317 research outputs found

    Experience, evidence and what counts in UK music therapy – an arts-based autoethnographic study

    Get PDF
    The field of music therapy is not bland: therapists train because of deep belief in the dignity of people and the power of music; participants begin therapy because something significantly challenging is present in their lives; fundraisers share stories which are painful, life affirming, uncomfortable; receptionists juggle quiet spaces with loud spaces with stimulation without sensory triggers; carers listen, absorb, give and give some more, often beyond the limits of their energy. And pulse and meter and melody and dynamics and bodies and voices and wood and skin and metal are the raw materials.However, it might be argued that the search for evidence in music therapy has led to something akin to a parallel reality, - one in which measured, analytical reporting of certain aspects of the work is shared, often in official documents. The vital, sensory, embodied, relational experience which is music making, and which lies at the heart of the therapy is rendered in careful and dispassionate text. There are good reasons for this, and for the steady growth of ‘evidence-based practice’, which lie in the history of the profession and its search for validation. Yet the evidence which is shared in these texts has tended to become increasingly disconnected from many features of the musical therapeutic encounter that music therapists value.In this study, conceived from a critical realist perspective, I ask ‘what is experience in music therapy’, ‘what is evidence in music therapy’, ‘are evidence and experience in fact the same thing, or could they be’? I look at my own experiences, and evidencing of these experiences, gained across 24 years of working as a music therapist. In so doing, I find I cannot maintain a single role or persona. Unexpectedly, in the course of this reflexive exploration, four Roles arrive noisily and will not go away (Music Therapist, Researcher, Musician and Carer). They debate, argue and probe at the heart of what counts, and at the cultures of music therapy which systematise and perpetuate what counts. They consider the turn to evidence-based practice in music therapy and ask ‘what is the evidence of’, and ‘does this make sense to insiders, outsiders, either, both’?This multivocal, dialogical approach allows me to adopt the different positions taken by each of the four Roles as they ask ‘does this make sense to me’, and to advocate for culture change in both music therapy and academia. It resonates with the focus of this research – experience, evidence and what counts in music therapy, and invites various different methodological approaches - autoethnography, arts-based research, phenomenology, and Aesthetic Critical Realism which is introduced to the field of music therapy for the first time. A complex web of different kinds of experience and evidence emerges through poems, stories, vignettes, images and mobile making and results in a concept of four phases of experience, leads to defined categories of different kinds of experience, and to the proposition that in music therapy, experience is evidence of personhood.The thesis is relational: those engaging with it are part of the network of experiences in the field of music therapy, because I conceptualise this field as including all musical, logistical, contractual, academic, public and informal encounters of all stakeholders, from participants to next-door neighbours. Because you are engaging with this thesis, I regard you as a Collaborator, but it is not necessary for you to be familiar with the field. Thank you for your involvement

    Envisioning Transitions. Bodies, buildings, and boundaries

    Get PDF
    “Transition” is the dynamic process of changing state, going beyond, crossing over, and passing from one point to the next. The signification of the word is close to that of evolution, modification, mutation, and transformation, all of which are confined into a strictly restricted timeframe. Etymologically, “transitions” can be nothing else than temporary: they appear silently, burst, violently establish, and gradually disappear into reality. In their blinding momentariness, “transitions” bear with them the positive undertone of change and renewal, along with the hopefulness of that which is unknown.  If the term “transition” recurs regularly in the contemporary vocabulary of architecture and design cultures, this repetition reveals a period characterized by overlapping and sequential changes. The word is without a doubt overused, but not without reason. Indeed, we find ourselves in an unusually extended period of consecutive “transitions”, overwhelmingly undefined in temporality and ambitions. As we are witnessing societies go through stark demographic, political, economic, and cultural changes, the intersecting problematics (e.g., ecological, digital, pandemic, etc.) form a rather complex topography of change, negatively charged by the instability of dilated time and the uncertainty of undefined destination. The word is employed with the confidence of a natural process, as if it were a storm, and while we affirm our existence in “transition”, we nod our troubled times away. Whether positively or negatively perceived, “transitions” form bridges between histories. Yet, what does it actually mean to be in “transition”? Can we define it as an autonomous and productive period whose importance could go beyond a starting and an ending date? How are “transitions” impacting and being impacted by human spaces, the built environment, and design cultures? What are some concrete, practical case studies that demonstrate how “transitions” could affect architecture and design cultures while emphasizing the role that these disciplines play in transitional processes? It is within this backdrop that we put forward the theme of “transition”—in all its simplicity and complexity

    Opportunities for Redress: Re-imagining Relations, Restoration, and Leisure for Uniformed Bodies serving as First Responders

    Get PDF
    In times of distress, uniformed first responders (UFRs) are the first formal line of care on scene and are responsible for providing care. Due to the obligations required of UFRs, they are considered to be at higher risk for experiencing traumatic stressors that may lead to concerns with their mental well-being (such as depression, alcoholism, post-traumatic stress, major depression, generalized anxiety, and sleep disorders) (Benedek et al., 2007; Bennett et al., 2004; Carey et al., 2011; Fullerton et al., 2004; Jacobson et al., 2008; Meyer et al., 2012). In the current climate of social activist movements (Black Lives Matter (BLM) and #Defundthepolice, in particular), the purpose of this research is to unpack and address the complex issue of care provision for first responders alongside these long overdue movements. Drawing from critical theories of disability, this research project was methodologically inspired by critical participatory action research (PAR) and narrative inquiry (Clandinin, 2016). I partnered with a local organization (FF) – a community-based holistic wellness centre built for and by UFRs to offer wellness-based services in Southern Ontario. The PAR team (three individuals) recruited 11 participants (six police officers, four paramedics, and one corrections officer) to participate in a series of audio-recorded focus groups and semi-structured interviews (September to December, 2021). This work was guided by concepts of power, privilege, and culture to unpack what it means to identify as a UFR (i.e., the militant ideologies, power-laden relations and performances, and symbolic representations) By un-learning and re-learning how emergent care is provided in these situations, and how restorative justice and care can be re-centered, this work aims to resist systemic oppressions (i.e., capitalism, government-sanctioned power, and ableism), restore caring bodies, and reconcile power relations with the public. This work employs the concept of redress ¬– the idea of resisting, restoring, repairing, or reconciling – (similar to Amighetti & Nuti, 2015; Henderson & Wakeham, 2013; Spiga, 2012) to address: (1) parts of institutional culture that UFRs that perpetuate toxic resilience, (2) the lack of mental health care relations and support that exist within UFR cultures, and (3) the need for leisure spaces of care, compassion, and healing. Through a reflexive, interpretive analysis (Smith et al.,1999), three main threads are described as making up the material and symbolic constructs of the UFR uniform (relations of power, cultural habitus and performing the expectations and symbolic representation) (Bourdieu, 1990; Butler, 1990; Foucault, 1977; Holt, 2008). Interrupted by necessary reflections on ableism, capitalism, white supremacy, and power in relation to UFRs, the findings of this research provide conceptual and practical implications on how government-sanctioned power is strategically used to maintain toxic relations within institutions that govern UFRs. I also offer reflections on how UFRs and the public experience parallel tensions and systemic harms as a result of government-sanctioned institutions of power. Leisure as a space for coping with stresses and trauma(s) (Heintzman, 2008; Iwasaki & Mannell, 2000; Kleiber et al., 2002; Weissinger & Iso-Ahola, 1984) is then used to better understand how UFRs take up leisure to navigate the nuances of stepping into laborious caring roles. This research makes a case for how leisure as care, healing, and restoration can be used to begin to mend the broken systemic relations for UFRs and the public. The findings of this research are represented through a narrative (documentary inspired) script as a means to share the stories and lived experiences told by UFRs. Future research can build on this work by interrupting government-sanctioned institutions of power that continue to privilege processes of ableism, capitalism, and colonialism and enact systemic harms and violences on UFRs and the public. All persons are in need of care in our badly fractured systems. I believe spaces of leisure can be used to cope and heal from systemic oppressions by offering opportunities for care, healing, and restoration to better meet the communal needs of all members of the public, including UFRs

    Investigating the value of urban dance ciphering in support of 21st century cyclic learning: enhancing ownership and leadership of the learner

    Get PDF
    This thesis aimed to develop a new educational concept in support of the 21st century learner in dance. Building on the pedagogical concepts of Kolb (the experiential learning cycle), Dewey (reflective inquiry) and Wenger (community of practice) it argues for implementing a cyclic learning model into the 21st century pedagogical repertoire, that is the M.O.V.E.(s) model. This model, based on the non-hierarchical artistic practice of Urban dance ciphering and its participatory character, serves to support a radical paradigm shift in dance education, to increasingly angle nowadays curricula towards societal development. The M.O.V.E.(s) model, was constructed from research on the phases of the ciphering approach, Make, Offer, Validate and Expand, and offers a toolkit that facilitates students (and their teachers), to gradually take leadership and ownership of their own learning practice. When striving for increased ownership and leadership of the learner, it is crucial to be aware of how cultural and symbolic forms of capital ‘define and control’ the world of(dance) education. Pickard’s understanding of the Ballet body and its identity, using Bourdieu key concepts ofhabitus, field and forms of capital, support moving away from the unconscious acceptance of social differences and hierarchies towards a more inclusive educational environment. This challenges the pedagogical relationship between the teacher and the student, moving away from the master-pupil model, as with the introduction of the participation and network society pyramidal thinking and leadership will need to make a place for circular thinking and participation. The 360-degree feedback loop of the cipher is relevant for the development and strengthening of cyclic learning for both the students and the teachers to become adaptable reflective learners and practitioners

    Video Conferencing: Infrastructures, Practices, Aesthetics

    Get PDF
    The COVID-19 pandemic has reorganized existing methods of exchange, turning comparatively marginal technologies into the new normal. Multipoint videoconferencing in particular has become a favored means for web-based forms of remote communication and collaboration without physical copresence. Taking the recent mainstreaming of videoconferencing as its point of departure, this anthology examines the complex mediality of this new form of social interaction. Connecting theoretical reflection with material case studies, the contributors question practices, politics and aesthetics of videoconferencing and the specific meanings it acquires in different historical, cultural and social contexts

    RECIPROCAL DRAWING: Bodies’ Co–dependence and Direct Contact in Performance Drawing

    Get PDF
    The author has not given permission for Aaltodoc -publishing.Reciprocal Drawing is an original method of collaborative practice situated within the field of performance drawing. In Reciprocal Drawing, two collaborators draw in the frame of reciprocal partnering strategy, which imposes uninterrupted co–dependence and contact between their bodies. The practice is carried out within two additional frames: the repertoire of actions and the score (rules and diagrams). Although these frames have been applied before, this research further jointly develops them to tackle challenges emerging from application of reciprocal strategies in drawing. The combination of frames facilitates co–exploration of reciprocal strategies’ potential for the medium. Supported by the frames, the collaborators devise complex reciprocal processes resulting in products that reflect ambiguous and nuanced human relations. The developed Reciprocal Drawing aims to extend conventional drawing by underlining the medium’s bodily–reciprocal, social potential. As an artistic research, the study focuses on Reciprocal Drawing processes and products as sources of embodied knowledge and explores the opportunities which they bring for drawing. As a phenomenological research, the study explores the embodied, relational–social dimension of Reciprocal Drawing. This is done by discussing the drawing–based experimentation conducted first solo by the researcher and then in duo form with collaborating artists. In the solo phase, the repertoire of actions was formed based on Laban Movement Analysis (LMA), a system of codified vocabulary used in understanding human movement. LMA helped the researcher to systemize and adapt body actions to the conditions of drawing in contact with the two–dimensional horizontal plane. In the collaborative phase, two strategies were identified as establishing the bodies’ co–dependence: rope–binding, originally used by Tehching Hsieh in his One Year Performance. Rope Piece (1983–84) and point–of–contact, the principle of Contact Improvisation dance. The use of rules and diagrams in the co–experiments links them to the 1970s practices of the Fluxus artists. In the reflection following the experimentation, LMA was also utilized to establish links between the complex reciprocal dynamics, the finalized drawings, and the mental states that accompanied their co–production. This aided the evaluation of the emerging opportunities. Phenomenological research theoretically guided the project allowing description, analysis, and thematic interpretation of the artist–researcher’s experience of the process to be verbalized. Following Merleau–Ponty’s philosophy, the embodied, expressive and dialogic character of Reciprocal Drawing is underlined as is its products’ capacity to be a source of self–knowledge for the creators. Additionally, with a support of theoretical perspectives in art and performance Reciprocal Drawing is identified as enabling co–exploration of physicality. Further, Reciprocal Drawing processes are presented as finely reflecting the social and relational aspect of human life: Defined as play, Reciprocal Drawing reveals its subversive, transformative and solidifying function, it renders possible learning new approaches to drawing. Finally, in this thesis Reciprocal Drawing is recognized as a postconsensual practice, where the engaged artists deliberately generate embodied conflict and co–explore its benefits without posing a threat to each other’s integrity. This is supported with the ethics derived from Jean–Luc Nancy’s and Emmanuel Levinas’ philosophies whose thinking is also employed to acknowledge Reciprocal Drawing as evoking loss, self–limitation and responsibility for the other

    NON-VERBAL COMMUNICATION WITH PHYSIOLOGICAL SENSORS. THE AESTHETIC DOMAIN OF WEARABLES AND NEURAL NETWORKS

    Get PDF
    Historically, communication implies the transfer of information between bodies, yet this phenomenon is constantly adapting to new technological and cultural standards. In a digital context, it’s commonplace to envision systems that revolve around verbal modalities. However, behavioural analysis grounded in psychology research calls attention to the emotional information disclosed by non-verbal social cues, in particular, actions that are involuntary. This notion has circulated heavily into various interdisciplinary computing research fields, from which multiple studies have arisen, correlating non-verbal activity to socio-affective inferences. These are often derived from some form of motion capture and other wearable sensors, measuring the ‘invisible’ bioelectrical changes that occur from inside the body. This thesis proposes a motivation and methodology for using physiological sensory data as an expressive resource for technology-mediated interactions. Initialised from a thorough discussion on state-of-the-art technologies and established design principles regarding this topic, then applied to a novel approach alongside a selection of practice works to compliment this. We advocate for aesthetic experience, experimenting with abstract representations. Atypically from prevailing Affective Computing systems, the intention is not to infer or classify emotion but rather to create new opportunities for rich gestural exchange, unconfined to the verbal domain. Given the preliminary proposition of non-representation, we justify a correspondence with modern Machine Learning and multimedia interaction strategies, applying an iterative, human-centred approach to improve personalisation without the compromising emotional potential of bodily gesture. Where related studies in the past have successfully provoked strong design concepts through innovative fabrications, these are typically limited to simple linear, one-to-one mappings and often neglect multi-user environments; we foresee a vast potential. In our use cases, we adopt neural network architectures to generate highly granular biofeedback from low-dimensional input data. We present the following proof-of-concepts: Breathing Correspondence, a wearable biofeedback system inspired by Somaesthetic design principles; Latent Steps, a real-time auto-encoder to represent bodily experiences from sensor data, designed for dance performance; and Anti-Social Distancing Ensemble, an installation for public space interventions, analysing physical distance to generate a collective soundscape. Key findings are extracted from the individual reports to formulate an extensive technical and theoretical framework around this topic. The projects first aim to embrace some alternative perspectives already established within Affective Computing research. From here, these concepts evolve deeper, bridging theories from contemporary creative and technical practices with the advancement of biomedical technologies.Historicamente, os processos de comunicação implicam a transferĂȘncia de informação entre organismos, mas este fenĂłmeno estĂĄ constantemente a adaptar-se a novos padrĂ”es tecnolĂłgicos e culturais. Num contexto digital, Ă© comum encontrar sistemas que giram em torno de modalidades verbais. Contudo, a anĂĄlise comportamental fundamentada na investigação psicolĂłgica chama a atenção para a informação emocional revelada por sinais sociais nĂŁo verbais, em particular, acçÔes que sĂŁo involuntĂĄrias. Esta noção circulou fortemente em vĂĄrios campos interdisciplinares de investigação na ĂĄrea das ciĂȘncias da computação, dos quais surgiram mĂșltiplos estudos, correlacionando a actividade nĂŁoverbal com inferĂȘncias sĂłcio-afectivas. Estes sĂŁo frequentemente derivados de alguma forma de captura de movimento e sensores “wearable”, medindo as alteraçÔes bioelĂ©ctricas “invisĂ­veis” que ocorrem no interior do corpo. Nesta tese, propomos uma motivação e metodologia para a utilização de dados sensoriais fisiolĂłgicos como um recurso expressivo para interacçÔes mediadas pela tecnologia. Iniciada a partir de uma discussĂŁo aprofundada sobre tecnologias de ponta e princĂ­pios de concepção estabelecidos relativamente a este tĂłpico, depois aplicada a uma nova abordagem, juntamente com uma selecção de trabalhos prĂĄticos, para complementar esta. Defendemos a experiĂȘncia estĂ©tica, experimentando com representaçÔes abstractas. Contrariamente aos sistemas de Computação Afectiva predominantes, a intenção nĂŁo Ă© inferir ou classificar a emoção, mas sim criar novas oportunidades para uma rica troca gestual, nĂŁo confinada ao domĂ­nio verbal. Dada a proposta preliminar de nĂŁo representação, justificamos uma correspondĂȘncia com estratĂ©gias modernas de Machine Learning e interacção multimĂ©dia, aplicando uma abordagem iterativa e centrada no ser humano para melhorar a personalização sem o potencial emocional comprometedor do gesto corporal. Nos casos em que estudos anteriores demonstraram com sucesso conceitos de design fortes atravĂ©s de fabricaçÔes inovadoras, estes limitam-se tipicamente a simples mapeamentos lineares, um-para-um, e muitas vezes negligenciam ambientes multi-utilizadores; com este trabalho, prevemos um potencial alargado. Nos nossos casos de utilização, adoptamos arquitecturas de redes neurais para gerar biofeedback altamente granular a partir de dados de entrada de baixa dimensĂŁo. Apresentamos as seguintes provas de conceitos: Breathing Correspondence, um sistema de biofeedback wearable inspirado nos princĂ­pios de design somaestĂ©tico; Latent Steps, um modelo autoencoder em tempo real para representar experiĂȘncias corporais a partir de dados de sensores, concebido para desempenho de dança; e Anti-Social Distancing Ensemble, uma instalação para intervençÔes no espaço pĂșblico, analisando a distĂąncia fĂ­sica para gerar uma paisagem sonora colectiva. Os principais resultados sĂŁo extraĂ­dos dos relatĂłrios individuais, para formular um quadro tĂ©cnico e teĂłrico alargado para expandir sobre este tĂłpico. Os projectos tĂȘm como primeiro objectivo abraçar algumas perspectivas alternativas Ă s que jĂĄ estĂŁo estabelecidas no Ăąmbito da investigação da Computação Afectiva. A partir daqui, estes conceitos evoluem mais profundamente, fazendo a ponte entre as teorias das prĂĄticas criativas e tĂ©cnicas contemporĂąneas com o avanço das tecnologias biomĂ©dicas

    A Reference Structure for Modular Model-based Analyses

    Get PDF
    Kontext: In dieser Arbeit haben wir die Evolvierbarkeit, VerstĂ€ndlichkeit und Wiederverwendbarkeit von modellbasierten Analysen untersucht. Darum untersuchten wir die Wechselbeziehungen zwischen Modellen und Analysen, insbesondere die Struktur und AbhĂ€ngigkeiten von Artefakten und die Dekomposition und Komposition von modellbasierten Analysen. Herausforderungen: Softwareentwickler verwenden Modelle von Softwaresystemen, um die Evolvierbarkeit und Wiederverwendbarkeit eines Architekturentwurfs zu bestimmen. Diese Modelle ermöglichen die Softwarearchitektur zu analysieren, bevor die erste Zeile Code geschreiben wird. Aufgrund evolutionĂ€rer VerĂ€nderungen sind modellbasierte Analysen jedoch auch anfĂ€llig fĂŒr eine Verschlechterung der Evolvierbarkeit, VerstĂ€ndlichkeit und Wiederverwendbarkeit. Diese Probleme lassen sich auf die Ko-Evolution von Modellierungssprache und Analyse zurĂŒckfĂŒhren. Der Zweck einer Analyse ist die systematische Untersuchung bestimmter Eigenschaften eines zu untersuchenden Systems. Nehmen wir zum Beispiel an, dass Softwareentwickler neue Eigenschaften eines Softwaresystems analysieren wollen. In diesem Fall mĂŒssen sie Merkmale der Modellierungssprache und die entsprechenden modellbasierten Analysen anpassen, bevor sie neue Eigenschaften analysieren können. Merkmale in einer modellbasierten Analyse sind z.\,B. eine Analysetechnik, die eine solche QualitĂ€tseigenschaft analysiert. Solche Änderungen fĂŒhren zu einer erhöhten KomplexitĂ€t der modellbasierten Analysen und damit zu schwer zu pflegenden modellbasierten Analysen. Diese steigende KomplexitĂ€t verringert die VerstĂ€ndlichkeit der modellbasierten Analysen. Infolgedessen verlĂ€ngern sich die Entwicklungszyklen, und die Softwareentwickler benötigen mehr Zeit, um das Softwaresystem an verĂ€nderte Anforderungen anzupassen. Stand der Technik: Derzeitige AnsĂ€tze ermöglichen die Kopplung von Analysen auf einem System oder ĂŒber verteilte Systeme hinweg. Diese AnsĂ€tze bieten die technische Struktur fĂŒr die Kopplung von Simulationen, nicht aber eine Struktur wie Komponenten (de)komponiert werden können. Eine weitere Herausforderung beim Komponieren von Analysen ist der Verhaltensaspekt, der sich darin Ă€ußert, wie sich die Analysekomponenten gegenseitig beeinflussen. Durch die Synchronisierung jeder beteiligten Simulation erhöht die Modularisierung von Simulationen den Kommunikationsbedarf. Derzeitige AnsĂ€tze erlauben es, den Kommunikationsaufwand zu reduzieren; allerdings werden bei diesen AnsĂ€tzen die Dekomposition und Komposition dem Benutzer ĂŒberlassen. BeitrĂ€ge: Ziel dieser Arbeit ist es, die Evolvierbarkeit, VerstĂ€ndlichkeit und Wiederverwendbarkeit von modellbasierten Analysen zu verbessern. Zu diesem Zweck wird die Referenzarchitektur fĂŒr domĂ€nenspezifische Modellierungssprachen als Grundlage genommen und die Übertragbarkeit der Struktur der Referenzarchitektur auf modellbasierte Analysen untersucht. Die geschichtete Referenzarchitektur bildet die AbhĂ€ngigkeiten der Analysefunktionen und Analysekomponenten ab, indem sie diese bestimmten Schichten zuordnet. Wir haben drei Prozesse fĂŒr die Anwendung der Referenzarchitektur entwickelt: (i) Refactoring einer bestehenden modellbasierten Analyse, (ii) Entwurf einer neuen modellbasierten Analyse und (iii) Erweiterung einer bestehenden modellbasierten Analyse. ZusĂ€tzlich zur Referenzarchitektur fĂŒr modellbasierte Analysen haben wir wiederkehrende Strukturen identifiziert, die zu Problemen bei der Evolvierbarkeit, VerstĂ€ndlichkeit und Wiederverwendbarkeit fĂŒhren; in der Literatur werden diese wiederkehrenden Strukturen auch als Bad Smells bezeichnet. Wir haben etablierte modellbasierte Analysen untersucht und dreizehn Bad Smells identifiziert und spezifiziert. Neben der Spezifizierung der Bad Smells bieten wir einen Prozess zur automatischen Identifizierung dieser Bad Smells und Strategien fĂŒr deren Refactoring, damit Entwickler diese Bad Smells vermeiden oder beheben können. In dieser Arbeit haben wir auch eine Modellierungssprache zur Spezifikation der Struktur und des Verhaltens von Simulationskomponenten entwickelt. Simulationen sind Analysen, um ein System zu untersuchen, wenn das Experimentieren mit dem bestehenden System zu zeitaufwĂ€ndig, zu teuer, zu gefĂ€hrlich oder einfach unmöglich ist, weil das System (noch) nicht existiert. Entwickler können die Spezifikation nutzen, um Simulationskomponenten zu vergleichen und so identische Komponenten zu identifizieren. Validierung: Die Referenzarchitektur fĂŒr modellbasierte Analysen, haben wir evaluiert, indem wir vier modellbasierte Analysen in die Referenzarchitektur ĂŒberfĂŒhrt haben. Wir haben eine szenariobasierte Evaluierung gewĂ€hlt, die historische Änderungsszenarien aus den Repositories der modellbasierten Analysen ableitet. In der Auswertung können wir zeigen, dass sich die Evolvierbarkeit und VerstĂ€ndlichkeit durch die Bestimmung der KomplexitĂ€t, der Kopplung und der KohĂ€sion verbessert. Die von uns verwendeten Metriken stammen aus der Informationstheorie, wurden aber bereits zur Bewertung der Referenzarchitektur fĂŒr DSMLs verwendet. Die Bad Smells, die durch die Co-AbhĂ€ngigkeit von modellbasierten Analysen und ihren entsprechenden DSMLs entstehen, haben wir evaluiert, indem wir vier modellbasierte Analysen nach dem Auftreten unserer schlechten GerĂŒche durchsucht und dann die gefundenen Bad Smells behoben haben. Wir haben auch eine szenariobasierte Auswertung gewĂ€hlt, die historische Änderungsszenarien aus den Repositories der modellbasierten Analysen ableitet. Wir können zeigen, dass die Bad Smells die Evolvierbarkeit und VerstĂ€ndlichkeit negativ beeinflussen, indem wir die KomplexitĂ€t, Kopplung und KohĂ€sion vor und nach der Refaktorisierung bestimmen. Den Ansatz zum Spezifizieren und Finden von Komponenten modellbasierter Analysen haben wir evaluiert, indem wir Komponenten von zwei modellbasierten Analysen spezifizieren und unseren Suchalgorithmus verwenden, um Ă€hnliche Analysekomponenten zu finden. Die Ergebnisse der Evaluierung zeigen, dass wir in der Lage sind, Ă€hnliche Analysekomponenten zu finden und dass unser Ansatz die Suche nach Analysekomponenten mit Ă€hnlicher Struktur und Ă€hnlichem Verhalten und damit die Wiederverwendung solcher Komponenten ermöglicht. Nutzen: Die BeitrĂ€ge unserer Arbeit unterstĂŒtzen Architekten und Entwickler bei ihrer tĂ€glichen Arbeit, um wartbare und wiederverwendbare modellbasierte Analysen zu entwickeln. Zu diesem Zweck stellen wir eine Referenzarchitektur bereit, die die modellbasierte Analyse und die domĂ€nenspezifische Modellierungssprache aufeinander abstimmt und so die Koevolution erleichtert. ZusĂ€tzlich zur Referenzarchitektur bieten wir auch Refaktorisierungsoperationen an, die es Architekten und Entwicklern ermöglichen, eine bestehende modellbasierte Analyse an die Referenzarchitektur anzupassen. ZusĂ€tzlich zu diesem technischen Aspekt haben wir drei Prozesse identifiziert, die es Architekten und Entwicklern ermöglichen, eine neue modellbasierte Analyse zu entwickeln, eine bestehende modellbasierte Analyse zu modularisieren und eine bestehende modellbasierte Analyse zu erweitern. Dies geschieht natĂŒrlich so, dass die Ergebnisse mit der Referenzarchitektur konform sind. DarĂŒber hinaus ermöglicht unsere Spezifikation den Entwicklern, bestehende Simulationskomponenten zu vergleichen und sie bei Bedarf wiederzuverwenden. Dies erspart den Entwicklern die Neuimplementierung von Komponenten

    Walking away from VR as ‘empathy-machine’: peripatetic animations with 360-photogrammetry

    Get PDF
    My research partakes in an expanded documentary practice that weaves together walking, immersive technologies, and moving image. Two lines of enquiry motivate the research journey: the first responds to the trope of VR as 'empathy-machine' (Milk, 2015), often accompanied by the expression 'walking in someone else's shoes'. Within a research project that begins on foot, the idiom’s significance demands investigation. The second line of enquiry pursues a collaborative artistic practice informed by dialogue and poetry, where the bipedals of walking and the binaries of the digital are entwined by phenomenology, hauntology, performance, and the in-betweens of animation. My practice-as-research methodology involves desk study, experimentation with VR, AR, digital photogrammetry, and CGI animation. Central to my approach is the multifaceted notion of Peripatos ̶ as a school of philosophy, a stroll-like walk, and the path where the stroll takes place ̶ manifested both corporeally and as 'playful curiosity'. The thread that interweaves practice and theory has my body-moving in the centre; I call it the ‘camera-walk’: a processional shoot that documents a real place and the bodies that make it, while my hand holds high a camera-on-a-stick shooting 360-video. The resulting spherical video feeds into photogrammetric digital processing, and reassembles into digital 3D models that form the starting ground for still images, a site-specific installation, augmented reality (AR) exchanges, and short films. Because 360-video includes the body that carries the camera, the digital meshes produced by the ‘camera-walk’ also reveal the documentarian during the act of documenting. Departing from the pursuit of perfect replicas, my research articulates the iconic lineage of photogrammetry, embracing imperfections as integral. Despite the planned obsolescence of my digital instruments, I treat my 360-camera as a ‘dangerous tool’, uncovering (and inventing) its hidden virtualities, via VilĂ©m Flusser. Against its formative intentions as an accessory for extreme sports, I focus on everyday life, and become inspired by Harun Farocki’s ‘another kind of empathy’. Within the collaborative projects presented within my thesis, I move away from the colonialist-inspired ideal of ‘walking in someone else’s shoes’, and ‘tread softly’ along the footsteps of my co-walkers
    • 

    corecore