title: A tale of two studies

authors: Bowen, Judy

subjects: computer science

abstract: Running user evaluation studies is a useful way of getting feedback on partially or fully implemented software systems. Unlike hypothesis-based testing (where specific design decisions can be tested or comparisons made between design choices) the aim is to find as many problems (both usability and functional) as possible prior to implementation or release. It is particularly useful in small-scale development projects that may lack the resources and expertise for other types of usability testing. Developing a user-study that successfully and efficiently performs this task is not always straightforward however. It may not be obvious how to decide what the participants should be asked to do in order to explore as many parts of the system’s interface as possible. In addition, ad hoc approaches to such study development may mean the testing is not easily repeatable on subsequent implementations or updates, and also that particular areas of the software may not be evaluated at all. In this paper we describe two (very different) approaches to designing an evaluation study for the same piece of software and discuss both the approaches taken, the differing results found and our comments on both of these.

text: A tale of two studies Running user evaluation studies is a useful way of getting feedback on partially or fully implemented software systems. Unlike hypothesis-based testing (where specific design decisions can be tested or comparisons made between design choices) the aim is to find as many problems (both usability and functional) as possible prior to implementation or release. It is particularly useful in small-scale development projects that may lack the resources and expertise for other types of usability testing. Developing a user-study that successfully and efficiently performs this task is not always straightforward however. It may not be obvious how to decide what the participants should be asked to do in order to explore as many parts of the system’s interface as possible. In addition, ad hoc approaches to such study development may mean the testing is not easily repeatable on subsequent implementations or updates, and also that particular areas of the software may not be evaluated at all. In this paper we describe two (very different) approaches to designing an evaluation study for the same piece of software and discuss both the approaches taken, the differing results found and our comments on both of these.

year: 2013

title: On the Distances between Latin Squares and the Smallest Defining Set Size

authors: Cavenagh, Nicholas J.

subjects: Science & Technology

abstract: In this note, we show that for each Latin square L of order n≥2 , there exists a Latin square L’≠L of order n such that L and L’ differ in at most 8√n  cells. Equivalently, each Latin square of order n contains a Latin trade of size at most 8√n. We also show that the size of the smallest defining set in a Latin square is Ω(n³/²).

text: On the Distances between Latin Squares and the Smallest Defining Set Size In this note, we show that for each Latin square L of order n≥2 , there exists a Latin square L’≠L of order n such that L and L’ differ in at most 8√n  cells. Equivalently, each Latin square of order n contains a Latin trade of size at most 8√n. We also show that the size of the smallest defining set in a Latin square is Ω(n³/²).

year: 2017

title: Performing Femininity. Carmen - Good Ship Lollipop: A solo performance

authors: Fraser, Elroy

subjects: Performance

abstract: In the tradition of queer fringe theatre, Carmen - Good Ship Lollipop: a solo performance was written by a queer playwright, with a queer message for a queer audience.  The play was devised by drawing on Queer Theatre practice and methodology.
The following thesis details the process I undertook to create Carmen - Good Ship Lollipop: a solo performance. The story was created using biographical content already in the public arena. The play is about the public life of the late Carmen Rupe, New Zealand’s most famous transsexual. 
A historical perspective of men performing as women, or more fittingly, femininity performed by those other than female is presented by drawing on literature of this genre. The place of the solo performer and the combined roles of the actor, director, and producer are explored. Definitions of queer theatre and female impersonation are presented and issues of imitation, innovation and authenticity discussed.
The first methodology section details the choice of the particular playtext, the scriptwriting process, and dramaturgical analysis of Carmen – Good Ship Lollipop: a solo performance 
The second methodology section details the ‘script to stage’ production process. The development of the rehearsal script and the decision to limit the rehearsal period to one week is discussed. The plays evolution in terms of style and structure is presented.
The conclusion analyses the final product: to what extent Carmen - Good Ship Lollipop: a solo performance is faithful the Queer Theatre genre, successful as a performance piece, and reactive enough to be relevant. What further development could be applied in order to perform a future season.

text: Performing Femininity. Carmen - Good Ship Lollipop: A solo performance In the tradition of queer fringe theatre, Carmen - Good Ship Lollipop: a solo performance was written by a queer playwright, with a queer message for a queer audience.  The play was devised by drawing on Queer Theatre practice and methodology.
The following thesis details the process I undertook to create Carmen - Good Ship Lollipop: a solo performance. The story was created using biographical content already in the public arena. The play is about the public life of the late Carmen Rupe, New Zealand’s most famous transsexual. 
A historical perspective of men performing as women, or more fittingly, femininity performed by those other than female is presented by drawing on literature of this genre. The place of the solo performer and the combined roles of the actor, director, and producer are explored. Definitions of queer theatre and female impersonation are presented and issues of imitation, innovation and authenticity discussed.
The first methodology section details the choice of the particular playtext, the scriptwriting process, and dramaturgical analysis of Carmen – Good Ship Lollipop: a solo performance 
The second methodology section details the ‘script to stage’ production process. The development of the rehearsal script and the decision to limit the rehearsal period to one week is discussed. The plays evolution in terms of style and structure is presented.
The conclusion analyses the final product: to what extent Carmen - Good Ship Lollipop: a solo performance is faithful the Queer Theatre genre, successful as a performance piece, and reactive enough to be relevant. What further development could be applied in order to perform a future season.

year: 2013