University of the Arts Bremen

Mobile devices, such as cell phones and tablets, are increasingly playing a vital role in higher education as a medium for learning. They promote accessibility and flexibility, thereby enhancing both formal and informal learning experiences. This chapter aims to provide a reflective review of mobile learning (m-learning) based on the teaching practices of Chinese college teachers. We present a pilot investigation drawn from two cases exploring the challenges and benefits associated with integrating m-learning into higher education within a Chinese context. Additionally, the chapter discusses various aspects of m-learning and teaching, including m-learning applications with the BookRoll system, instructional methods, and current research frameworks. Overall, the chapter explores how language teachers can adapt diversified m-learning approaches to their English teaching, offering practical implications for improving the teaching–learning process and fostering continuous learning beyond the traditional classroom setting.

Abstract The field of liquid‐phase and solid‐state high‐pressure chemistry has exploded since the advent of the diamond anvil cell, an experimental technique that allows the application of pressures up to several hundred gigapascals. To complement high‐pressure experiments, a large number of computational tools have been developed. These techniques enable the simulation of chemical systems, their sizes ranging from single atoms to infinitely large crystals, under high pressure, and the calculation of the resulting structural, electronic, and spectroscopic changes. At the most fundamental level, computational methods using carefully tailored wall potentials allow the analytical calculation of energies and electronic properties of compressed atoms. Molecules and molecular clusters can be compressed either via mechanochemical approaches or via more sophisticated computational protocols using implicit or explicit solvation approaches, typically in combination with density functional theory, thus allowing the simulation of pressure‐induced chemical reactions. Crystals and other periodic systems can be routinely simulated under pressure as well, both statically and dynamically, to predict the changes of crystallographic data under pressure and high‐pressure crystal structure transitions. In this review, the theoretical foundations of the available computational tools for simulating high‐pressure chemistry are introduced and example applications demonstrating the strengths and weaknesses of each approach are discussed.This article is categorized under: Structure and Mechanism > Computational Materials Science Electronic Structure Theory > Ab Initio Electronic Structure Methods Software > Simulation Methods

With the rapid growth in the size and complexity of digital circuits, the possibility of bug occurrence has significantly increased. In order to avoid the enormous financial loss due to the production of buggy circuits, using scalable formal verification methods is essential. The scalability of a verification method for a specific design is proven by showing that the method has polynomial space and time complexities. Unfortunately, not all verification methods have a polynomial complexity, particularly when it comes to the verification of large and complex designs. In this paper, we propose a divide-and-conquer strategy for Polynomial Formal Verification (PFV) of complex circuits. Instead of using a monolithic proof engine to verify the entire design, we break the verification task down into several problems, which can be solved in polynomial space and time using a hybrid proof engine. As a case study, we investigate the PFV of the ALU in a RISC-V processor using our divide-and-conquer strategy.

The literature on Anton Bruckner has always stressed the putative incongruity between his thinking as a music theorist and his compositional output. In this article, the author tries to review and re-evaluate the extent and limits of the impact of theory on Bruckner’s musical style. The focus is on the two classical disciplines that Bruckner had studied under Simon Sechter and subsequently taught himself: harmony and counterpoint. While the descending fifths sequence represents the original model at the heart of Sechter’s system, other sequential models can be justified only to a limited extent on the basis of his fundamental bass theory. In many cases, Bruckner’s use of such models indicates that he was aware of this problem while composing. Both Sechter’s teaching method and Bruckner’s harmony are characterised by two sets of contrasts: between triad-based and seventh chord-based harmony on the one hand and between diatonicism and chromaticism on the other. That Bruckner regarded chromaticism as an artificial modification of a basic underlying diatonic material is demonstrated by the fact that it is possible to trace many of the chromatic progressions in his symphonies back to diatonic frameworks. Bruckner’s lessons in counterpoint with Sechter also helped to shape features of the composer’s style such as the frequent inversion and imitation of motifs, the technique of voiceswapping, the combination of multiple motifs and the use of double counterpoint.

Aura & Transvestment is a transmedia project consisting of a series of generative images, an experimental form of cryptomedia and a video essay. By describing its own powers and contradictions, the work explores notions of value, ownership, authenticity, artificial scarcity and abundance in the digital realm. The project is a critical analysis of non-fungible tokens used as proof of ownership for digital art, taking Walter Benjamin’s concept of aura as a starting point. It argues that, for tokenized art, cryptography serves as an artificial source of auratic power that reverts the political potential of reproducibility falling back to a magical and ritual notion of aura. This time around the ritual performed is that of property, authenticity, ownership, markets and commodification. Finally, the article outlines alternative uses of cryptography and distributed ledger technologies to support artistic labour and proposes transvestment as a temporary counter-action for the reallocation of value from capitalist forms of production and into commons-based models of social coordination. Submitted to this journal is an adaptation of the script for the video essay, alongside other elements of the project. Please visit: https://aura-transvestment.art/.

Abstract By way of conclusion, this chapter examines the relationship between historical films and theories of historical culture. At the heart of its discussion is the thesis that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. Consequently, this chapter argues that two new forms of remembering make a substantial contribution to transforming our historical culture: The reminiscence triggers integrated in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.

Abstract This chapter introduces the term histosphere to refer to the “sphere” of a cinematically modeled, physically experienceable historical world. The prefix “histo-” denotes here not just (popular conceptions of) history, but also a particular bodily dimension. In the phenomenological space between audiovisual figurations and historical experience, a histosphere functions—in the manner of histology—as an innervated tissue that relays the potential semiotic meanings of the cinematically constructed past via physical-sensory stimuli. Against the general assumption that the constitutive feature of historical films is that they represent history, it is instead their audiovisual modeling and figuration of a historical world, which enables an immediate experience of history.

Abstract This chapter describes the interactions and intersections between film experience and historical experience. The first section introduces the phenomenological theories underpinning the notion offilm experienceand applies them to the historical film. Focusing on concepts of embodied film perception, it discusses the spectator’s impression of making direct contact with a film’s historical world. This imaginary contact with history bears similarities to Frank R. Ankersmit’s theory ofhistorical experience, which is examined in the second section. The interconnections between Ankersmit’s concept and Vivian Sobchack’s phenomenological theory of film experience are considered in greater depth in the third section. The aim is to develop a concept of histospheres in which sensuous and cognitive perceptions are fused into a unifiedcinematic experienceof history.