Teacher and Administrator Perceptions of Administrative Responsibilities for Implementing the Jacobs Model of Curriculum Mapping

The problem that compelled this study is one faced by districts across the nation, which is the alignment of district curriculum with state standards and assessments. The Jacobs model of curriculum mapping was developed to address these alignment issues. The Jacobs model represents a large scale change initiative, and large scale reforms may be unsustainable if leaders misunderstand the magnitude of change and its impact on leadership. The purpose of this multiple case study was to explore administrator and teacher perceptions of administrative responsibilities for implementing the Jacobs model of curriculum mapping in a rural Midwestern school and how administrative leadership impacted teacher perceptions of sustainability. The conceptual framework for this study was based on change theories in relation to the work of Fullan and Senge. Data were collected from multiple sources, including interviews with 25 teachers at the elementary, middle, and high school levels and 5 administrators at all instructional levels. Archival documents and artifacts from 5 school years were also collected. Single case data was inductively analyzed and coded into 3 frames of analysis, and a cross case analysis of patterns, relationships, and themes was conducted. The findings of this study identified leadership challenges that impeded sustainability. Results suggest that for large scale reform to be successful, leaders need to identify and address potential change barriers and assume non-traditional leadership roles and responsibilities. Implications for positive social change include raised teacher awareness about the need for curricular alignment with state standards and the importance of horizontal, vertical, and lateral collaboration to address curricular gaps and redundancies in order to improve student learning

Personality and Emotion for Virtual Characters in Strong-Story Narrative Planning

Interactive virtual worlds provide an immersive and effective environment for training, education, and entertainment purposes. Virtual characters are an essential part of every interactive narrative. The interaction of rich virtual characters can produce interesting narratives and enhance user experience in virtual environments. I propose models of personality and emotion that are highly domain independent and integrate those models into multi-agent strong-story narrative planning systems. I demonstrate the value of the strong-story properties of the model by generating story conflicts intelligently. My models of emotion and personality enable the narrative generation system to create more opportunities for players to resolve conflicts using certain behavior types. In doing so, the author can encourage the player to adopt and exhibit those behaviors. I conduct multiple human subject and case studies to evaluate these models and show that they enable generating a larger number of stories and character behavior that is preferred and more believable to a human audience

The Gamification Inventory : an Instrument for the Qualitative Evaluation of Gamification and its Application to Learning Management Systems

Gamification has risen meteorically in popularity since the beginning of the decade, both in practitioner circles and among researchers. We show that empirical results of gamificationa s effects do not match the hype around it as studies have largely failed to prove any effects. We posit that a proper evaluation of gamification requires an understanding of how gamification can be expressed in real-world applications and employ Wittgensteinian family resemblances as a basis for such a definition. We have collected a set of properties that gamified applications can have through the analysis of goals and means of gamification mentioned in the literature and through an expert survey. We then used those results to create the Gamification Inventory, an instrument for the qualitative assessment of gamification in a given system. We have tested the instrument with a set of evaluators in the field of learning management systems (LMSs), informing both a refinement of the instrument and the preparation of an experiment with the intent of testing the effectiveness of common forms of gamification. The analysis of these LMSs led to results very similar to what our analysis of previous empirical studies in gamification, and especially gamification in education, have shown: most gamification is concentrated on using points, badges, levels and leaderboards as game design elements. We argue that a large-scale, long-term experiment with a proper factorial design is needed to evaluate the effectiveness of gamification and have prepared such a study. Having identified points and badges as two major elements to be tested, we developed an extension to a competency grid add-on for the LMS Moodle that allows for a 2x2 factorial design of using points and badges. The system is designed for large-scale distribution among schools using the competency grid in Moodle, with minimal invasiveness in mind. We briefly discuss the challenges that come with such large-scale experiments, especially in German schools. As a result, we present a new, tested, and refined instrument for the qualitative assessment of gamification in a given system, an overview over gamification as it is being used in the most popular LMSs, and an experimental setup to test the effectiveness of points and badges in schools, using custom add-ons to the competency grid for Moodle and to the corresponding mobile application

Emotion and Stress Recognition Related Sensors and Machine Learning Technologies

This book includes impactful chapters which present scientific concepts, frameworks, architectures and ideas on sensing technologies and machine learning techniques. These are relevant in tackling the following challenges: (i) the field readiness and use of intrusive sensor systems and devices for capturing biosignals, including EEG sensor systems, ECG sensor systems and electrodermal activity sensor systems; (ii) the quality assessment and management of sensor data; (iii) data preprocessing, noise filtering and calibration concepts for biosignals; (iv) the field readiness and use of nonintrusive sensor technologies, including visual sensors, acoustic sensors, vibration sensors and piezoelectric sensors; (v) emotion recognition using mobile phones and smartwatches; (vi) body area sensor networks for emotion and stress studies; (vii) the use of experimental datasets in emotion recognition, including dataset generation principles and concepts, quality insurance and emotion elicitation material and concepts; (viii) machine learning techniques for robust emotion recognition, including graphical models, neural network methods, deep learning methods, statistical learning and multivariate empirical mode decomposition; (ix) subject-independent emotion and stress recognition concepts and systems, including facial expression-based systems, speech-based systems, EEG-based systems, ECG-based systems, electrodermal activity-based systems, multimodal recognition systems and sensor fusion concepts and (x) emotion and stress estimation and forecasting from a nonlinear dynamical system perspective

Mathematics that arises from collaborative gameplay in The Sims 3

Mathematics emerges and is used in out-of-school settings, such as workplace settings and everyday activities. An activity that many children enjoy doing in their everyday lives is playing digital games for entertainment. However, research exploring mathematics that emerges during children’s gameplay in out-of-school settings is limited. This study aims to shed light to this field of research by exploring mathematics that arises in collaborative gameplay in The Sims 3, which is a real-life simulation commercial digital game that allows players to edit a domestic onscreen environment, in out-of-school settings and without a teacher’s intervention. Following a constructionist epistemology and a socio-cultural theoretical framework that views context as paramount, the research design of this study is ‘embedded multiple case study’, with activity being the unit of analysis. This study followed eight 8-12 year-old children who, in pairs, were asked to do two open tasks which are considered integral to this digital game’s gameplay. First, they were asked to build, furnish and decorate a house without budget constraints and then a house for a selected Sims family with a budget constraint. The four groups’ onscreen gameplay activity and talk was recorded using screen recording software; analysis focused on players’ goal-directed actions and discourse during gameplay. This study argues that players underwent an instrumental genesis during gameplay and that: i. mathematics that arose in players’ gameplay activity was ‘blended’ with players’ everyday prior understandings and the game’s virtual artefacts and rules which they used as resources, ii. mathematical thinking in this game lies in players mathematicising relationships which are hidden in the game’s virtual artefacts and become mobilised during gameplay, iii. the constrained gameplay influenced players’ mathematical thinking as players experienced unexpected situations which required them to use their mathematical prior understandings and Mercer’s exploratory type of talk

The Constructivistly-Organised Dimensional-Appraisal (CODA) Model and Evidence for the Role of Goal-directed Processes in Emotional Episodes Induced by Music

The study of affective responses to music is a flourishing field. Advancements in the study of this phenomena have been complemented by the introduction of several music-specific models of emotion, with two of the most well-cited ones being the BRECVEMA and the Multifactorial Process Model. These two models have undoubtedly contributed to the field. However, contemporary developments in the wider affective sciences (broadly described as the ‘rise of affectivism’) have yet to be incorporated into the music emotion literature. These developments in the affective sciences may aid in addressing remaining gaps in the music literature, in particular for acknowledging individual and contextual differences. The first aim of this thesis was to outline contemporary theories from the wider affective sciences and subsequently critique current popular models of musical emotions through the lens of these advancements. The second aim was to propose a new model based on this critique: the Constructivistly-Organised Dimensional-Appraisal (CODA) model. This CODA model draws together multiple competing models into a single framework centralised around goal-directed appraisal mechanisms which are key to the wider affective sciences but are a less commonly acknowledged component of musical affect. The third aim was to empirically test some of the core hypotheses of the CODA model. In particular, examining goal-directed mechanisms, their validity in a musical context, and their ability to address individual and contextual differences in musically induced affect. Across four experiments which include exploratory and lab-based designs through to real- world applications, the results are supportive of the role of goal-directed mechanisms in musically induced emotional episodes. Experiment one presents a first test battery of multiple appraisal dimensions developed for music. The results show that several of the hypothesised appraisal dimensions are valid dimensions is a musical context. Moreover, these mechanisms cluster into goal-directed latent variables. Experiment two develops a new set of stimuli annotations relating to musical goals, showing that music can be more or less appropriate for different musical goals (functions). Experiment three, using the new stimuli set from experiment two, tests the effects of different goals with more or less appropriate music on musically induced affect. These results show that goal-directed mechanisms can change induced core-affect (valence and arousal) and intensity, even for the same piece of music. Experiment four extends the study of goal-directed mechanisms into a real-world context through an interdisciplinary and cross-cultural design. The final experiment demonstrates how goal-directed mechanisms can be manipulated through different algorithms to induce negative affect in a Colombian population. The main conclusions of this thesis are that the CODA model, more specifically goal-directed mechanisms, provide a valuable, non-reductive, and more efficient approach to addressing individual and contextual differences for musically induced emotional episodes in the new era of affectivism

Traces of emergence: an ontological unification of perception, artefact, and process

Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good.Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good