Children’s Creativity Lab : creating a ‘pen of the future’

This work is funded by EPSRC and SICSA.Technology is changing the way we acquire new skills and proficiencies and handwriting is no exception to this. However, while some technological advancements exist in this area, the question of how we can digitally enhance the process of learning handwriting remains under-explored. Being immersed in this process on an everyday basis, we believe that school aged children can provide valuable ideas and insights into the design of future writing tools for learners developing their (hand)writing skills. As end-users of the proposed technology, we explore including children in a form of informed participatory design during a creativity lab where we invited 12 children, aged 11–12, to put themselves into the shoes of a product designers and create a Pen of the Future using prototyping materials. In this paper we describe our methodology and discuss the design ideas that children came up with and how these may inform the design of future writing tools.Postprin

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Animal Science Alumni Newsletter: Winter 2009/Spring 2010

From the Department Head’s Desk -- Larry Berger Current Faculty -- Donald G. Levis will retire on January 31, 2010 UNL-developed Idea Introduced into Animal Science Class: 3D Teaching Emeriti Faculty -- Dr. Ernest “Ernie” R. Peo Jr., 84, died Tuesday, November 10, 2009. Faculty Awards -- Kathy Anderson, Charles Adams, Rick Rasby, Ivan Rush Student Activities: Block and Bridle Club, SEECA: Students for the Education of Exotic and Companion Animals, Livestock Judging Team, Meats Judging Team, Equestrian Teams Alumni News Tom Hansen Agricultural Ties Important in His Legislative Service Scott Brady Retires Deaths: Jack E. Eberspacher, Brian Brandt History of Animal and Poultry Science Research at the Rogers Memorial Farm 67 Years Ago: 1942 Judging Tea

Towards a Tool-based Development Methodology for Pervasive Computing Applications

Despite much progress, developing a pervasive computing application remains a challenge because of a lack of conceptual frameworks and supporting tools. This challenge involves coping with heterogeneous devices, overcoming the intricacies of distributed systems technologies, working out an architecture for the application, encoding it in a program, writing specific code to test the application, and finally deploying it. This paper presents a design language and a tool suite covering the development life-cycle of a pervasive computing application. The design language allows to define a taxonomy of area-specific building-blocks, abstracting over their heterogeneity. This language also includes a layer to define the architecture of an application, following an architectural pattern commonly used in the pervasive computing domain. Our underlying methodology assigns roles to the stakeholders, providing separation of concerns. Our tool suite includes a compiler that takes design artifacts written in our language as input and generates a programming framework that supports the subsequent development stages, namely implementation, testing, and deployment. Our methodology has been applied on a wide spectrum of areas. Based on these experiments, we assess our approach through three criteria: expressiveness, usability, and productivity

Virtual reality as an educational tool in interior architecture

Ankara : The Department of Interior Architecture and Environmental Design and the Institute of Fine Arts of Bilkent Univ., 1997.Thesis (Master's) -- Bilkent University, 1997.Includes bibliographical references.This thesis discusses the use of virtual reality technology as an educational tool in interior architectural design. As a result of this discussion, it is proposed that virtual reality can be of use in aiding three-dimensional design and visualization, and may speed up the design process. It may also be of help in getting the designers/students more involved in their design projects. Virtual reality can enhance the capacity of designers to design in three dimensions. The virtual reality environment used in designing should be capable of aiding both the design and the presentation process. The tradeoffs of the technology, newly emerging trends and future directions in virtual reality are discussed.Aktaş, OrkunM.S

NMC Horizon Report: 2017 Higher Education Edition

The NMC Horizon Report > 2017 Higher Education Edition is a collaborative effort between the NMC and the EDUCAUSE Learning Initiative (ELI). This 14th edition describes annual findings from the NMC Horizon Project, an ongoing research project designed to identify and describe emerging technologies likely to have an impact on learning, teaching, and creative inquiry in education. Six key trends, six significant challenges, and six important developments in educational technology are placed directly in the context of their likely impact on the core missions of universities and colleges. The three key sections of this report constitute a reference and straightforward technology-planning guide for educators, higher education leaders, administrators, policymakers, and technologists. It is our hope that this research will help to inform the choices that institutions are making about technology to improve, support, or extend teaching, learning, and creative inquiry in higher education across the globe. All of the topics were selected by an expert panel that represented a range of backgrounds and perspectives

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Digital 3D modelling - Introduction

The transformation of the sculptor from a performer with, e.g. clay, to someone whotrains computers to process data for new 3D images, or simply asks the computer to produce a 3D model, is naturally altering the perception of what it means to make visual art and who makes such art.In a teaching context, an important question concerns what should be taught in the visual arts and how the increasing digital entanglement in all practices should be handled in the various disciplines of the teaching subject