Department of Information Science and Media Studies

This dissertation is the result of my work within the ROSA (Reuse of Object-oriented Specifications through Analogy) project. Several people have been part of this project over the years, but I will particularly thank my colleague and supervisor Bjørnar Tessem. He has been an important inspirator and we have shared many discussions over the topics covered in this thesis.

Abstract: In this paper we describe a qualitative study regarding pair programming in an agile programming team where members initially had little or no knowledge of agile methods and only basic knowledge of object-oriented programming. The whole study is based on a design experiment where we created a training environment for software engineers using an extreme programming project as context.

Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces ...

Although the reader's general comments were quite sympathetic to my rather flagrandy formalist analysis of the "Suzie Q" segment, he did point out that I had, to quote a remark scribbled in the margin on the last page, "glossed over... some of the historical imagery." Little did I know then that the question of history in relation to Apocalypse Now would resurface almost a decade later in a slighdy more ceremonial context. Given the chance, am I going to skirt the issue once again? Can we felicitously talk about a form of historical imagery that has not been sublated by what Thomas Elsaesser in his book on Weimar cinema calls the historical imaginary? Embedded in the current topic, quite intriguingly, is a peculiar type of paradox. On the one hand, I am specifically asked to present my analysis of Francis Coppola's excessive and perhaps over-discussed film Apocalypse Now (1979), on the other hand this analysis is one that should be carried out with special reference to the interpretive-or perhaps methodological-categories of film genre, historical context, and literary pretext. We are clearly in the realm of prefixed textualities here. However, I am not at all sure that an analysis of Apocalypse Now that is authentically my own would in fact be compatible with the concerns indicated in the lecture topic. That is, had it occurred to me to do scholarly work on this ' This essay is a revised version of a lecture offered as a "trial lecture" for the degree of Dr. Art. at the University of Bergen, December 11, 2003. The topic for the lecture was "Your analysis of Francis Coppola's Apocalypse Now (1979) with special reference to the film's genre, historical context, and literary pretext." The occasion usefully presented me with an opportunity to reassess the nature and substance of Coppola's vision in terms of what may be seen as an anti-generic yet re-historicized sensibility. 121 Coppola's Exhausted Eschatology: Apocalypse Now Reconsidered 122 particular film, my critical emphasis would in all likelihood be different. Can I, therefore, legitimately discuss Coppola's film with regard to genre, context, and pretext and still call the analysis mine? The struggle to reconcile these conflicting perspectives will in diverse ways inform the present argument, indisputably providing much horror along the way. Reflecting upon Apocalypse Now for the first time in years, I realize that it is very difficult, perhaps even impossible, to conceive of the film's narrative as a phenomenological entity entirely divorced from notions of sheer size, scope, scale, or magnitude. A 16-month shooting schedule, 200 hours worth of footage, an editing process that took three years to complete, three different endings, and a sense of a general turmoil on the set (substance abuse, a heart attack, threats of suicide) that would probably impress even Sam Peckinpah-the significance of these facts is not merely anecdotal. The confounding enormity of the film is an inextricable part of Coppola's text and as such it militates against any predilection for structuralist ramification; as a cinematic project, Apocalypse Now is simply too monumentally unwieldy to be relegated to the formal stringencies of genre. Moreover, an essential question that needs to be addressed is how our appreciation and understanding of Coppola's film is enriched by defining it as a Vietnam film, a war film, or even as a genre film to begin with. If, for instance, Apocalypse Now is a Vietnam film, is it a Vietnam film in the same way that, say, Casualties of War (Brian De Palma 1989) is one? Does the former suggest a generic intention, or intentionality, in the same way that for example Chicago (Rob Marshall 2002) intends to be (in the sense of wanting to be or aspiring to be) a musical, or Far From Heaven (Todd Haynes 2002) a melodrama? Furthermore, why is it that the problem of genre may be brought up with respect to Apocalypse Now but hardly in relation to the literary text from which it putatively draws its principal inspiration? (Heart of Darkness is not adventure, not travel literature, but a novel or novella, period). The idea of genre usually implies an inherited array of formal or thematic conventions or attributes, which in turn comprises a tradition. Meticulously to pinpoint the textual features that conform to preestablished generic taxonomies is on the whole an unwelcome enterprise, an analytical process that soon would have to confront what Andrew Tudor once referred to as the '"empiricist dilemma'" (1986: 5): to determine whether a given film is a Western requires a set of empirically verifiable criteria, but in order to know what these criteria are one would first need an a priori conception of what constitutes a Western. Such

Kurzfassung: Konflikte sind in menschlichen Beziehungen allgegenwärtig, ebenso Rhetorik in Konfliktsituationen. Die rhetorische Analyse läuft daher Gefahr, Konflikte und ihre verschiedenen Lösungsansätze als selbstverständlich zu betrachten. " Rhetorik " wird in den Sozialwissenschaften oft als vorwissenschaftlicher Begriff verwendet. Dasselbe gilt für " Konflikt " in rhetorischen Untersuchungen. Es besteht daher ein Bedürfnis nach konkreten Analyseinstrumenten. Der vorliegende Aufsatz schlägt ein topologisches Modell zur Analyse von drei Dimensionen der Rhetorik in Konfliktlösung, Konfliktmanagement und Konfliktaustragung vor und erläutert es am Beispiel der berühmten letzten Rede von Martin Luther King Jr " I've Been to the Mountaintop ". Abstract: Conflict is omnipresent in human relations. So is rhetoric in conflict situations. Hence, there is a danger of taking conflict and its different forms of resolution for granted when we do rhetorical analysis. " Rhetoric " is often used as a general and non-scientific term in the social sciences; the same is the case for " conflict " in rhetorical scholarship. Hence, there is a need for concrete analytical tools. This article suggests a topological model to analyze three dimensions of rhetoric in conflict resolution, management or handling. Using " I've Been to the Mountaintop " , the famous last speech of Martin Luther King Jr., as an example, I use the model to give an analytic overview.

Ragnhild Mølster Hat og trusler mot journalister i Skandinavia Journalister er svært synlige i offentligheten. Dette gjør dem ekstra utsatt for hets og trusler. Til tross for at Skandinavia er en fredelig del av verden med høy toleranse for ulikheter og meningsforskjeller, opplever også skandinaviske journalister å bli truet og trakassert fordi de utfører jobben sin. Journalistforeningene i Norge, Sverige og Danmark har gjennomført undersøkelser blant sine medlemmer for å kartlegge trusselbildet. Denne artikkelen ser på spørreundersøkelser foretatt av journalist-forbundene i Norge, Sverige og Danmark de siste årene. Hva kommer frem i disse undersøkelsene? Er bildet likt i de ulike landene og hvilke løsninger har de på problemet?

Studies of elicited sentence production show that the occasional subject-verb agreement errors that speakers make are more likely to occur when a singular head noun is followed by a plural, as in The producer of the adventure movies have arrived, than when a plural head is followed by a singular (e.g., . The significance of this asymmetric pattern of errors depends on whether interference from plurals arises only during the production of sentences, or whether it also occurs in sentence comprehension tasks. Five reading experiments revealed the following: (1) patterns of reading times mirror the production error asymmetry; (2) a phrase which is conceptually plural but grammatically singular (e.g., The label on the bottles) produces no more reading difficulty than one which is conceptually and grammatically singular, a result which mimics Bock and Miller's 1991 production results; (3) interference from an intervening plural depends on a close syntactic link to the head noun phrase (e.g., The owner of the house who charmed the realtors). These results suggest that although the computation of agreement may be accomplished differently in the two systems, interference may arise whenever a structure containing a singular head and intervening plural is computed, whether during production or comprehension. ᭧ 1997 Academic Press Most human languages exhibit agreement ments are often separated by intervening words and phrases which may themselves bear of one sort or another; for example, many languages require that particular elements in a agreement features, agreement phenomena pose a challenge to the sentence processing sentence agree in terms of a specific feature, such as number, gender, and/or animacy. Typ-systems. From the standpoint of sentence production, the challenge is to produce the correct ically, one element controls agreement on a later-occurring one. Because the agreeing ele-form of the dependent or controlled element.

found that form-primes (e.g., contrast-CONTRA CT) were effective only with masked primes. C. Veres (1986) obtained the same effect for word primes but found that nonword primes (e.g., controct) were effective regardless of masking. In a lexical-decision task, the present study failed to find any priming with word primes but only when the nonword distractors were very close to a particular word (e.g., UNIVORSE). With more distant nonword distractors (e.g., ANIVORSE), priming with word primes was restored in the masked condition. In terms of an entry-opening model of priming, this effect was interpreted as a blocking of priming by a postaccess checking operation. Alternatively, in an interactive activation model, this effect could be modeled either by decreasing the strength of lexical competition or by changing the decision criterion from local to global activation. Many recent investigations into the processes of visual word recognition have used a priming paradigm in which the relationship between the prime and the target is one of similarity of form rather than meaning

Heider and Simmel . An experimental study of apparent behavior. American Journal of Psychology 57, 243-259] found that people spontaneously describe depictions of simple moving objects in terms of purposeful and intentional action. Not all intentional beings are objects, however, and people often attribute purposeful activity to non-object individuals such as countries, basketball teams, and families. This raises the question of whether the same effect found by Heider and Simmel would hold for non-object individuals such as groups. We replicate and extend the original study, using both objects and groups as stimuli, and introducing two control conditions with groups that are not engaged in structured movement. We found that under the condition that best promoted the attribution of intentionality, moving groups are viewed as purposeful and goal-directed entities to the same extent that moving objects are. These results suggest that the psychological distinction between the notion of 'intentional entity' and the notion of 'object' can be found even in the perception of moving geometrical figures. (P. Bloom) B3 P. Bloom, C. Veres / Cognition 71 (1999) B1-B9 B7 P. Bloom, C. Veres / Cognition 71 (1999) B1-B9

Folksonomies are classication schemes that emerge from the collective actions of users who tag resources with an unrestricted set of key terms. There has been a urry of activity in this domain recently with a number of high prole web sites and search engines adopting the practice. They have sparked a great deal of excitement and debate in the popular and technical literature, accompanied by a number of analyses of the statistical properties of tagging behavior. However, none has addressed the deep nature of folksonomies. What is the nature of a tag? Where does it come from? How is it related to a resource? In this paper we present a study in which the linguistic properties of folksonomies reveal them to contain, on the one hand, tags that are similar to standard categories in taxonomies. But on the other hand, they contain additional tags to describe class properties. The implications of the ndings for the relationship between folksonomy and ontology are discussed.

There have been a growing number of publications suggesting that philosophical ontologies will define a rigorous basis for conceptual modelling, particularly for data modelling methods and notations. An examination of an underlying psychological assumption of the conceptual modelling process is used to show that philosophical ontologies are being used as a 'telescope' to view the products of yet another 'telescope' and this undermines their reliability by being too far removed from the actual modelling process. An ontology of conceptual structure, derived through linguistic analysis provides a psychologically realistic alternative to the philosophical ontologies that is as close to its mental interpretation as possible and is a more promising approach to understanding the modelling process.

Data modeling for Web Applications needs to be guided not only by the specific requirements of a particular application, but also by the goal of maximizing interoperability between systems. This necessitates the adoption of widely accepted design methods and a set of rich, theoretically motivated principles for organizing data in ontologies. This paper presents one set of such principles. It is based on the observation that current ontologies emphasize the abstraction mechanism of generalization but ignore the various forms of aggregation. We explore possible techniques for modeling aggregation with OWL, investigate the semantics of aggregation, and consider the merits of aggregation over generalization for modeling knowledge in particular situations.

A number of technologies are mentioned under the rubric of "The Semantic Web", but good overviews of these technologies with an eye toward practical applications are scarce. Moreover, much of the early focus in this field has been on the development of representation languages for static conceptual information, while there has been less emphasis on how to make semantic web applications practically useful in the context of knowledge work. To achieve this, a better coupling is needed between ontology, service descriptions and workflow modeling. This paper reviews all the basic technologies involved in this, and outlines what can be achieved by merging them in the context of real world workflow descriptions.

WordNet is an electronic lexical database structured around psychological and linguistic principles. As such, it should play a part in any eort to integrate cognitive factors into knowledge based systems. Yet, some of its basic assumptions have been attacked, and the suggestion made that a major restructuring would make it more cognitively transparent. We investigate these allegations from a psycholinguistic perspective and conclude that WordNet is in fact rigorous in terms of the cognitive principles it embodies. What is lacking is a methodology for translating the explicit and implicit knowledge in WordNet into a usable, formal ontologies. We show some ways in which WordNet should be extended to facilitate this process. We agree that WordNet is not in itself ready for use as a formal ontology, but we argue that it is an invaluable tool for describing the conceptualized structure of our world, and should be used as a fundamental resource.

This paper discusses the concept 'metadata', and shows its importance in information collection and dissemination activities. We also show that the information management components of maritime patrol and response mandate the effective use of metadata. We then propose an approach based on Semantic Technologies including the Resource Description Framework (RDF) and Upper Ontologies, for the implementation of metadata based dissemination services for AIR 7000. A preliminary architecture is proposed. While the architecture is not yet operational, it highlights the challenges that need to be overcome in any solution to the information management tasks of AIR 7000, and provides a possible form for the solution.