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Evaluating creativity of verbal responses or texts is a challenging task due to psychometric issues associated with subjective ratings and the peculiarities of textual data. We explore an approach to objectively assess the creativity of responses in a sentence generation task to 1) better understand what language-related aspects are valued by human raters and 2) further advance the developments toward automating creativity evaluations. Over the course of two prior studies, participants generated 989 four-word sentences based on a four-letter prompt with the instruction to be creative. We developed an algorithm that scores each sentence on eight different metrics including 1) general word infrequency, 2) word combination infrequency, 3) context-specific word uniqueness, 4) syntax uniqueness, 5) rhyme, 6) phonetic similarity, and similarity of 7) sequence spelling and 8) semantic meaning to the cue. The text metrics were then used to explain the averaged creativity ratings of eight human raters. We found six metrics to be significantly correlated with the human ratings, explaining a total of 16% of their variance. We conclude that the creative impression of sentences is partly driven by different aspects of novelty in word choice and syntax, as well as rhythm and sound, which are amenable to objective assessment.
In an effort to describe and produce different formats for video instruction, the research community in technology-enhanced learning, and MOOC scholars in particular, have focused on the general style of video production: whether it is a digitally scripted “talk-and-chalk” or a “talking head” version of a learning unit. Since these production styles include various sub-elements, this paper deconstructs the inherited elements of video production in the context of educational live-streams. Using over 700 videos – both from synchronous and asynchronous modalities of large video-based platforms (YouTube and Twitch), 92 features were found in eight categories of video production. These include commonly analyzed features such as the use of green screen and a visible instructor, but also less studied features such as social media connections and changing camera perspective depending on the topic being covered. Overall, the research results enable an analysis of common video production styles and a toolbox for categorizing new formats – independent of their final (a)synchronous use in MOOCs. Keywords: video production, MOOC video styles, live-streaming.
TransPipe
(2021)
Online learning environments, such as Massive Open Online Courses (MOOCs), often rely on videos as a major component to convey knowledge. However, these videos exclude potential participants who do not understand the lecturer’s language, regardless of whether that is due to language unfamiliarity or aural handicaps. Subtitles and/or interactive transcripts solve this issue, ease navigation based on the content, and enable indexing and retrieval by search engines. Although there are several automated speech-to-text converters and translation tools, their quality varies and the process of integrating them can be quite tedious. Thus, in practice, many videos on MOOC platforms only receive subtitles after the course is already finished (if at all) due to a lack of resources. This work describes an approach to tackle this issue by providing a dedicated tool, which is closing this gap between MOOC platforms and transcription and translation tools and offering a simple workflow that can easily be handled by users with a less technical background. The proposed method is designed and evaluated by qualitative interviews with three major MOOC providers.
After almost two decades of development, modern Security Information and Event Management (SIEM) systems still face issues with normalisation of heterogeneous data sources, high number of false positive alerts and long analysis times, especially in large-scale networks with high volumes of security events. In this paper, we present our own prototype of SIEM system, which is capable of dealing with these issues. For efficient data processing, our system employs in-memory data storage (SAP HANA) and our own technologies from the previous work, such as the Object Log Format (OLF) and high-speed event normalisation. We analyse normalised data using a combination of three different approaches for security analysis: misuse detection, query-based analytics, and anomaly detection. Compared to the previous work, we have significantly improved our unsupervised anomaly detection algorithms. Most importantly, we have developed a novel hybrid outlier detection algorithm that returns ranked clusters of anomalies. It lets an operator of a SIEM system to concentrate on the several top-ranked anomalies, instead of digging through an unsorted bundle of suspicious events. We propose to use anomaly detection in a combination with signatures and queries, applied on the same data, rather than as a full replacement for misuse detection. In this case, the majority of attacks will be captured with misuse detection, whereas anomaly detection will highlight previously unknown behaviour or attacks. We also propose that only the most suspicious event clusters need to be checked by an operator, whereas other anomalies, including false positive alerts, do not need to be explicitly checked if they have a lower ranking. We have proved our concepts and algorithms on a dataset of 160 million events from a network segment of a big multinational company and suggest that our approach and methods are highly relevant for modern SIEM systems.
Design thinking is acknowledged as a thriving innovation practice plus something more, something in the line of a deep understanding of innovation processes. At the same time, quite how and why design thinking works-in scientific terms-appeared an open question at first. Over recent years, empirical research has achieved great progress in illuminating the principles that make design thinking successful. Lately, the community began to explore an additional approach. Rather than setting up novel studies, investigations into the history of design thinking hold the promise of adding systematically to our comprehension of basic principles. This chapter makes a start in revisiting design thinking history with the aim of explicating scientific understandings that inform design thinking practices today. It offers a summary of creative thinking theories that were brought to Stanford Engineering in the 1950s by John E. Arnold.