, no. 1 (July 20, 2020): 33–47. http://dx.doi.org/10.31289/jite.v4i1.3770.

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A portable computer is a technology tool widely used among students and students. With a very helpful role as in typing needs, presentations, and math calculations. A variety of carry-on computers that many certainly make one difficult to determine a decent and good portable computer to use. In general, in the process of selecting a portable computer, there is no recognized standard to determine the recommended portable computer level. The purpose in this research is to produce predictive values that will be a reference in supporting decisions in determining a portable computer that complies with hardware component criteria and pricing. This study implemented FIS Mamdani models with the analysis stage of the formation of fuzzy sets, application of implications function, rule composition and defuzification. The result of this research is an output of predictive value based on hardware component inputs and prices that will assist the user in supporting decisions in determining the best carry-on computer and according to what they want.Keywords: Predictions, Fuzzy Inference System, Mamdani methods, portable computers, students.

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34

Komoto, Hitoshi, Shinsuke Kondoh, and Keijiro Masui. "Simulating the Formation of Urban Mines Considering the Rational Decisions of Distributed End-of-Life Stakeholders." International Journal of Automation Technology 8, no. 5 (September 5, 2014): 653–63. http://dx.doi.org/10.20965/ijat.2014.p0653.

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Stakeholders engaged in the separation and refinement of laptop computers at the end-of-life are indispensable for the recycling of components such as batteries and printed circuit boards. Since the stakeholders are located in various geographical locations, whether they perform the operations or not influences how the urban mines of laptop computers are formed in terms of quantity and location. In this paper, a method for simulating the formation of the urban mines based on the rational decisions of end-oflife stakeholders is proposed. The system can simulate the formation considering the geographical distribution of the stakeholders as well as variations in the material composition of laptop computers across generations. This paper describes the architecture of the system and its data-preparation, simulation, and visualization processes, which are validated with a simulation model prepared with statistical information concerning used laptop computers. The system can simulate the formation of urban mines of various kinds of products if similar types of information presented in the laptop computer example data are prepared or hypothesized accordingly.

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35

Cooper, Joel, and Jeff Stone. "Gender, Computer-Assisted Learning, and Anxiety: With a Little Help from a Friend." Journal of Educational Computing Research 15, no. 1 (July 1996): 67–91. http://dx.doi.org/10.2190/w932-d1pt-2px7-3tc2.

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This study examined the effects of learning group gender composition and the use of nonverbal communication by a computer on performance and motivation following a computer-assisted biology lesson. The results showed that before the lesson began, group gender composition influenced self-reports of experience and knowledge about computers and also how subjects arranged their computer desktop. During the lesson, when a computer image of a human face was present on the screen, girls who reported low anxiety performed better and were more motivated to use the program relative to girls who reported high anxiety. In contrast, boys who reported high anxiety performed better and were more motivated to use the program when the tutor was present on the screen relative to boys who reported low anxiety. The implications of these findings for classroom gender organization and for using gender-appropriate educational software are discussed.

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36

French, Mary G., Gail E. Hawisher, and Cynthia L. Selfe. "Evolving Perspectives on Computers and Composition Studies: Questions for the 1990s." College Composition and Communication 43, no. 4 (December 1992): 541. http://dx.doi.org/10.2307/358659.

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37

Kippen, James, and Bernard Bel. "Computers, Composition and the Challenge of "New Music" in Modern India." Leonardo Music Journal 4 (1994): 79. http://dx.doi.org/10.2307/1513184.

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38

Kay Miller, Susan. "A review of research on distance education in computers and composition." Computers and Composition 18, no. 4 (October 2001): 423–30. http://dx.doi.org/10.1016/s8755-4615(01)00073-1.

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39

Hawisher, G. E., C. L. Selfe, G. Kisa, and S. Ahmed. "Globalism and Multimodality in a Digitized World: Computers and Composition Studies." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 10, no. 1 (November 30, 2009): 55–68. http://dx.doi.org/10.1215/15314200-2009-020.

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40

Gruber, Sibylle. "The good, the bad, the complex: Computers and Composition in transition." Computers and Composition 21, no. 1 (March 2004): 15–28. http://dx.doi.org/10.1016/j.compcom.2003.08.003.

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41

Hart, Betty, and Margaret Daisley. "Computers and composition in Japan: Notes on real and virtual literacies." Computers and Composition 11, no. 1 (January 1994): 37–47. http://dx.doi.org/10.1016/8755-4615(94)90005-1.

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42

Anisya, Anisya. "Grafik Penentuan Komposisi Campuran Agregat Material Pengaspalan Jalan Memanfaatkan Metode Digital Differential Analyzer (DDA)." J-SAKTI (Jurnal Sains Komputer dan Informatika) 2, no. 2 (September 25, 2018): 221. http://dx.doi.org/10.30645/j-sakti.v2i2.85.

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The more advanced technology can make it easier for someone to do their work. Included in it in terms of making graphics that can be done using computer assistance. Where computers can represent human work functions. This study aims to create an application graph for the determination of the composition of the aggregate mixture and provide the results of the calculation of the percentage of each aggregate and provide recommendations whether the composition of the aggregate mixture is feasible or not to be used. The results of this study are a graphical application for determining the value of the composition of the aggregate mixture. This application has been tested using DOSBox and TURBO C ++. Based on the results of these trials it can be concluded that the application of graphs to determine the value of aggregate mixture composition can be used as a tool for making graphs of aggregate mixtures and determining the value of aggregate composition and providing recommendations in the form of recommendations.

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43

Ely, R. "Writing, Computers, and Visual Impairment." Journal of Visual Impairment & Blindness 83, no. 5 (May 1989): 248–52. http://dx.doi.org/10.1177/0145482x8908300520.

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This article reviews studies on how both blind and sighted individuals write, elements of the writing process, and books that describe programs to help writers. These studies show that writing, for the blind individual, places an enormous burden on short-term memory, since it must be utilized to retrieve information from long-term memory and to monitor text transcriptions, grammar, the mechanics of composition, and spelling. Tools to help the blind writer are discussed in detail. Text access, a major hurdle, is met head-on. Yet computers that facilitate access with alternate outputs, braille translation programs, and other adaptive devices will help the visually impaired or blind individual only if schools can acquire them and only if they are priced to allow individuals to buy them for home use. In conclusion, solutions to problems are offered to stimulate the reader to think about the cognitive and curricular implications of computer technology for visually impaired individuals now and in the future.

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44

Fernandez, J. D., and F. Vico. "AI Methods in Algorithmic Composition: A Comprehensive Survey." Journal of Artificial Intelligence Research 48 (November 17, 2013): 513–82. http://dx.doi.org/10.1613/jair.3908.

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Algorithmic composition is the partial or total automation of the process of music composition by using computers. Since the 1950s, different computational techniques related to Artificial Intelligence have been used for algorithmic composition, including grammatical representations, probabilistic methods, neural networks, symbolic rule-based systems, constraint programming and evolutionary algorithms. This survey aims to be a comprehensive account of research on algorithmic composition, presenting a thorough view of the field for researchers in Artificial Intelligence.

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45

Robinson-Staveley, Kris, and Joel Cooper. "The Use of Computers for Writing: Effects on an English Composition Class." Journal of Educational Computing Research 6, no. 1 (February 1990): 41–48. http://dx.doi.org/10.2190/n3wk-kc2q-dvgd-7f0b.

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46

Handa, Carolyn. "Letter from the guest editor: digital rhetoric, digital literacy, computers, and composition." Computers and Composition 18, no. 1 (January 2001): 1–10. http://dx.doi.org/10.1016/s8755-4615(00)00043-8.

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47

Rickly, Rebecca. "The gender gap in computers and composition research: Must boys be boys?" Computers and Composition 16, no. 1 (January 1999): 121–40. http://dx.doi.org/10.1016/s8755-4615(99)80009-7.

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48

Harvey, T. Edward. "Second-Language Composition Instruction, Computers and First-Language Pedagogy: A Descriptive Survey." Foreign Language Annals 20, no. 2 (April 1987): 171–75. http://dx.doi.org/10.1111/j.1944-9720.1987.tb02937.x.

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49

Wojnowski, Konrad. "Capturing the World with Performance: John Cage's Probabilistic Aesthetics for the Digital Age." TDR/The Drama Review 63, no. 4 (December 2019): 33–56. http://dx.doi.org/10.1162/dram_a_00873.

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In one of his most influential lectures on indeterminacy, “Composition as Process,” John Cage compared musical composition to a camera, implying that performance can be thought of as an act of making photos. The idea of composition-as-camera suggests a certain understanding of the materiality of sound. Cage's theory of composition and indeterminate performance responded to the emergence of a new epistemology of information and conveyed a probabilistic agenda: a way of apprehending reality that only became possible after the first computers were up and running.

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50

Paque, J. M., R. Browning, P. L. King, and P. Pianetta. "Quantitative Analysis Of X-Ray Images From Geological Materials." Proceedings, annual meeting, Electron Microscopy Society of America 48, no. 2 (August 12, 1990): 244–45. http://dx.doi.org/10.1017/s042482010013482x.

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Geological samples typically contain many minerals (phases) with multiple element compositions. A complete analytical description should give the number of phases present, the volume occupied by each phase in the bulk sample, the average and range of composition of each phase, and the bulk composition of the sample. A practical approach to providing such a complete description is from quantitative analysis of multi-elemental x-ray images.With the advances in recent years in the speed and storage capabilities of laboratory computers, large quantities of data can be efficiently manipulated. Commercial software and hardware presently available allow simultaneous collection of multiple x-ray images from a sample (up to 16 for the Kevex Delta system). Thus, high resolution x-ray images of the majority of the detectable elements in a sample can be collected. The use of statistical techniques, including principal component analysis (PCA), can provide insight into mineral phase composition and the distribution of minerals within a sample.

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Journal articles on the topic 'Computers and composition'

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