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* “Chó bò” is the approximate Vietnamese homonym for “trouble.” Bluntly translated, “chó~bò” is a “dog~cow” or “dog~crawl.” This absurdist linguistic joke for many Vietnamese people learning English represents a capacity to make trouble. This PhD thesis comprises original research and artistic work made with my family. As people from the Vietnamese diaspora, our experiences are formed by dispersals and estrangements as settler-colonists in Australia. Our daily encounters in the realms that this thesis is focused – contemporary art, academia, and family enterprise, are folded into distinct systems of colonial power and violence. I often make work with my family in video-performance and the documentary medium. Our inter-generational, political, and language differences add to the conceptual complexity of what it means to collaborate, make art, produce archives, and confront our position as recent settler-colonisers in Australia. This thesis aims to address how our artistic collaborations utilise linguistic and archival approaches to articulate the systemic racism we encounter as people from a refugee background, but who are also embedded in the colonial infrastructures of our new home. Aligning with thinkers including Gloria Anzaldúa and her critique of coloniality, to Gayatri Chakravorty Spivak and Hito Steyerl on minoritarian forms of translation, and Sara Ahmed on racism in the university - this thesis describes how collaborations with my family can trouble the contradictions of colonial power enacted on our human relationships. Reconnecting with individual members of my family through art, I have gained a better understanding of my language and culture, as well as finding important artistic and political connection to my peers. Collaborating with my family has forced me to rub against the researcher-participant/research subject binary, the archival visibility of being invisible, the rhetoric of institutional inclusion, and the weight of being displaced and displacing colonisers on this continent. The work we have produced together methodologically uncovers and critiques the opaque confrontations of institutional power, racism, and colonial violence embedded in the everyday. As a family, we continue to make uncomfortable pronunciations like “chó bò,” producing the epistemic trouble needed to face the colonial realities of our resettlement. ARTWORK WEBSITE: https://chobotrouble.com/

International audience; Reading while listening to texts (RWL) is a promising way to improve the learning benefits provided by a reading experience. In an exploratory study, we investigated the effect of synchronizing the highlighting of words (visual) with their auditory (speech) counterpart during a RWL task. Forty French children from 3rd to 5th grade read short stories in their native language while hearing the story spoken by a narrator. In the non-synchronized (S-) condition the text was written in black on a white background, whereas in the synchronized (S+) RWL, the text was written in grey and the words were dynamically written in black when they were aurally displayed, in a karaoke-like fashion. The children were then unexpectedly tested on their memory for the orthographic form and semantic category of pseudowords that were included in the stories. The effect of synchronizing was null in the orthographic task and negative in the semantic task. Children’s preference was mainly for the S- condition, except for the poorest readers who tended to prefer the S+ condition. In addition, the children's eye movements were recorded during reading. Gaze was affected by synchronization, with fewer but longer fixations on words, and fewer regressive saccades in the S+ condition compared to the S- condition. Thus, the S+ condition presumably captured the children's attention toward the currently heard word, which forced the children to be strictly aligned with the oral modality.

El TFM se basa en el diseño y creación de una interfaz de una aplicación web de karaoke, mediante la cual el usuario tenga la oportunidad de mejorar su experiencia a la hora de realizar esta actividad de entretenimiento. Esto se logrará mediante un diseño atractivo, unificado (patrones de diseño), accesible e intuitivo del producto (aplicación web), donde la usabilidad juega un papel relevante para lograr una plena interacción por parte del usuario (satisfacción de uso). El resultado final debe ser un producto fácil de aprender y familiar para el usuario, además para potenciar esta familiaridad también debemos ser coherentes en el uso de guías de estilo y de estándares de look and feel (Gil, Tatjer, & Monjo, 2009). Luego de concluir las fases del trabajo, es válido mencionar que diseñar una interfaz de usuario no puede ser un trabajo tomado a la ligera, es indispensable tomar como referente al usuario para cada decisión. Entender cómo se enfrentaría a la hora de interactuar con un interfaz, que además de resultarle muy intuitiva, visualmente le invite a navegar por medio de una experiencia placentera. The TFM is based on the design and creation of an interface of a karaoke web application, through which the user has the opportunity to improve their experience when performing this entertainment activity. This will be achieved through an attractive design, unified (design patterns), accessible and intuitive of the product (web application), where usability plays a relevant role to achieve full interaction by the user (user satisfaction). The final result should be an easy product to learn and familiar to the user, in addition to enhancing this familiarity, as well as being coherent in the use of style and appearance guides (Gil, Tatjer, & Monjo, 2009). After concluding the phases of the work, it is valid to mention that designing a user interface can not be a job taken lightly, it is essential to take the user as a reference for each decision. Understand how you would face when interacting with an interface, which in addition to being very intuitive, visually invites you to navigate through a pleasant experience. El TFM es basa en el disseny i creació d'una interfície d'una aplicació web de karaoke, mitjançant la qual l'usuari tingui l'oportunitat de millorar la seva experiència a l'hora de realitzar aquesta activitat d'entreteniment. Això s'aconseguirà mitjançant un disseny atractiu, unificat (patrons de disseny), accessible i intuïtiu del producte (aplicació web), on la usabilitat juga un paper rellevant per a assolir una plena interacció per part de l'usuari (satisfacció d'ús). El resultat final ha de ser un producte fàcil d'aprendre i familiar per a l'usuari, a més per potenciar aquesta familiaritat també hem de ser coherents en l'ús de guies d'estil i d'estàndards de look and feel (Gil, Tatjer, & Monjo, 2009). Després de concloure les fases del treball, és vàlid esmentar que dissenyar una interfície d'usuari no pot ser un treball pres a la lleugera, és indispensable prendre com a referent a l'usuari per a cada decisió. Entendre com s'enfrontaria a l'hora d'interactuar amb una interfície, que a més de resultar-li molt intuïtiva, visualment el convidi a navegar per mitjà d'una experiència plaent.

Karaoke is an exciting pastime in many cultures. Karaoke singers are expected to sing along melodies of songs and keep up with the lyrics that run at the bottom of the monitor. In this sense, it involves both linguistic processing and language articulation, and thus offers itself for potential use in foreign language classrooms. However, there appears to be a shortage of examination of Karaoke for useful classroom use. This paper will therefore firstly introduce karaoke as a possible classroom activity followed by a description of some technical equipment required. The paper will then explore some potentials and principles that may inform the language teachers of different ways of implementing karaoke in the language classroom.

1. Introduction1.1. The Origins of KaraokeThe word karaoke comes from the Japanese language and it means singing without a live orchestra. In karaoke, the performer gives his/her energy and expresses his/her feelings through singing before a peer group audience or in a public situation (Fung, 2009). Karaoke is sung with a recorded background while the text is shown on a TV or video screen. The phenomenon is rather recent: It started to spread from Japan all over the world in the early 1970s. It reached Finland in about 1991 (Ritosalmi, 1993, 13). In karaoke, each singer is a performing artist for a moment, which may explain its popularity. Typically karaoke is sung in pubs or restaurants, in centres of cities, in suburbs and villages, at holiday destinations and on cruise ships, and increasingly at home using personal equipment. The required equipment includes a DVD player and sound reproduction equipment which are connected to a TV set. In restaurants, singing is guided by a karaoke host or hostess, who invites the singers to the stage one by one. He/she also takes care of the mixing of the music and singing, and the equipment also allows transposing the key to a higher or lower octave. Karaoke can also be sung in a car. In 2003 a Chinese car manufacturer added karaoke equipment to one of its models. In Finland there are karaoke taxis. The idea came from Japan, where karaoke is seen as one of the most significant cultural hobbies.In Finland karaoke has been a commercial success since the beginning, including audience karaoke in restaurants, home karaoke and karaoke programmes on TV (Kenttamies, 1993, 3). Television programmes can be divided into those that emphasise singing and those that focus on the recollection of words. Karaoke is also similar to the type of singing that is done in the Idol singing competitions where background music is heard from recordings although the lyrics are not displayed. Apparently karaoke singing expresses the Finnish soul landscape well in many ways (Helin & Westerlund, 2007). All around the world mobile karaoke, Internet and virtual karaoke continue to rapidly spread (Sul, Lee & Wong, 1998).In addition to singing karaoke using DVDs, a person can also sing it using computer games. The most famous computer game is SingStar from 2004. It compares the level of the singer's voice to the right melody and scores the achievement. The game also allows people to sing a duet. In addition, there is a version for the PC, called UltraStar and the same idea is used in an online version called KaraokeParty (from 2008). All these games have many Finnish songs available. The most famous are Finnkaraoke, Power and Melplay. The expansion of supply together with lowered prices, have made home karaoke more popular, especially since the beginning of the new millennium. Since karaoke came to Finland, the restaurant audience has moved from sing-along to solo singing. The sing-along evenings were very popular in the 1970s and even in the 2000s; the popular television programme, Tammerkosken sillalla is one example.1.2. Karaoke competitionsIn karaoke there are many different levels and styles of competition. The most common are solo competitions, but pair- and group-singing karaoke competitions also exist. Local competitions are popular, but since 1990 there have been Finnish championships in karaoke competitions. Some of the Finnish pop artists of today have participated in these competitions. In 2003, Finland began to arrange annual Karaoke World Championship competitions. The prizes are not exceptional, but the joy of singing and being together has been stated to be an important factor in their popularity. In 2011 Finnish competitors won both the Men's and Women's series in this competition which took place in Moscow. Some successful karaoke competitors have been able to launch real careers as artists, but more likely they are quite soon forgotten.1.3. BandokeThe model of karaoke has also been used in a version for musicians, called bandoke. …

This paper contributes to the growing body of ethnomusicological research about music-making on small islands, focusing on the remote South Korean island of Ulleungdo (literally, ‘Mysterious Island’). Historically, a number of factors have conspired to present serious obstacles to the Ulleungdo islanders' musical aspirations. However, since the early 1990s, enterprising amateurs have managed to generate and maintain a variety of musical activities in spite of these obstacles: church ensembles, karaoke, saxophone clubs, and more. Paralleling other island music studies, this paper seeks to show how the condition of being an Ulleungdo islander—entailing a complex of varied experiences, values, and relationships—has informed music-making over the years. However, here, the discussion remains firmly focused upon the islanders' use of technology since an acute reliance on technology has come to permeate Ulleungdo's musical life, with certain electronic devices commonly regarded as essential facilitators of musical expression. Drawing from the islanders' own testimonies, studies of Ulleungdo's cultural history, and works addressing technology's applications within and effects upon local communities, the authors explore how and why this condition of musical techno-reliance developed, how it is manifest in the present-day, and its broader implications for the island's music culture and identity.

Journal of Information Science and Technology, 4, 1, 27-38