13,306 research outputs found
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
Spartan Daily, September 16, 2014
Volume 143, Issue 8https://scholarworks.sjsu.edu/spartandaily/1507/thumbnail.jp
Lessons from the Workshop: A Guide to Best Practices in Performing Arts Education
Developed by the Workshop's Associate Artistic Director, Anne-E Wood, the Best Practices Guide is a hands-on tool for school administrators, teachers, artists, parents or arts organizations facilitating an artist residency program. The guide explains arts education within the framework of educational policy and practice in California, but the model can be adapted for many communities. In this guide, you will learn about the residency model, the history of Performing Arts Workshop's residency model and what 40 years of experience has shown to be the best practices for artists and teachers
Local Culture-Based Music Game Model for Early Childhood Education
Many music experts and educators have researched to see the positive effects of several types of music. Music turns out to be able to affect the intellectual development of children as well as make children wise to socialize. Many facts were revealed from this research. Among them, there is an exciting relationship between music and human intelligence. This study uses a qualitative methodology, with the research object being PIAUD IAIMNU Metro Lampung students. The results of this study indicate that playing music can increase a child's intelligence level because it includes sensitivity to mastery of rhythm, tone patterns, rhythms, tempos, instruments, and musical expressions to be able to sing a song or play it. Learning or playing in early childhood has several advantages, including being able to hone memory because children will recognize and try to memorize the tones of the music
A Model for the Development of a Popular Music Listening Curriculum
Secondary schools in Texas typically only offer performance-based ensembles to students as their music options. These classes require public performances, extracurricular time commitments, and financial obligations. Because of these and other issues, many students select non-music classes to fulfill their fine arts graduation requirements. Although it can be passive in nature, listening is how most people interact with music. Unfortunately, listening-based curricula are rarely available to secondary students. Where music appreciation classes are offered, the music studied is often outdated and unfamiliar to students. This qualitative study identified the pedagogical components present in an existing classical music listening curricula. These components were used as a model for the development of a lesson framework, allowing music educators to incorporate popular music into any secondary music class. Secondary music educators were given sample popular music listening lessons based on the framework developed and later interviewed to record their reactions
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