3,942 research outputs found

    Distance learning of foreign languages

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    doi: 10.1017/S0261444806003727This article provides a critical overview of the field of distance language learning, challenging the way in which the field is often narrowly conceptualised as the development of technology-mediated language learning opportunities. Early sections focus on issues of concept and definition and both theoretical and pedagogical perspectives on the field. Emphasis is placed on evident shifts from a concern with structural and organisational issues to a focus on transactional issues associated with teaching/learning opportunities within emerging paradigms for distance language learning. The next section reviews choices and challenges in incorporating technology into distance language learning environments, foregrounding decisions about technology made in particular sociocultural contexts, the contribution of ‘low-end’ technologies and research directions in developing new learning spaces and in using online technologies. The investigation of learner contributions to distance language learning is an important avenue of enquiry in the field, given the preoccupation with technology and virtual learning environments, and this is the subject of section six. The two final sections identify future research directions and provide a series of conclusions about research and practice in distance language learning as technology-mediated interactions increasingly come to influence the way we think about the processes of language learning and teaching

    Estudio sobre la integración de información discursivo-contextual en la enseñanza gramatical del aspecto de español para sinohablantes

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    This work explores and evaluates the effect of teaching the Spanish past tense aspect (indefinite preterit and imperfective preterit) to Chinese learners in a discourse context compared with the traditional teaching of grammar. We postulate that this teaching methodology—which integrates the content of traditional grammar programs with implicit and explicit instruction on how to interpret discourse-contextual information—will be more effective for Spanish L2 learning in the Chinese university context. In order to test the effect, we conducted a study with two groups of students under two different conditions. The experimental group contained 18 subjects, and the control group, which was taught in a traditional grammar program, contained 17 subjects. Using a teaching experiment that involved three online video-based grammar classes and the gathering of students’ data from pre- and post-tests consisting of comprehension task and multiple-choice tasks, we observed that the instruction of how to interpret aspectual information in a discourse context improved the learners’ ability to analyse and comprehend the target grammar point. However, the learners did not show more accuracy in their use of stative verbs in the post-test than that in the pre-test. FUNDING INFORMATION. This research was funded by National Social Science Foundation of China (20CYY001).Este trabajo explora y evalúa el efecto de la enseñanza del aspecto del tiempo pasado del español a aprendices sinohablantes en el contexto del discurso en comparación con la enseñanza tradicional. Postulamos que esta metodología, que integra los contenidos de los programas de gramática tradicional con instrucciones implícitas y explícitas sobre cómo interpretar la información discursiva, es más efectiva en el contexto universitario chino para el aprendizaje de la L2 español. Para probar su efecto, realizamos un estudio con dos grupos de estudiantes de la misma universidad. El grupo experimental consta de 18 sujetos y el grupo de control, que se enseñó en el programa de gramática tradicional, de 17 sujetos. Mediante un experimento de enseñanza que consistió en tres clases basadas en videos y en la recopilación de datos de los estudiantes de pre-test y post-test, que consistieron en una tarea de comprensión y una de opción múltiple, observamos que la instrucción de cómo interpretar información aspectual en el contexto del discurso puede mejorar la capacidad de nuestros alumnos en el análisis y comprensión de la gramática objetiva. Sin embargo, los alumnos no muestran una mayor precisión en su uso de verbos estativos en el post-test

    CHORUS Deliverable 2.1: State of the Art on Multimedia Search Engines

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    Based on the information provided by European projects and national initiatives related to multimedia search as well as domains experts that participated in the CHORUS Think-thanks and workshops, this document reports on the state of the art related to multimedia content search from, a technical, and socio-economic perspective. The technical perspective includes an up to date view on content based indexing and retrieval technologies, multimedia search in the context of mobile devices and peer-to-peer networks, and an overview of current evaluation and benchmark inititiatives to measure the performance of multimedia search engines. From a socio-economic perspective we inventorize the impact and legal consequences of these technical advances and point out future directions of research

    Simple identification tools in FishBase

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    Simple identification tools for fish species were included in the FishBase information system from its inception. Early tools made use of the relational model and characters like fin ray meristics. Soon pictures and drawings were added as a further help, similar to a field guide. Later came the computerization of existing dichotomous keys, again in combination with pictures and other information, and the ability to restrict possible species by country, area, or taxonomic group. Today, www.FishBase.org offers four different ways to identify species. This paper describes these tools with their advantages and disadvantages, and suggests various options for further development. It explores the possibility of a holistic and integrated computeraided strategy

    Investigating Real-time Touchless Hand Interaction and Machine Learning Agents in Immersive Learning Environments

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    The recent surge in the adoption of new technologies and innovations in connectivity, interaction technology, and artificial realities can fundamentally change the digital world. eXtended Reality (XR), with its potential to bridge the virtual and real environments, creates new possibilities to develop more engaging and productive learning experiences. Evidence is emerging that thissophisticated technology offers new ways to improve the learning process for better student interaction and engagement. Recently, immersive technology has garnered much attention as an interactive technology that facilitates direct interaction with virtual objects in the real world. Furthermore, these virtual objects can be surrogates for real-world teaching resources, allowing for virtual labs. Thus XR could enable learning experiences that would not bepossible in impoverished educational systems worldwide. Interestingly, concepts such as virtual hand interaction and techniques such as machine learning are still not widely investigated in immersive learning. Hand interaction technologies in virtual environments can support the kinesthetic learning pedagogical approach, and the need for its touchless interaction nature hasincreased exceptionally in the post-COVID world. By implementing and evaluating real-time hand interaction technology for kinesthetic learning and machine learning agents for self-guided learning, this research has addressed these underutilized technologies to demonstrate the efficiency of immersive learning. This thesis has explored different hand-tracking APIs and devices to integrate real-time hand interaction techniques. These hand interaction techniques and integrated machine learning agents using reinforcement learning are evaluated with different display devices to test compatibility. The proposed approach aims to provide self-guided, more productive, and interactive learning experiences. Further, this research has investigated ethics, privacy, and security issues in XR and covered the future of immersive learning in the Metaverse.<br/

    Investigating Real-time Touchless Hand Interaction and Machine Learning Agents in Immersive Learning Environments

    Get PDF
    The recent surge in the adoption of new technologies and innovations in connectivity, interaction technology, and artificial realities can fundamentally change the digital world. eXtended Reality (XR), with its potential to bridge the virtual and real environments, creates new possibilities to develop more engaging and productive learning experiences. Evidence is emerging that thissophisticated technology offers new ways to improve the learning process for better student interaction and engagement. Recently, immersive technology has garnered much attention as an interactive technology that facilitates direct interaction with virtual objects in the real world. Furthermore, these virtual objects can be surrogates for real-world teaching resources, allowing for virtual labs. Thus XR could enable learning experiences that would not bepossible in impoverished educational systems worldwide. Interestingly, concepts such as virtual hand interaction and techniques such as machine learning are still not widely investigated in immersive learning. Hand interaction technologies in virtual environments can support the kinesthetic learning pedagogical approach, and the need for its touchless interaction nature hasincreased exceptionally in the post-COVID world. By implementing and evaluating real-time hand interaction technology for kinesthetic learning and machine learning agents for self-guided learning, this research has addressed these underutilized technologies to demonstrate the efficiency of immersive learning. This thesis has explored different hand-tracking APIs and devices to integrate real-time hand interaction techniques. These hand interaction techniques and integrated machine learning agents using reinforcement learning are evaluated with different display devices to test compatibility. The proposed approach aims to provide self-guided, more productive, and interactive learning experiences. Further, this research has investigated ethics, privacy, and security issues in XR and covered the future of immersive learning in the Metaverse.<br/

    Virtual Heritage: new technologies for edutainment

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    Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity

    Creative Machine

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    Curators: William Latham, Atau Tanaka and Frederic Fol Leymarie A major exhibition exploring the twilight world of human/machine creativity, including installations, video and computer art, Artificial Intelligence, robotics and Apps by leading artists from Goldsmiths and international artists by invitation. The vision for organising the Creative Machine Exhibition is to show exciting works by key international artists, Goldsmiths staff and selected students who use original software and hardware development in the creative production of their work. The range of work on show, which could be broadly termed Computer Art, includes mechanical drawing devices, kinetic sculpture driven by fuzzy logic, images produced using machine learning, simulated cellular growth forms and the self-generating works using automated aesthetics, VR, 3D printing, and social telephony networks. Traditionally, Computer Art has held a maverick position on the edge of mainstream contemporary culture with its origins in Russian Constructivist Art, biological systems, “geeky” software conferences, rave / techno music and indie computer games. These artists have defined their own channels for exhibiting their work and organised conferences and at times been entrepreneurial at building collaborations with industry at both a corporate and startup level (with the early computer artists in the 1970s and 1980s needing to work with computer corporations to get access to computers). Alongside this, interactive media art drew upon McLuhan’s notion of technology as extensions of the human to create participatory, interactive artworks by making use of novel interface technology that has been developed since the 1980s. However, with new techniques such as 3D printing, the massive spread of sophisticated sensors in consumer devices like smartphones, and the use of robotics by artists, digital art would appear to have an opportunity to come more to the fore in public consciousness. This exhibition is timely in that it coincides with an apparent wider growth of public interest in digital art, as shown by the Digital Revolution exhibition at the Barbican, London and the recent emergence of commercial galleries such as Bitforms in New York and Carroll / Fletcher in London, which, acquire and show technology-based art. The Creative Machine exhibition is the first event to make use of Goldsmiths’ new Sonics Immersive Media Lab (SIML) Chamber. This advanced surround audiovisual projection space is a key part of the St James-Hatcham refurbishment. The facility was funded by capital funding from the Engineering & Physical Sciences Research Council (EPSRC) and Goldsmiths, as well as research funding from the European Research Council (ERC). This is connected respectively to the Intelligent Games/Game Intelligence (IGGI) Centre for Doctoral Training, and Atau Tanaka’s MetaGesture Music (MGM) ERC grant. The space was built by the SONICS, a cross-departmental research special interest group at Goldsmiths that brings together the departments of Computing, Music, Media & Communications, Sociology, Visual Cultures, and Cultural Studies. It was designed in consultation with the San Francisco-based curator, Naut Humon, to be compatible with the Cinechamber system there. During Creative Machines, we shall see, in the SIML space, multiscreen screenings of work by Yoichiro Kawaguchi, Naoko Tosa, and Vesna Petresin, as well as a new immersive media work by IGGI researcher Memo Akten

    Ethnography and experimental non-fiction storytelling: relating the experiences of Maltese Fishermen

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    In this practice-based exploration I look at the dynamics of long-term ethnographic research to address the tensions between lived experience and conventional narrative constructs of Mediterranean identities. This research also fills a void in the anthropology of fishermen in Malta which as an area of academic investigation has remained understudied. Speculating on relational meaning making processes and multidimensional and experimental qualities inherent to ethnographic research, I produced non-linear multimodal documentary works as environments with the capacity to engender tangible, immersive and tacit knowledge about situated identities. Using my seven-year engagement with a family of fishermen from Marsaxlokk, a small fishing port in the south eastern part of Malta, I reflect on how situated learning experiences can inform experimental non-fiction audio-visual storytelling. In my research I draw on theories of affect and notions of the archivalto reflect on the ways Mediterranean identities are constructed. Examining the ecology of relations that binds together the people and the environment that they inhabit I engage with current discourses on multisensory ethnography, documentary making and narrative power to explore my practice (including two photographic essays, a sound installation, two gallery video projections and a web-based documentary prototype) as a process of creative mediation between the fishermen’s world and the public. Using select examples from my fieldwork recordings I show how embodied audio-visual practices enable nonfiction storytellers to re-propose the conditions of the ethnographic encounter. I look at how, responding to the very particular environmental and socio-cultural conditions of my field of study, I took my practice beyond the canons of traditional documentary photography towards an expanded multimedia form of storytelling. More specifically, I refer to my experiences with people working on and around the Joan of Arc(the family boat), as well as my apprenticeship as a deckhand/fisherman, to examine notions of emplaced learning, collaborative meaning making processes and affective strategies for the development of creative sensory-rich immersive storytelling strategies that provide amore nuanced understanding of Mediterranean identities
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