3,849 research outputs found
Course Catalog, 1995-1997
Course Catalogs include available majors, course requirements, costs, pictures, a brief institution history, and more.https://digitalcommons.kean.edu/ua_kc_cc/1022/thumbnail.jp
Course Catalog, 1992-1994
Course Catalogs include available majors, course requirements, costs, pictures, a brief institution history, and more.https://digitalcommons.kean.edu/ua_kc_cc/1021/thumbnail.jp
Course Catalog, 1986-1988
Course Catalogs include available majors, course requirements, costs, pictures, a brief institution history, and more.https://digitalcommons.kean.edu/ua_kc_cc/1019/thumbnail.jp
A voyage to Mars: A challenge to collaboration between man and machines
A speech addressing the design of man machine systems for exploration of space beyond Earth orbit from the human factors perspective is presented. Concerns relative to the design of automated and intelligent systems for the NASA Space Exploration Initiative (SEI) missions are largely based on experiences with integrating humans and comparable systems in aviation. The history, present status, and future prospect, of human factors in machine design are discussed in relation to a manned voyage to Mars. Three different cases for design philosophy are presented. The use of simulation is discussed. Recommendations for required research are given
Exploring the Affective Loop
Research in psychology and neurology shows that both body and mind are
involved when experiencing emotions (Damasio 1994, Davidson et al.
2003). People are also very physical when they try to communicate their
emotions. Somewhere in between beings consciously and unconsciously
aware of it ourselves, we produce both verbal and physical signs to make
other people understand how we feel. Simultaneously, this production of
signs involves us in a stronger personal experience of the emotions we
express.
Emotions are also communicated in the digital world, but there is little
focus on users' personal as well as physical experience of emotions in
the available digital media. In order to explore whether and how we can
expand existing media, we have designed, implemented and evaluated
/eMoto/, a mobile service for sending affective messages to others. With
eMoto, we explicitly aim to address both cognitive and physical
experiences of human emotions. Through combining affective gestures for
input with affective expressions that make use of colors, shapes and
animations for the background of messages, the interaction "pulls" the
user into an /affective loop/. In this thesis we define what we mean by
affective loop and present a user-centered design approach expressed
through four design principles inspired by previous work within Human
Computer Interaction (HCI) but adjusted to our purposes; /embodiment/
(Dourish 2001) as a means to address how people communicate emotions in
real life, /flow/ (Csikszentmihalyi 1990) to reach a state of
involvement that goes further than the current context, /ambiguity/ of
the designed expressions (Gaver et al. 2003) to allow for open-ended
interpretation by the end-users instead of simplistic, one-emotion
one-expression pairs and /natural but designed expressions/ to address
people's natural couplings between cognitively and physically
experienced emotions. We also present results from an end-user study of
eMoto that indicates that subjects got both physically and emotionally
involved in the interaction and that the designed "openness" and
ambiguity of the expressions, was appreciated and understood by our
subjects. Through the user study, we identified four potential design
problems that have to be tackled in order to achieve an affective loop
effect; the extent to which users' /feel in control/ of the interaction,
/harmony and coherence/ between cognitive and physical expressions/,/
/timing/ of expressions and feedback in a communicational setting, and
effects of users' /personality/ on their emotional expressions and
experiences of the interaction
Course Catalog, 1989-1991
Course Catalogs include available majors, course requirements, costs, pictures, a brief institution history, and more.https://digitalcommons.kean.edu/ua_kc_cc/1020/thumbnail.jp
The neuroscience of musical creativity using complexity tools
This project is heavily experimental and draws on a wide variety of disciplines from musicology and music psychology to cognitive neuroscience and (neuro)philosophy.
The objective is to explore and characterise brain activity during the process of creativity and corroborating this with self-assessments from participants and external assessments from professional âjudgesâ. This three-way experimental design bypasses the semantically difficult task of defining and assessing creativity by asking both participants and judges to rate âHow creative did you think that was?â.
Characterising creativity is pertinent to complexity as it is an opportunity to comprehensively investigate a neural and cognitive system from multiple experimental and analytical facets. This thesis explores the anatomical and functional system underlying the creative cognitive state by analysing the concurrent time series recorded from the brain and furthermore, investigates a model in the stages of creativity using a behavioural experiment, in more detail than hitherto done in this domain.
Experimentally, the investigation is done in the domain of music and the time series is the recorded Electroencephalogram (EEG) of a pianistâs whilst performing the two creative musical tasks of âInterpretationâ and âImprovisationâ manipulations of musical extracts. An initial pilot study consisted of 5 participants being shown 30 musical extracts spanning the Classical soundworld across different rhythms, keys and tonalities. The study was then refined to only 20 extracts and modified to include 10 Jazz extracts and 8 participants from a roughly equal spread of Classical and Jazz backgrounds and gender. 5 external assessors had a roughly even spread of expertise in Jazz and Classical music.
Source localisation was performed on the experimental EEG data collected using a software called sLORETA that allows a linear inverse mapping of the electrical activity recorded at the scalp surface onto deeper cortical structures as the source of the recorded activity. Broadman Area (BA) 37 which has previously been linked to semantic processing, was robustly related to participants from a Classical background and BA 7 which has previously been linked to altered states of consciousness such as hypnagogia and sleep, was robustly related to participants from a Jazz background whilst Improvising.
Analyses exploring the spread, agreement and biases of ratings across the different judges and self-ratings revealed a judge and participant inter-rater reliability at participant level. There was also an equal agreement between judges when rating the different genres Jazz or Classical, across the different tasks of âImprovisationâ and âInterpretationâ, increasing confidence in inter-genre rating reliability for further analyses on the EEG of the extracts themselves. Furthermore, based on the ratings alone, it was possible to partition participants into either Jazz or Classical, which agreed with phenomenological interview information taken from the participants themselves.
With the added conditions of extracts that were deemed creative by objective judge assessment, source localisation analyses pinpointed BA 32 as a robust indicator of Creativity within the participantsâ brain. It is an area that is particularly well connected and allows an integration of motoric and emotional communication with a maintenance of executive control.
Network analysis was performed using the PLV index (Phase Locking Value) between the 64 electrodes, as the strength of the links in an adjacency matrix of a complex network. This revealed the brain network is significantly more efficient and more strongly synchronised and clustered when participantsâ are playing Classical extracts compared to Jazz extracts, in the fronto-central region with a clear right hemispheric lateralization.
A behavioural study explored the role of distraction in the âIncubationâ period for both interpretation and improvisation using a 2-back number exercise occupying working memory, as the distractor. Analysis shows that a distractor has no significant effect on âImprovisationâ but significantly impairs âInterpretationâ based on the self-assessments by the participants.Open Acces
- âŠ