1,122 research outputs found

    Digital Technologies for Teaching English as a Foreign/Second Language: a collective monograph

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    Колективна монографія розкриває різні аспекти використання цифрових технологій у навчанні англійської мови як іноземної/другої мови (цифровий сторітелінг, мобільні застосунки, інтерактивне навчання і онлайн-ігри, тощо) та надає освітянам і дослідникам ресурс для збагачення їхньої професійної діяльності. Окрема увага приділена цифровим інструментам для впровадження соціально-емоційного навчання та інклюзивної освіти на уроках англійської мови. Для вчителів англійської мови, методистів, викладачів вищих закладів освіти, науковців, здобувачів вищої освіти

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

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    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

    Writing Facts: Interdisciplinary Discussions of a Key Concept in Modernity

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    "Fact" is one of the most crucial inventions of modern times. Susanne Knaller discusses the functions of this powerful notion in the arts and the sciences, its impact on aesthetic models and systems of knowledge. The practice of writing provides an effective procedure to realize and to understand facts. This concerns preparatory procedures, formal choices, models of argumentation, and narrative patterns. By considering "writing facts" and "writing facts", the volume shows why and how "facts" are a result of knowledge, rules, and norms as well as of description, argumentation, and narration. This approach allows new perspectives on »fact« and its impact on modernity

    Exhibiting the Past

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    With respect to public issues, history matters. With the worldwide interest for historical issues related with gender, religion, race, nation, and identity, public history is becoming the strongest branch of academic history. This volume brings together the contributions from historians of education about their engagement with public history, ranging from musealisation and alternative ways of exhibiting to new ways of storytelling

    Food - Media - Senses: Interdisciplinary Approaches

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    Food is more than just nutrition. Its preparation, presentation and consumption is a multifold communicative practice which includes the meal's design and its whole field of experience. How is food represented in cookbooks, product packaging or in paintings? How is dining semantically charged? How is the sensuality of eating treated in different cultural contexts? In order to acknowledge the material and media-related aspects of eating as a cultural praxis, experts from media studies, art history, literary studies, philosophy, experimental psychology, anthropology, food studies, cultural studies and design studies share their specific approaches

    WearPut : Designing Dexterous Wearable Input based on the Characteristics of Human Finger Motions

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    Department of Biomedical Engineering (Human Factors Engineering)Powerful microchips for computing and networking allow a wide range of wearable devices to be miniaturized with high fidelity and availability. In particular, the commercially successful smartwatches placed on the wrist drive market growth by sharing the role of smartphones and health management. The emerging Head Mounted Displays (HMDs) for Augmented Reality (AR) and Virtual Reality (VR) also impact various application areas in video games, education, simulation, and productivity tools. However, these powerful wearables have challenges in interaction with the inevitably limited space for input and output due to the specialized form factors for fitting the body parts. To complement the constrained interaction experience, many wearable devices still rely on other large form factor devices (e.g., smartphones or hand-held controllers). Despite their usefulness, the additional devices for interaction can constrain the viability of wearable devices in many usage scenarios by tethering users' hands to the physical devices. This thesis argues that developing novel Human-Computer interaction techniques for the specialized wearable form factors is vital for wearables to be reliable standalone products. This thesis seeks to address the issue of constrained interaction experience with novel interaction techniques by exploring finger motions during input for the specialized form factors of wearable devices. The several characteristics of the finger input motions are promising to enable increases in the expressiveness of input on the physically limited input space of wearable devices. First, the input techniques with fingers are prevalent on many large form factor devices (e.g., touchscreen or physical keyboard) due to fast and accurate performance and high familiarity. Second, many commercial wearable products provide built-in sensors (e.g., touchscreen or hand tracking system) to detect finger motions. This enables the implementation of novel interaction systems without any additional sensors or devices. Third, the specialized form factors of wearable devices can create unique input contexts while the fingers approach their locations, shapes, and components. Finally, the dexterity of fingers with a distinctive appearance, high degrees of freedom, and high sensitivity of joint angle perception have the potential to widen the range of input available with various movement features on the surface and in the air. Accordingly, the general claim of this thesis is that understanding how users move their fingers during input will enable increases in the expressiveness of the interaction techniques we can create for resource-limited wearable devices. This thesis demonstrates the general claim by providing evidence in various wearable scenarios with smartwatches and HMDs. First, this thesis explored the comfort range of static and dynamic touch input with angles on the touchscreen of smartwatches. The results showed the specific comfort ranges on variations in fingers, finger regions, and poses due to the unique input context that the touching hand approaches a small and fixed touchscreen with a limited range of angles. Then, finger region-aware systems that recognize the flat and side of the finger were constructed based on the contact areas on the touchscreen to enhance the expressiveness of angle-based touch input. In the second scenario, this thesis revealed distinctive touch profiles of different fingers caused by the unique input context for the touchscreen of smartwatches. The results led to the implementation of finger identification systems for distinguishing two or three fingers. Two virtual keyboards with 12 and 16 keys showed the feasibility of touch-based finger identification that enables increases in the expressiveness of touch input techniques. In addition, this thesis supports the general claim with a range of wearable scenarios by exploring the finger input motions in the air. In the third scenario, this thesis investigated the motions of in-air finger stroking during unconstrained in-air typing for HMDs. The results of the observation study revealed details of in-air finger motions during fast sequential input, such as strategies, kinematics, correlated movements, inter-fingerstroke relationship, and individual in-air keys. The in-depth analysis led to a practical guideline for developing robust in-air typing systems with finger stroking. Lastly, this thesis examined the viable locations of in-air thumb touch input to the virtual targets above the palm. It was confirmed that fast and accurate sequential thumb touch can be achieved at a total of 8 key locations with the built-in hand tracking system in a commercial HMD. Final typing studies with a novel in-air thumb typing system verified increases in the expressiveness of virtual target selection on HMDs. This thesis argues that the objective and subjective results and novel interaction techniques in various wearable scenarios support the general claim that understanding how users move their fingers during input will enable increases in the expressiveness of the interaction techniques we can create for resource-limited wearable devices. Finally, this thesis concludes with thesis contributions, design considerations, and the scope of future research works, for future researchers and developers to implement robust finger-based interaction systems on various types of wearable devices.ope

    Proceedings XXIII Congresso SIAMOC 2023

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    Il congresso annuale della Società Italiana di Analisi del Movimento in Clinica (SIAMOC), giunto quest’anno alla sua ventitreesima edizione, approda nuovamente a Roma. Il congresso SIAMOC, come ogni anno, è l’occasione per tutti i professionisti che operano nell’ambito dell’analisi del movimento di incontrarsi, presentare i risultati delle proprie ricerche e rimanere aggiornati sulle più recenti innovazioni riguardanti le procedure e le tecnologie per l’analisi del movimento nella pratica clinica. Il congresso SIAMOC 2023 di Roma si propone l’obiettivo di fornire ulteriore impulso ad una già eccellente attività di ricerca italiana nel settore dell’analisi del movimento e di conferirle ulteriore respiro ed impatto internazionale. Oltre ai qualificanti temi tradizionali che riguardano la ricerca di base e applicata in ambito clinico e sportivo, il congresso SIAMOC 2023 intende approfondire ulteriori tematiche di particolare interesse scientifico e di impatto sulla società. Tra questi temi anche quello dell’inserimento lavorativo di persone affette da disabilità anche grazie alla diffusione esponenziale in ambito clinico-occupazionale delle tecnologie robotiche collaborative e quello della protesica innovativa a supporto delle persone con amputazione. Verrà infine affrontato il tema dei nuovi algoritmi di intelligenza artificiale per l’ottimizzazione della classificazione in tempo reale dei pattern motori nei vari campi di applicazione

    Embodied interaction with guitars: instruments, embodied practices and ecologies

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    In this thesis I investigate the embodied performance preparation practices of guitarists to design and develop tools to support them. To do so, I employ a series of human-centred design methodologies such as design ethnography, participatory design, and soma design. The initial ethnographic study I conducted involved observing guitarists preparing to perform individually and with their bands in their habitual places of practice. I also interviewed these musicians on their preparation activities. Findings of this study allowed me to chart an ecology of tools and resources employed in the process, as well as pinpoint a series of design opportunities for augmenting guitars, namely supporting (1) encumbered interactions, (2) contextual interactions, and (3) connected interactions. Going forward with the design process I focused on remediating encumbered interactions that emerge during performance preparation with multimedia devices, particularly during instrumental transcription. I then prepared and ran a series of hands-on co-design workshops with guitarists to discuss five media controller prototypes, namely, instrument-mounted controls, pedal-based controls, voice-based controls, gesture-based controls, and “music-based” controls. This study highlighted the value that guitarists give to their guitars and to their existing practice spaces, tools, and resources by critically reflecting on how these interaction modalities would support or disturb their existing embodied preparation practices with the instrument. In parallel with this study, I had the opportunity to participate in a soma design workshop (and then prepare my own) in which I harnessed my first-person perspective of guitar playing to guide the design process. By exploring a series of embodied ideation and somatic methods, as well as materials and sensors across several points of contact between our bodies and the guitar, we collaboratively ideated a series of design concepts for guitar across both workshops, such as a series of breathing guitars, stretchy straps, and soft pedals. I then continued to develop and refine the Stretchy Strap concept into a guitar strap augmented with electronic textile stretch sensors to harness it as an embodied media controller to remediate encumbered interaction during musical transcription with guitar when using secondary multimedia resources. The device was subsequently evaluated by guitarists at a home practicing space, providing insights on nuanced aspects of its embodied use, such as how certain media control actions like play and pause are better supported by the bodily gestures enacted with the strap, whilst other actions, like rewinding the play back or setting in and out points for a loop are better supported by existing peripherals like keyboards and mice, as these activities do not necessarily happen in the flow of the embodied practice of musical transcription. Reflecting on the overall design process, a series of considerations are extracted for designing embodied interactions with guitars, namely, (1) considering the instrument and its potential for augmentation, i.e., considering the shape of the guitar, its material and its cultural identity, (2) considering the embodied practices with the instrument, i.e., the body and the subjective felt experience of the guitarist during their skilled embodied practices with the instrument and how these determine its expert use according to a particular instrumental tradition and/or musical practice, and (3) considering the practice ecology of the guitarist, i.e., the tools, resources, and spaces they use according to their practice
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