Harnessing the creativity of digital multimedia tools in distance learning

Over the past few decades, advances in information and communication technologies, and particularly the digitisation of information, have brought about radical changes in the way media can be produced, distributed and shared. The exchange of information, once predominately the domain of the written word, now also embraces the digital technologies of audio and video. User-generated multimedia content proliferates, and the presence of audio and video adds dimensions that greatly increase the amount of information an audience can assimilate, adding a richness and depth to the messages we want to convey. This paper presents and discusses a creative approach to the use of digital multimedia production tools incorporated in the Open University’s 60 credit level 2 module, T215 Communication and Information Technologies. These tools are used in a way that: - explores new ways to help people understand technical concepts; - supports the development of students’ technical skills; - provides opportunities for students to be creative; - provides an alternative to traditional text-based assessment. We briefly explain the key decisions made by the module team during the design stages of the teaching materials and explain the common assessment framework used throughout the different blocks of the module. We then draw on the experience of two presentations of the module, each attracting around 500 students, to examine how students have engaged with the video creation activities and to identify issues that arise in supporting students for these tasks in a distance learning environment. Finally we discuss the success of the assessment task: a 30-second video designed to explain a technical concept related to one of the module topics

Happy software developers solve problems better: psychological measurements in empirical software engineering

For more than 30 years, it has been claimed that a way to improve software developers' productivity and software quality is to focus on people and to provide incentives to make developers satisfied and happy. This claim has rarely been verified in software engineering research, which faces an additional challenge in comparison to more traditional engineering fields: software development is an intellectual activity and is dominated by often-neglected human aspects. Among the skills required for software development, developers must possess high analytical problem-solving skills and creativity for the software construction process. According to psychology research, affects-emotions and moods-deeply influence the cognitive processing abilities and performance of workers, including creativity and analytical problem solving. Nonetheless, little research has investigated the correlation between the affective states, creativity, and analytical problem-solving performance of programmers. This article echoes the call to employ psychological measurements in software engineering research. We report a study with 42 participants to investigate the relationship between the affective states, creativity, and analytical problem-solving skills of software developers. The results offer support for the claim that happy developers are indeed better problem solvers in terms of their analytical abilities. The following contributions are made by this study: (1) providing a better understanding of the impact of affective states on the creativity and analytical problem-solving capacities of developers, (2) introducing and validating psychological measurements, theories, and concepts of affective states, creativity, and analytical-problem-solving skills in empirical software engineering, and (3) raising the need for studying the human factors of software engineering by employing a multidisciplinary viewpoint.Comment: 33 pages, 11 figures, published at Peer

Sensing and mapping for interactive performance

This paper describes a trans-domain mapping (TDM) framework for translating meaningful activities from one creative domain onto another. The multi-disciplinary framework is designed to facilitate an intuitive and non-intrusive interactive multimedia performance interface that offers the users or performers real-time control of multimedia events using their physical movements. It is intended to be a highly dynamic real-time performance tool, sensing and tracking activities and changes, in order to provide interactive multimedia performances. From a straightforward definition of the TDM framework, this paper reports several implementations and multi-disciplinary collaborative projects using the proposed framework, including a motion and colour-sensitive system, a sensor-based system for triggering musical events, and a distributed multimedia server for audio mapping of a real-time face tracker, and discusses different aspects of mapping strategies in their context. Plausible future directions, developments and exploration with the proposed framework, including stage augmenta tion, virtual and augmented reality, which involve sensing and mapping of physical and non-physical changes onto multimedia control events, are discussed

Workplace Surfaces as Resource for Social Interactions

Space and spatial arrangements play an important role in our everyday social interactions. The way we use and manage our surrounding space is not coincidental, on the contrary, it reflects the way we think, plan and act. Within collaborative contexts, its ability to support social activities makes space an important component of human cognition in the post-cognitive era. As technology designers, we can learn a lot by rigorously understanding the role of space for the purpose of designing collaborative systems. In this paper, we describe an ethnographic study on the use of workplace surfaces in design studios. We introduce the idea of artful surfaces. Artful surfaces are full of informative, inspirational and creative artefacts that help designers accomplish their everyday design practices. The way these surfaces are created and used could provide information about how designers work. Using examples from our fieldwork, we show that artful surfaces have both functional and inspirational characteristics. We indentify four types of artful surfaces: personal, shared, project-specific and live surfaces. We believe that a greater insight into how these artful surfaces are created and used could lead to better design of novel display technologies to support designers' everyday work