This research report contains the findings of an international study consisting of three online ‘living’ surveys. The surveys focused on how the COVID-19 pandemic has impacted sign language interpreters’ working practices, how this was experienced by them, and how digital disruption caused by the pandemic is impacting and innovating the sign language interpreting profession. The study was carried out between April 2020 and July 2020; the largest contingent of respondents over all three surveys were from the U.S., followed by the UK, the Netherlands, Germany, Finland and Belgium. Respondents commented that the crisis will probably accelerate the need for remote interpreting training in interpreter training programs. Another resurfacing issue was the perceived need for sign language interpreting students to have face-to-face practice and live mentoring. Respondents commented on what benefits they thought remote interpreting might bring to the table, both for themselves and for deaf people. In general, the most significant benefits that were mentioned were flexibility and the possibility to improve efficiency and availability of sign language interpreting services. Notwithstanding these benefits, a significant number of respondents claimed that remote interpreting is more stressful than face-to-face interpreting and requires a heavier cognitive load.
Introduction to the Special Issue of the Journal on Translation and Interpreting Studies 17:3 (2022)
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We present a description of our didactic approach to train undergraduate sign language interpreters on their interpersonal and reflective skills. Based pre-dominantly on the theory of role-space by Llewellyn-Jones and Lee (2014), we argue that dialogue settings require a dynamic role of the interpreter in which s/he constantly makes choices based on contextual, interpesonal skills (IPS) is essential to improve the interpreter's behaviour. We developed several courses of Interpreting Skills (INS) offered during a four-year tertiary education programme, based on the concepts of competency-based learning and teaching. We provide a short description of one in particular, INS7, and give some examples of practice (role-play) and (sef) assessment.
MULTIFILE
The maximum capacity of the road infrastructure is being reached due to the number of vehicles that are being introduced on Dutch roads each day. One of the plausible solutions to tackle congestion could be efficient and effective use of road infrastructure using modern technologies such as cooperative mobility. Cooperative mobility relies majorly on big data that is generated potentially by millions of vehicles that are travelling on the road. But how can this data be generated? Modern vehicles already contain a host of sensors that are required for its operation. This data is typically circulated within an automobile via the CAN bus and can in-principle be shared with the outside world considering the privacy aspects of data sharing. The main problem is, however, the difficulty in interpreting this data. This is mainly because the configuration of this data varies between manufacturers and vehicle models and have not been standardized by the manufacturers. Signals from the CAN bus could be manually reverse engineered, but this process is extremely labour-intensive and time-consuming. In this project we investigate if an intelligent tool or specific test procedures could be developed to extract CAN messages and their composition efficiently irrespective of vehicle brand and type. This would lay the foundations that are required to generate big data-sets from in-vehicle data efficiently.
Human kind has a major impact on the state of life on Earth, mainly caused by habitat destruction, fragmentation and pollution related to agricultural land use and industrialization. Biodiversity is dominated by insects (~50%). Insects are vital for ecosystems through ecosystem engineering and controlling properties, such as soil formation and nutrient cycling, pollination, and in food webs as prey or controlling predator or parasite. Reducing insect diversity reduces resilience of ecosystems and increases risks of non-performance in soil fertility, pollination and pest suppression. Insects are under threat. Worldwide 41 % of insect species are in decline, 33% species threatened with extinction, and a co-occurring insect biomass loss of 2.5% per year. In Germany, insect biomass in natural areas surrounded by agriculture was reduced by 76% in 27 years. Nature inclusive agriculture and agri-environmental schemes aim to mitigate these kinds of effects. Protection measures need success indicators. Insects are excellent for biodiversity assessments, even with small landscape adaptations. Measuring insect biodiversity however is not easy. We aim to use new automated recognition techniques by machine learning with neural networks, to produce algorithms for fast and insightful insect diversity indexes. Biodiversity can be measured by indicative species (groups). We use three groups: 1) Carabid beetles (are top predators); 2) Moths (relation with host plants); 3) Flying insects (multiple functions in ecosystems, e.g. parasitism). The project wants to design user-friendly farmer/citizen science biodiversity measurements with machine learning, and use these in comparative research in 3 real life cases as proof of concept: 1) effects of agriculture on insects in hedgerows, 2) effects of different commercial crop production systems on insects, 3) effects of flower richness in crops and grassland on insects, all measured with natural reference situations
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
