Basic gesture sensors can play a significant role as input units in mobile smart devices. However, they have to handle a wide variety of gestures while preserving the advantages of basic sensors. In this paper a user-determined approach to the design of a sparse optical gesture sensor is proposed. The statistical research on a study group of individuals includes the measurement of user-related parameters like the speed of a performed swipe (dynamic gesture) and the morphology of fingers. The obtained results, as well as other a priori requirements for an optical gesture sensor were further used in the design process. Several properties were examined using simulations or experimental verification. It was shown that the designed optical gesture sensor provides accurate localization of fingers, and recognizes a set of static and dynamic hand gestures using a relatively low level of power consumption.
The field of research of this paper combines Human Computer Interface, gesture recognition and fingertips tracking. Most gesture recognition algorithms processing color images are unable to locate folded fingers hidden inside hand contour. With use of hand landmarks detection and localization algorithm, processing directional images, the fingertips are tracked whether they are risen or folded inside the hand contour. The capabilities of the method, repeatibility and accuracy, are tested with use of 3 gestures that are recorded on the USB camera. Fingertips are tracked in gestures presenting a linear movement of an open hand, finger folding into fist and clenched fist movement. In conclusion, a discussion of accuracy in application to HCI is presented.
Despite the large number of studies conducted on teachers’ oral corrective feedback, the findings of these studies have been mainly limited to cognitive orientations rooted in experimental designs and the verbal discourse of the teacher as the main object of inquiry. Considering teachers’ affective concerns regarding their corrective feedback and the shift from negative psychology to positive psychology in the field of second/foreign language teaching as well as the entirety of the teacher’s corrective repertoire, in this case study, we aimed to explore the enjoyment building capacity of a teacher’s multimodal corrective feedback in a university general English course. We video-recorded the teacher’s multimodal corrective feedback including verbal and nonverbal semiotic resources like gesture, gaze, and posture while observing the learners’ emotional experiences for eight sessions. We also conducted stimulated recall interviews with some learners and collected their written journals about the experiences of enjoyment with regard to the teacher’s multimodal corrective feedback scenarios. The teacher’s multimodal corrective feedback was analyzed through systemic functional multimodal discourse analysis (SF-MDA) and the content of the interview transcripts as well as the written journals were qualitatively analyzed. The findings indicated that the teacher’s inherent multimodality in his corrective feedback broadened the main dimensions of enjoyment by raising the learners’ attention to their errors, heightening their focus on the correct form, and increasing the salience of his corrective feedback. Further arguments regarding the findings are discussed.
The subject of the analysis and interpretation of this article consists in philosophy and poetics of photography as a medium of memory in Maria Stepanova’s novel Pamyati Pamyati [In Memory of Memory]. Meanwhile, it is aimed at revealing a unique attitude of the novel’s author towards photography and its derivatives as a medium of memory and yet towards memory itself as a mandatory obligation in its essence for all the generations after the Holocaust. In a given context the notion of postmemory is binding and, hence, a separate part of the article is devoted to it. In view of the centuries-old and universal interest around the phenomenon of memory, mainly in the existential context, at the beginning of the article the emphasis is solely put on several selected aspects of it as articulated by Aristotle, Plato, Saint Augustine, Walter Benjamin and Paul Ricoeur. Respectively, the following terms are addressed by them: memoria, aisthesis, gesture of passage or picture – monument. In the article it has been shown that Stepanova is fascinated by the truth of time, the premonition of the Holocaust. She searched the shadows of the past on the faces and in the events captured in the pre-war film frames in such a way that one can experience his connection with that world, discover himself internally in that structure because, as she claims, her text is the novel about non-memory.