The last few years have seen an explosion of use and popularity of speech recognition and natural language systems. From Siri in your pocket to Alexa or Google Home on your countertop, the proliferation of devices has made these systems more commonplace. With the market expanding, there becomes a need for a new, larger population of speech experts to design the future of these devices and applications. This volume hopes to share a real-life view of the world of design, development, product management of speech products and applications. It also includes a market overview, history and personal stories from key contributors in the space. The goal of these essays is to provide perspectives from various experts in the field. From designers to product managers to analysts to CEOs, they each share a unique perspective on an aspect of the speech industry.

The nine interdisciplinary essays in this volume were presented in 2003 in Berlin at the Fourth International Conference on Word and Music Studies, which was sponsored by The International Association for Word and Music Studies (WMA). The nine articles in this volume cover two areas: "Surveying the Field" and "Music and the Spoken Word". Topics include postmodernism, philosophy, German literary modernism, opera, film, the Lied, radio plays, and "verbal counterpoint". They cover the works of such philosophers, critics, literary figures, and composers as Argento, Beckett, Deleuze, Guattari, Feldman, Glenn Gould, Nietzsche, Schubert, Strauss, Wagner, and Wolfram. Three films are discussed: Casablanca, The Fisher King, and Thirty Two Short Films About Glenn Gould.

This volume assembles twelve interdisciplinary essays that were originally presented at the Second International Conference on Word and Music Studies at Ann Arbor, MI, in 1999, a conference organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on two centres of interest. The first deals with general issues of literature and music relations from culturalist, historical, reception-aesthetic and cognitive points of view. It covers issues such as conceptual problems in devising transdisciplinary histories of both arts, cultural functions of opera as a means of reflecting postcolonial national identity, the problem of verbalizing musical experience in nineteenth-century aesthetics and of understanding reception processes triggered by musicalized fiction. The second centre of interest deals with a specific genre of vocal music as an obvious area of word and music interaction, namely the song cycle. As a musico-literary genre, the song cycle not only permits explorations of relations between text and music in individual songs but also raises the question if, and to what extent words and/or music contribute to creating a larger unity beyond the limits of single songs. Elucidating both of these issues with stimulating diversity the essays in this section highlight classic nineteenth- and twentieth-century song cycles by Franz Schubert, Robert Schumann, Hugo Wolf, Richard Strauss and Benjamin Britten and also include the discussion of a modern successor of the song cycle, the concept album as part of today’s popular culture.

This book represents the collected thinking of a few people who have had strong personal connections to Dr. Song Nai Rhee. Because the integration of faith and learning is a core value held by Dr. Rhee, the various authors have written essays on this topic in honor of his life and work. Such a book is typically referred to as a Festschrift, a celebratory writing given for a special person. Dr. Rhee's robust career at Northwest Christian College/University is celebrated by the essays brought together in this book. All the authors have known Dr. Rhee as students or as academic colleagues or both. What they write about ranges from topics found in biblical literature to expressly theological ideas to matters that are eminently practical. Yet each essay is held in place by its relevancy to the ongoing conversations about how faith and learning are integrated in the context of the Christian liberal arts university. More important, each author has a deep and abiding respect for Dr. Song Nai Rhee. His teaching and mentoring at Northwest Christian College/University have left an indelible mark on each of their lives.

Feminist City is an ongoing experiment in living differently, living better, and living more justly in an urban world. We live in the city of men. Our public spaces are not designed for female bodies. There is little consideration for women as mothers, workers or carers. The urban streets often are a place of threats rather than community. Gentrification has made the everyday lives of women even more difficult. What would a metropolis for working women look like? A city of friendships beyond Sex and the City. A transit system that accommodates mothers with strollers on the school run. A public space with enough toilets. A place where women can walk without harassment. In Feminist City, through history, personal experience and popular culture Leslie Kern exposes what is hidden in plain sight: the social inequalities built into our cities, homes, and neighborhoods. Kern offers an alternative vision of the feminist city. Taking on fear, motherhood, friendship, activism, and the joys and perils of being alone, Kern maps the city from new vantage points, laying out an intersectional feminist approach to urban histories and proposes that the city is perhaps also our best hope for shaping a new urban future. It is time to dismantle what we take for granted about cities and to ask how we can build more just, sustainable, and women-friendly cities together.

"...a must-read text that provides a historical lens to see how ubicomp has matured into a multidisciplinary endeavor. It will be an essential reference to researchers and those who want to learn more about this evolving field." -From the Foreword, Professor Gregory D. Abowd, Georgia Institute of Technology First introduced two decades ago, the term ubiquitous computing is now part of the common vernacular. Ubicomp, as it is commonly called, has grown not just quickly but broadly so as to encompass a wealth of concepts and technology that serves any number of purposes across all of human endeavor. While such growth is positive, the newest generation of ubicomp practitioners and researchers, isolated to specific tasks, are in danger of losing their sense of history and the broader perspective that has been so essential to the field’s creativity and brilliance. Under the guidance of John Krumm, an original ubicomp pioneer, Ubiquitous Computing Fundamentals brings together eleven ubiquitous computing trailblazers who each report on his or her area of expertise. Starting with a historical introduction, the book moves on to summarize a number of self-contained topics. Taking a decidedly human perspective, the book includes discussion on how to observe people in their natural environments and evaluate the critical points where ubiquitous computing technologies can improve their lives. Among a range of topics this book examines: How to build an infrastructure that supports ubiquitous computing applications Privacy protection in systems that connect personal devices and personal information Moving from the graphical to the ubiquitous computing user interface Techniques that are revolutionizing the way we determine a person’s location and understand other sensor measurements While we needn’t become expert in every sub-discipline of ubicomp, it is necessary that we appreciate all the perspectives that make up the field and understand how our work can influence and be influenced by those perspectives. This is important, if we are to encourage future generations to be as successfully innovative as the field’s originators.

Many poets writing after World War II have found the individual focus of contemporary poetics poorly suited to making statements directed at public issues and public ethics. The desire to invest such individualized poetry with greater cultural authority presented difficulties for Vietnam-protest poets, for example, and it has been a particular challenge for nature writers in the Thoreau tradition who have attempted to serve as advocates for the natural world. Examining the implications of this dilemma, Bernard W. Quetchenbach locates the poets Robert Bly, Gary Snyder, and Wendell Berry within two traditions: the American nature-writing tradition, and the newer tradition of contemporary poetics. He compares the work of two other twentieth-century poets, Robinson Jeffers and Theodore Roethke, to illustrate how the "contemporary shift" toward a poetics focused on the poet's life has affected portrayals of nature and the "public voice" in poetry. Turning back to the work of Bly, Snyder, and Berry, Quetchenbach assesses their attempts to reinvent the public voice in the context of contemporary poetics and what effect these attempts have had on their work. He argues that these poets have learned from their postwar generation techniques for adapting a personalized poetics to environmental advocacy. In addition to modifying what critics have called the "poetics of immediacy," these poets have augmented their poetic output with prose and identified themselves with long-standing traditions of poetic, ethical, and spiritual authority. In doing so, Bly, Snyder, and Berry have attempted to solve not only a problem inherent in contemporary poetics but also the larger problem of the role of the poet in a society that does not recognize poetry. While it would be an overstatement to suggest that these three figures have found a place for the poet in American life, they have reached audiences that extend beyond traditional readers of poetry. At the end of the twentieth century, Quetchenbach concludes, poets have begun to identify, and direct their writing to, specific audiences defined less by aesthetic preferences and more by a shared interest in and dedication to the work's subject matter. Whether revealing a disturbing trend for poetry or an encouraging one for environmentalism and other political causes, it is one of many provocative conclusions Quetchenbach draws from his examination of postwar nature poetry.