31,612 research outputs found
Standardised library instruction assessment: an institution-specific approach
Introduction We explore the use of a psychometric model for locally-relevant, information literacy assessment, using an online tool for standardised assessment of student learning during discipline-based library instruction sessions.
Method A quantitative approach to data collection and analysis was used, employing standardised multiple-choice survey questions followed by individual, cognitive interviews with undergraduate students. The assessment tool was administered to five general education psychology classes during library instruction sessions.
AnalysisDescriptive statistics were generated by the assessment tool. Results. The assessment tool proved a feasible means of measuring student learning. While student scores improved on every survey question, there was uneven improvement from pre-test to post-test for different questions.
Conclusion Student scores showed more improvement for some learning outcomes over others, thus, spending time on fewer concepts during instruction sessions would enable more reliable evaluation of student learning. We recommend using digital learning objects that address basic research skills to enhance library instruction programmes. Future studies will explore different applications of the assessment tool, provide more detailed statistical analysis of the data and shed additional light on the significance of overall scores
Between Philosophy and Art
Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artistsâ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of artâs meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposiumâs achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction
Wanna Play? Dries Verhoeven and the Limits of Non-Professional Performance
In October 2014, Berlinâs Hebbel am Ufer (HAU)âone of Germanyâs most influential performance venues, programming and often co-producing work by artists such as Rimini Protokoll, JeÌroÌme Bel, Meg Stuart and Gob Squadâopened its new season with a festival called Treffpunkte (meeting points).1 Conceptually, the month-long festival was located at the intersection of some of the major trends in contemporary Western theatre and performance, particularly the interest âin curating intimacy in publicâ (Walsh 2014: 57; Read 2008), the renegotiation of theatreâs place in the public sphere (Balme 2014; Haedicke 2013) and the relation of socially engaged performance, in the broadest sense, to late global capitalism (Jackson 2011; Harvie 2013). Its explicit aim was to explore, through the means of performance, âthe status of the private in the public sphereâ (den Status des Privaten in der oÌffentlichen SphaÌre) and to find out whether âintimacyâ (IntimitaÌt)âequated with an authentic âcommunication between peopleâ (Kommunikation zwischen Menschen)âwas still possible âin an age where the public space has been entirely pervaded by market conformityâ (im Zeitalter der totalen Durchdringung des oÌffentlichen Raumes durch das MarktfoÌrmige) (Vanackere 2014: 2).
Ars Informatica -- Ars Electronica: Improving Sonification Aesthetics
In this paper we discuss ĂŠsthetic issues of sonifications. We posit that many sonifications have suffered from poor acoustic ecology which makes listening more difficult, thereby resulting in poorer data extraction and inference on the part of the listener. Lessons are drawn from the electro acoustic music community as we argue that it is not instructive to distinguish between sonifications and music/sound art. Edgar Var`ese defined music as organised sound and sonifications organise sound to reflect some aspect of the thing being sonified. Therefore, we propose
that sonification designers can improve the communicative ability of their auditory displays by paying attention to the ĂŠsthetic issues that are well known to composers, orchestrators, sound designers & artists, and recording engineers
Sensory augmentation and the tactile sublime
This paper responds to recent developments in the field of sensory augmentation by analysing several technological devices that augment the sensory apparatus using the tactile sense. First, I will define the term sensory augmentation, as the use of technological modification to enhance the sensory apparatus, and elaborate on the preconditions for successful tactile sensory augmentation. These are the adaptability of the brain to unfamiliar sensory input and the specific qualities of the skin lending themselves to be used for the perception of additional sensory information. Two devices, Moon Ribasâ Seismic Sense and David Eaglemanâs vest, will then be discussed as potential facilitators of aesthetic experiences in virtue of the tactile sensory augmentation that these devices allow. I will connect the experiences afforded by these devices to the Kantian categories of the mathematical and the dynamical sublime, and to existing accounts of tactile sublimity. Essentially, the objects these devices make sensible, earthquakes for the Seismic Sense and digital information for the vest, produce pleasurable feelings of potential danger, awe, and respect. The subsequent acclimation to this new way of sensing and the aim to comprehend its sensed object are then discussed as possible objections to the interpretation of these experiences as sublime, and as aesthetic in general. To exemplify these issues and concretise my thesis of tactile sensory augmentation as a trigger of the sublime, I will outline an experiment to use the vest as an aid for faster decision making on the stock market
Set theory ontology as an approach to gamingâs composite form
This paper will explore the possibilities that mathematical set theory has to offer the scholarly study of videogames. Videogames are highly heterogeneous objects of study, comprising what Linderoth (2015) has called a âcomposite formâ: complex arrangements of material, symbolic and computational capacities. This composite is becoming ever-more heterogeneous, ârecruitingâ increasingly volatile bodies and relations as computing resources are newly distributed throughout both built and natural environments to create locative, alternate and virtual realities that have been used by designers in various ways (Pokemon Go being only one example)
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