Why Don't You Act Your Age?

Author(s):  
Michael Green

Online search engines for children are known to filter retrieved resources based on page complexity, and offer specialized functionality meant to address gaps in search literacy according to a user's age or grade. However, not every searcher grouped by these identifiers displays the same level of text comprehension, or requires the same aid with search. Furthermore, these search engines typically rely on direct feedback to ascertain these identifiers. This reliance on self identification may cause users to accidentally misrepresent themselves. We therefore seek to recognize users from skill based signals rather than utilizing age or grade identifiers, as skill dictates appropriate aid and resources. Therefore, in this thesis we propose a strategy that automatically recognizes users on the fly by analyzing search behavior found in search sessions. In particular, our efforts focus on recognizing the stereotypical 8 to 12 year old searcher, who we posit exhibits skills defined by developmental stages that have a strong impact on language development (Piaget's concrete operational stage) and search literacy (digital competency's first level). This strategy analyzes user-generated text extracted from queries and patterns of search interactions in order to infer features that are leveraged by a random forest classifier in order to determine whether or not a user is a part of this specific segment of searchers. The outcomes from this thesis lay the groundwork for enabling search engines to recognize users based on their search skills and provides further insight into the search behavior of youths.

2011 ◽  
Vol 27 (1) ◽  
pp. 540-551 ◽  
Author(s):  
Carlos Flavián-Blanco ◽  
Raquel Gurrea-Sarasa ◽  
Carlos Orús-Sanclemente

2015 ◽  
Vol 77 (2) ◽  
pp. 99-106 ◽  
Author(s):  
Phil Senter ◽  
Zenis Ambrocio ◽  
Julia B. Andrade ◽  
Katanya K. Foust ◽  
Jasmine E. Gaston ◽  
...  

Lists of vestigial biological structures in biology textbooks are so short that some young-Earth creationist authors claim that scientists have lost confidence in the existence of vestigial structures and can no longer identify any verifiable ones. We tested these hypotheses with a method that is easily adapted to biology classes. We used online search engines to find examples of 21st-century articles in primary scientific literature in which biological structures are identified as vestigial. Our results falsify these creationist hypotheses and show that scientists currently identify many structures as vestigial in animals, plants, and single-celled organisms. Examples include not only organs but also cells, organelles, and parts of molecules. Having students repeat this study will give them experience with hypothesis testing, introduce them to primary scientific articles, and further their education on vestigial structures.


2020 ◽  
Author(s):  
Yoann Stussi ◽  
Vanessa Sennwald ◽  
eva pool ◽  
Sylvain Delplanque ◽  
Tobias Brosch ◽  
...  

Pavlovian and instrumental conditioning are fundamental processes helping organisms learn about stimuli that predict rewards in the environment and actions that lead to their obtainment. The interplay between these two forms of learning notably exerts a strong impact on reward-seeking behaviors. However, mechanisms modulating this impact are not well elucidated. Here, we examined whether the influence of Pavlovian cues on instrumental action for sexual rewards is determined by their relevance to the individual’s sexual concerns in humans. In two experiments, we manipulated the relevance of sexual outcomes in a Pavlovian-instrumental transfer paradigm by recruiting heterosexual and homosexual men and selecting sexual stimuli for each sexual orientation. Results showed that Pavlovian-instrumental transfer effects were enhanced in response to the cue that was associated with the most relevant sexual outcome to participants’ sexual orientation compared to the cue associated with the less relevant sexual outcome, thereby reflecting that inter-individual differences in sexual concerns modulated these effects. These findings suggest that motivational control of reward-related instrumental action triggered by Pavlovian stimuli in humans relies on inter-individual differences in current concerns and can extend beyond homeostatic needs such as hunger or thirst. This fosters further insight into the mechanisms underlying human reward-seeking behaviors.


10.2196/32127 ◽  
2021 ◽  
Author(s):  
Lawrence An ◽  
Daniel Russell ◽  
Rada Mihalcea ◽  
Elizabeth Bacon ◽  
Scott Huffman ◽  
...  

Author(s):  
John C. Norcross ◽  
Thomas P. Hogan ◽  
Gerald P. Koocher ◽  
Lauren A. Maggio

This chapter reviews unfiltered information sources, which contain “virtually everything” published, without filter or fetter. Unfiltered information can be found in a wide variety of online search tools and bibliographic databases, such as MEDLINE, PsycINFO, and CINAHL, and is generally the basis for all other kinds of research evidence. This chapter also introduces specialized evidence-based search engines. A weakness of unfiltered information is that it needs to be analyzed and synthesized, which can prove time-consuming. To facilitate the retrieval of unfiltered information, the chapter describes the advanced approach of using controlled vocabularies such as medical subject headings (MeSH). The chapter concludes by covering resources for accessing evidence on behavioral health tests and measures, including test reviews, test information databases, and test publishers.


Author(s):  
Laura Lynn Broadhurst

The extant sources for the songs in MGM’s The Wizard of Oz— draft lyrics, studio piano-vocal manuscripts, early screenplays, production records, etc.—afford fascinating insight into their creation. Drawing from such largely untapped archival materials, this chapter reveals that each song within the completed film—as an individual, fixed “work”—was created via cumulative authorship along a figurative assembly line. To demonstrate this phenomenon, the evolution of the songs is traced through their successive developmental stages over the course of the film’s three production phases: Pre-Production (genesis of the songs by Harold Arlen and Yip Harburg, arrangement by MGM staff, orchestration by yet different studio personnel, prerecording with orchestra); Production (shoot-to-playback); Post-Production (underscoring by MGM music director Herbert Stothart and staff, continued development of the songs by Stothart and staff, previews and musical editing, final cut released).


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