Guide on the Side and LibWizard Tutorials side-by-side: How do the two platforms for split-screen online tutorials compare?

Split-screen tutorials are an appealing and effective way for libraries to create online learning objects where learners interact with real-time web content. Many libraries are using the University of Arizona’s award-winning, open source platform, Guide on the Side; in 2016, Springshare released a proprietary alternative, LibWizard Tutorials. This article reviews the advantages and limitations of this kind of tutorial. It also examines the differences between each platform’s distinctive characteristics. These platforms create similar split-screen tutorials, but have differences that affect diverse aspects of installation, administration, authoring and editing, student learning, data management, and accessibility. Libraries now have the opportunity to consider and compare alternative platforms and decide which one is best suited to their needs, priorities and resources

Direct Manipulation-like Tools for Designing Intelligent Virtual Agents

If intelligent virtual agents are to become widely adopted it is vital that they can be designed using the user friendly graphical tools that are used in other areas of graphics. However, extending this sort of tool to autonomous, interactive behaviour, an area with more in common with artificial intelligence, is not trivial. This paper discusses the issues involved in creating user-friendly design tools for IVAs and proposes an extension of the direct manipulation methodology to IVAs. It also presents an initial implementation of this methodology

Come to Daddy? Claiming Chris Cunningham for British Art Cinema

Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism

Description and Experience of the Clinical Testbeds

This deliverable describes the up-to-date technical environment at three clinical testbed demonstrator sites of the 6WINIT Project, including the adapted clinical applications, project components and network transition technologies in use at these sites after 18 months of the Project. It also provides an interim description of early experiences with deployment and usage of these applications, components and technologies, and their clinical service impact

Spartan Daily, March 7, 1966

Volume 53, Issue 80https://scholarworks.sjsu.edu/spartandaily/4826/thumbnail.jp

Spartan Daily, March 7, 1966

Volume 53, Issue 80https://scholarworks.sjsu.edu/spartandaily/4826/thumbnail.jp

Spartan Daily, March 7, 1966

Volume 53, Issue 80https://scholarworks.sjsu.edu/spartandaily/4826/thumbnail.jp

Gaming the heart of darkness

The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and has been published as a novella in 1902. Since then the story has been criticised for racism by Nigerian writer Chinua Achebe (1975) and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now (1979), influencing computer games such as Far Cry 2 (2008) and Spec Ops: The Line (2012). In examining the adaptations of Heart of Darkness we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives