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The importance of a near-native accent. This talk will discuss whether or not it is important for EFL-teachers to try and achieve a near-native generally accepted accent for their students. The focus will be on the credibility of non-native speakers of English while speaking English in a globalising world, with a heavy or mild foreign accent. These days and in the future more and more non-native speakers of English will communicate with each other in English. For a native speaker it is not that difficult to understand a non-native speaker speaking English with a lot of local or regional phonological interferences. For two non-native speakers of different origin, both speaking English with a mild or heavy accent, it might be more likely that confusion about what is being said occurs because of the foreign accent. Research (Shiri Lev-Ari &, Boaz Keysar, Why don't we believe non-native speakers? The influence of accent on credibility, 2010) proves that a near-native accent adds to the credibility of the speaker. In the Netherland most EFL-teachers were trained to speak English with an RP or GA accent. As soon as they start teaching students in secondary education they accept “World English” and most teachers do not pay a lot of attention to pronunciation mistakes made by their students, as long as they can get the message across. During the talk the audience will be asked how important they consider a near-native accent is, what mistakes they accept and don’t accept and in which way teaching pronunciation is an issue in their lessons. Some sound samples with typical mistakes the Dutch make while speaking English will be presented and discussed to see if the audience consider them to be confusing or not. Then a strategy, using phonetics as a tool, will be presented to help correcting a few typical mistakes. session type : talk (30 minutes) Audience; EFL teachers & teacher trainers
MULTIFILE
BACKGROUND: There are no validated assessment tools for evaluating quality of schoolwork task performance of children living in German-speaking Europe (GSE).OBJECTIVE: To determine whether the international age-normative means of the School Version of the Assessment of Motor and Process Skills (School AMPS) are valid for use in GSE.METHODS: The participants were 159 typically-developing children, 3-12 years, from GSE. We examined the proportions of School AMPS measures falling within ±2 standard deviation (SD) of the international age-normative means, and evaluated for significant group differences (p < 0.05) in mean School AMPS measures between the GSE sample and the international age-normative sample using one-sample Z tests. When significant mean differences were found, we evaluated if the differences were clinically meaningful.RESULTS: At least 95% of the GSE School AMPS measures fell within ±2 SD of the international age-normative means for the School AMPS. The only significant mean differences were for 6- (p < 0.01) and 8-year-olds (p = 0.02), and only the 6-year-old school process mean difference was clinically meaningful.CONCLUSIONS: Because the only identified clinically meaningful difference was associated with likely scoring error of one rater, the international age-normative means of the School AMPS appear to be valid for use with children in GSE.
Even though considerable amounts of valuable wood are collected at waste collection sites, most of it remains unused and is burned: it is too labor-intensive to sort, process and upcycle useable parts. Valuable wood thus becomes worthless waste, against circular economy principles. In MoBot-Wood, waste collection organizations HVC and the municipality of Amsterdam, together with Rolan Robotics, Metabolic and AUAS investigate how waste wood can be sorted and processed at waste collection sites, using an easy-to-deploy robotic solution. In various preceding and on-going projects, AUAS and partners are exploring circular wood intake, sorting and processing using industrial robots, including processes like machine vision, 3D scanning, sawing, and milling. These projects show that harvesting waste wood is a challenging matter. Generally, the wood is only partially useable due to the presence of metal, excessive paint, deterioration by fungi and water, or other contamination and damages. To harvest useable wood thus requires intensive sorting and processing. The solution of transporting all the waste wood from collection sites to a central processing station might be too expensive and have a negative environmental impact. Considering that much of collected wood will need to be discarded, often no wood is harvested at all, due to the costs for collection and shipping. Speaking with several partners in related projects, the idea emerged to develop a mobile robotic station, which can be (temporarily) deployed at waste collection sites, to intake, sort and process wood for upcycling. In MoBot-Wood, research entails the design of such station, its deployment conditions, and a general assessment of its potential impact. The project investigates robotic sorting and processing on location as a new approach to increase the amount of valuable, useable wood harvested at waste collection sites, by avoiding material transport and reducing the volume of remaining waste.
Being objective as a journalist indicates a distance to your sources and maintaining the role of a neutral bystander. This principle echoes in journalism education; generally speaking, to call something objective is a compliment and to say something is subjective is a warning. This journalistic role perception faces criticism since the late twentieth century. There’s extensive scholarly research looking to bridge the gap between objectivism and subjectivism, but journalistic education still widely prioritizes a binary perception of these principles, putting a strong emphasis on objective reporting. This PD aims to integrate artistic practices into journalism education that advocate a more balanced approach of the assumed objective-subjective dichotomy. One such approach is live journalism, where the artistic method extends to productional outcome, usually in the form of a journalistic narrative brought before a live audience. Research shows that, whereas visitors still think such productions should be fact-based, the fact that journalists had (made) a personal connection to their subject was seen as essential to the credibility of their work. This presupposes that journalism in this context is not merely a profession, but rather a person carrying out a profession. This PD intends to not only accept a certain subjectivity, but to explore its potential in journalism education. It plays with the concept not as being or becoming personally opinionated as a journalist, but as subjecting the self as a reporter. Research shows that for journalists, such an active connection to a target audience and an attitude to want to hear more than an answer to a question leads to a more representative understanding of the position and predicaments of a social group. In this light, the objective and subjective do not present themselves as a T-junction where the journalist chooses either one or the other; they appear in mutuality.
The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
