4,156 research outputs found

    Mobile heritage practices. Implications for scholarly research, user experience design, and evaluation methods using mobile apps.

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    Mobile heritage apps have become one of the most popular means for audience engagement and curation of museum collections and heritage contexts. This raises practical and ethical questions for both researchers and practitioners, such as: what kind of audience engagement can be built using mobile apps? what are the current approaches? how can audience engagement with these experience be evaluated? how can those experiences be made more resilient, and in turn sustainable? In this thesis I explore experience design scholarships together with personal professional insights to analyse digital heritage practices with a view to accelerating thinking about and critique of mobile apps in particular. As a result, the chapters that follow here look at the evolution of digital heritage practices, examining the cultural, societal, and technological contexts in which mobile heritage apps are developed by the creative media industry, the academic institutions, and how these forces are shaping the user experience design methods. Drawing from studies in digital (critical) heritage, Human-Computer Interaction (HCI), and design thinking, this thesis provides a critical analysis of the development and use of mobile practices for the heritage. Furthermore, through an empirical and embedded approach to research, the thesis also presents auto-ethnographic case studies in order to show evidence that mobile experiences conceptualised by more organic design approaches, can result in more resilient and sustainable heritage practices. By doing so, this thesis encourages a renewed understanding of the pivotal role of these practices in the broader sociocultural, political and environmental changes.AHRC REAC

    Southern Adventist University Undergraduate Catalog 2023-2024

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    Southern Adventist University\u27s undergraduate catalog for the academic year 2023-2024.https://knowledge.e.southern.edu/undergrad_catalog/1123/thumbnail.jp

    Planetary Hinterlands:Extraction, Abandonment and Care

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    This open access book considers the concept of the hinterland as a crucial tool for understanding the global and planetary present as a time defined by the lasting legacies of colonialism, increasing labor precarity under late capitalist regimes, and looming climate disasters. Traditionally seen to serve a (colonial) port or market town, the hinterland here becomes a lens to attend to the times and spaces shaped and experienced across the received categories of the urban, rural, wilderness or nature. In straddling these categories, the concept of the hinterland foregrounds the human and more-than-human lively processes and forms of care that go on even in sites defined by capitalist extraction and political abandonment. Bringing together scholars from the humanities and social sciences, the book rethinks hinterland materialities, affectivities, and ecologies across places and cultural imaginations, Global North and South, urban and rural, and land and water

    Experience, evidence and what counts in UK music therapy – an arts-based autoethnographic study

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    The field of music therapy is not bland: therapists train because of deep belief in the dignity of people and the power of music; participants begin therapy because something significantly challenging is present in their lives; fundraisers share stories which are painful, life affirming, uncomfortable; receptionists juggle quiet spaces with loud spaces with stimulation without sensory triggers; carers listen, absorb, give and give some more, often beyond the limits of their energy. And pulse and meter and melody and dynamics and bodies and voices and wood and skin and metal are the raw materials.However, it might be argued that the search for evidence in music therapy has led to something akin to a parallel reality, - one in which measured, analytical reporting of certain aspects of the work is shared, often in official documents. The vital, sensory, embodied, relational experience which is music making, and which lies at the heart of the therapy is rendered in careful and dispassionate text. There are good reasons for this, and for the steady growth of ‘evidence-based practice’, which lie in the history of the profession and its search for validation. Yet the evidence which is shared in these texts has tended to become increasingly disconnected from many features of the musical therapeutic encounter that music therapists value.In this study, conceived from a critical realist perspective, I ask ‘what is experience in music therapy’, ‘what is evidence in music therapy’, ‘are evidence and experience in fact the same thing, or could they be’? I look at my own experiences, and evidencing of these experiences, gained across 24 years of working as a music therapist. In so doing, I find I cannot maintain a single role or persona. Unexpectedly, in the course of this reflexive exploration, four Roles arrive noisily and will not go away (Music Therapist, Researcher, Musician and Carer). They debate, argue and probe at the heart of what counts, and at the cultures of music therapy which systematise and perpetuate what counts. They consider the turn to evidence-based practice in music therapy and ask ‘what is the evidence of’, and ‘does this make sense to insiders, outsiders, either, both’?This multivocal, dialogical approach allows me to adopt the different positions taken by each of the four Roles as they ask ‘does this make sense to me’, and to advocate for culture change in both music therapy and academia. It resonates with the focus of this research – experience, evidence and what counts in music therapy, and invites various different methodological approaches - autoethnography, arts-based research, phenomenology, and Aesthetic Critical Realism which is introduced to the field of music therapy for the first time. A complex web of different kinds of experience and evidence emerges through poems, stories, vignettes, images and mobile making and results in a concept of four phases of experience, leads to defined categories of different kinds of experience, and to the proposition that in music therapy, experience is evidence of personhood.The thesis is relational: those engaging with it are part of the network of experiences in the field of music therapy, because I conceptualise this field as including all musical, logistical, contractual, academic, public and informal encounters of all stakeholders, from participants to next-door neighbours. Because you are engaging with this thesis, I regard you as a Collaborator, but it is not necessary for you to be familiar with the field. Thank you for your involvement

    2023-2024 Catalog

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    The 2023-2024 Governors State University Undergraduate and Graduate Catalog is a comprehensive listing of current information regarding:Degree RequirementsCourse OfferingsUndergraduate and Graduate Rules and Regulation

    Introduction to Psychology

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    Introduction to Psychology is a modified version of Psychology 2e - OpenStax

    Subjective Excess: Aesthetics, Character, and Non-Normative Perspectives in Serial Television After 2000

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    This dissertation aims to fill gaps in contemporary television scholarship with regards to aesthetics and character subjectivity. By analyzing eight series that have all aired after 2000, there is a marked trend in series that use an excessive visual and aural style to not only differentiate themselves from other programming, but also to explore non-normative perspectives. Now more willing to explore previously taboo topics such as mental health, addiction, illness, and trauma, the shows featured in this dissertation show how a seemingly excessive televisual aesthetic works with television’s seriality to create narrative complexity and generate character development. Chapters are arranged by mode of production with the first chapter focusing on the series Grey’s Anatomy and Hannibal as a means of exploring the production and distribution practices surrounding network TV. The second chapter examines the basic cable series Crazy Ex-Girlfriend and Legion and posits how the narrowcasting of cable allows for more nuanced character representations through aesthetics. In the third chapter, the impact HBO has had on the television medium is explored through Carnivàle and Euphoria. The final chapter looks at contemporary series The Boys and Unbreakable Kimmy Schmidt as a way to better understand how the medium’s production and distribution has shifted during the convergence era. Ultimately, this dissertation will argue that in addition to further explorations of aesthetics, television studies is in need of a medium specific vernacular for creating meaningful textual analyses that avoid an overreliance on cinematic terminology
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