<p>A comparison is made between traditional text editors, syntax-directed editors and syntax-aware editors. The design for a prototype general purpose syntax-aware editor is presented. This editor utilizes a user-written language specification to continuously parse the text buffer. Errors are indicated to the user non-intrusively by modifying the display color of the text. Error messages are presented to the user as the cursor is placed over portions of the text which are in error. A description of the implementation of the editor, and a critique of its usefulness is included.</p> / Master of Science

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Interactive computer editors are an integral part of today's growing computer systems. In spite of this, their design is often determined by tradition or designer intuition, rather than empirical evidence. These studies explore a method of deriving naive and expert user models by use of a clustering algorithm. The models, which consisted of a core set of commands, were developed by applying a hierarchical cluster analysis to the paper and pencil responses of naive and expert subjects. It was expected that in an actual interactive editing environment, performance would be better when the operator used the appropriate model editor. A validation study tested the models in an actual interactive editing environment. Analysis of variance results showed that novice and expert subjects did not have fewer errors, use fewer commands, or take less time to edit when using an editor based on the appropriate user model. In general, user (novice and expert), practice (first or second editing session) and some higher order interactions were the only significant effects. It was hypothesized that the high heterogeneity of variance might be obscuring some editor differences. A cluster analysis performed on the validation study data showed low agreement between subjects and with the original models. Differences in command frequency counts between the paper-pencil and interactive editing environments suggest that deeper aspects of interactive editing must be included in the user models. Not only command set, but mode change and current line location must be considered. It is suggested that interactive editors will more closely conform to user models as they more closely simulate the paper-pencil editing environment. / Master of Science

The proportion of women editors on the English language Wikipedia has for years been known to be very low. The purpose of this thesis is to see if this gender gap exists on the Swedish language Wikipedia as well, and investigate the reasons behind it. To do this, three methods are used. Firstly a literature review is conducted, looking at women in computing and how Wikipedia works and how it was founded. Secondly, user behavior and activity-levels are measured through means of a database analysis of editors and edits. And thirdly, a survey is distributed, aimed at both readers and editors of Swedish Wikipedia, gathering some 2700 respondents. The results indicate that there is indeed a big disproportion, and that only between 13-19% of editors are women. The findings did not indicate readers of the encyclopedia having any strong negative preconceptions about Wikipedia or its community. However when looking at reasons for not contributing, women were significantly more likely to perceive themselves as not competent enough to edit. Computer skills were found to be an important factor for trying out editing in the first place, and Wikipedia’s connection to a male-dominated computing/programming culture is put forth as a reason for the resilience of the gender gap. The difference in men’s and women’s communication styles in relation to the climate Wikipedia’s policies and guidelines is also discussed. / Andelen kvinnor som redigerar engelskspråkiga Wikipedia har visats vara väldigt låg. Syftet med detta arbetet är att undersöka om andelen ser likadan ut på den Svenskspråkiga siten också, samt undersöka de bakomliggande orsakerna. För att göra detta används tre metoder. Först görs en literaturstudie som behandlar kvinnor inom programmering och hur Wikipedia fungerar och dess grundande. Därefter mäts användarbeteende och aktivitetsnivåer genom en databasanalys på redigerare och redigeringar. slutligen distribuerades en webb-enkät riktad till både läsare och redigerare av svenskspråkiga Wikipedia, med runt 2700 svaranden. Resultaten visar att det finns en stor snedfördelning och att endast mellan 13-19% av redigerare är kvinnor. Resultaten påvisar inte några särskilda negativa uppfattningar hos läsare om Wikipedia eller dess gemenskap. Däremot uppgav kvinnor i signifikant högre utsträckning att en viktig anledning till att de inte bidrog till encyklopedin var att de inte upplevde sig tillräckligt kompetenta. Datorvana fanns vara en viktig faktor till att testa på att redigera första gången, och Wikipedias koppling till en mans-dominerad programmeringskultur diskuteras som en faktor till den låga andelen kvinnor. Wikipedias policies och riktlinjer och dess sammankoppling med skillnader i män och kvinnors kommunikationsstilar på internet diskuteras även.

Hollywood film editing remains on the theoretical margins of contemporary film scholarship, and the cause of this is three-fold. First, despite advances in collaborative authorship studies, the Hollywood film director is still largely regarded as the sole creative lynchpin upon which the film’s success or failure ultimately lies. Second, Classical Hollywood film editing—commonly referred to as the continuity aesthetic—is considered successful if it remains unnoticed, if it remains invisible. Therefore, within this continuity aesthetic, the editor’s ultimate goal is to hide his or her own labor. Third, determining exactly how and where a film editor contributed to a film text during post-production is an incredibly difficult task. So, what is the solution? This dissertation explores how film archives can contribute to knowledge about the cinematic post-production process. My central research questions are: what kinds of information do film archives contain regarding the creative collaboration between the director and the editor? And, what does available archive material tell us about the changes and creative revisions in post-production? To answer these questions, I conducted original archival research on the following Hollywood Renaissance films: Bonnie and Clyde (1967), The Conversation (1974), Annie Hall (1977), and Raging Bull (1980). These films reflect a highly creative era in the Hollywood industry and are well-known for the collaborative relationship between the directors and the editors. To determine how and where collaborative authorship occurred in these films, I compared archival documents such as the storyboards and shooting scripts to the final film texts. These documents contain explicit instructions about how the scenes should be lit, decorated, and shot and how the film itself should be edited together. Therefore, I argue that any editing discrepancies between these documents and the final films were the result of a creative collaboration between the director and the editor. Ideally, this model of “script-to-screen” archival research will inspire other academics to investigate how and where a film’s creative revision occurs during post-production—and to what effect. / text

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING / Bibliography: leaves 158-162. / by Michael Tzu-cheng Yeh. / M.S.