The Relationship Between Preferred Modal Learning Style and Patterns of Use and Completion of an Online Project Management Training Programme

This paper reports the results of a pilot study, conducted to observe and evaluate the patterns of use and completion of a set of project management units and to identify any relationships between these factors and learning style. The aim of the study was to gather data on which to base a subsequent software development project, based around personalising the learning materials. The participants were adult professionals employed in public sector organisations in the UK and the study was based within a real business e-learning environment. Data regarding preferred learning style was collected via a questionnaire and usage, progress and completion rates were gathered from computer logging data, with user permission. To assess preferred learning style, the VARK inventory (Fleming and Mills, 1992) was used; this categorises learners according to modal preference for learning: Visual, Auditory, Read/write and Kinaesthetic. The results showed that learners with a preferred Visual mode showed the best record for completions and were characterised by frequent usage, but for relatively shorter study durations. In contrast, learners preferring the Auditory modality had the lowest proportion of completions, and also this group logged on less frequently but for longer study periods. Learners with a preferred Kinaesthetic mode were characterised by the highest proportion of ‘In-Process’ learners (who were regularly using the system but not yet completed). The paper concludes with a proposal to build a personalisable learning environment incorporating specific modal features. A further study will then observe more closely the interaction between preferred modal learning style, mode of presentation and usage and performance. Keywords: VARK, modal learning style, business e-learning, project managemen

Which senses dominate at different stages of product experience?

In the area of product design, sensory dominance can be defined as the relative importance of different sensory modalities for product experience. Since product experience is multisensory, it is interesting to know which sensory modality plays a leading role in a particular experience, so that designers could concentrate on the creation of the most relevant product properties. It is often assumed that vision dominates other senses. In the present study, we investigated the importance of different sensory modalities during various episodes of product usage. We asked 120 respondents to describe their experiences with consumer products in the following situations: while buying a product, after the first week, the first month, and the first year of usage. The data suggest that the dominant modality depends on the period of product usage. At the moment of buying, vision is the most important modality, but at later stages other modalities become more important. The dominance of a particular modality may depend on its appropriateness for the particular task. During long-term usage, modality importance depends on product functions and the characteristics of the user-product interaction. We conclude that to create a long-lasting positive product experience, designers need to consider the user-product interaction at different stages of product usage and to determine which sensory modality dominates product experience at each stage. Keywords: Sensory Dominance; User-Product Interaction; Product Design</p

Evaluation of Haptic Patterns on a Steering Wheel

Infotainment Systems can increase mental workload and divert visual attention away from looking ahead on the roads. When these systems give information to the driver, provide it through the tactile channel on the steering, it wheel might improve driving behaviour and safety. This paper describes an investigation into the perceivability of haptic feedback patterns using an actuated surface on a steering wheel. Six solenoids were embedded along the rim of the steering wheel creating three bumps under each palm. Maximally, four of the six solenoids were actuated simultaneously, resulting in 56 patterns to test. Participants were asked to keep in the middle road of the driving simulator as good as possible. Overall recognition accuracy of the haptic patterns was 81.3%, where identification rate increased with decreasing number of active solenoids (up to 92.2% for a single solenoid). There was no significant increase in lane deviation or steering angle during haptic pattern presentation. These results suggest that drivers can reliably distinguish between cutaneous patterns presented on the steering wheel. Our findings can assist in delivering non-critical messages to the driver (e.g. driving performance, incoming text messages, etc.) without decreasing driving performance or increasing perceived mental workload

Mapping a multi-sensory identity territory at the early design stage

This article presents a kansei design methodology. It is placed at the very beginning of the design process and aims to influence the following steps in order to improve the user's understanding and experiencing of the designed product. The experimentation combines in a subtle way the design thinking approach of learning by doing and the kansei engineering quantitative approach. The research presented is based on the results of a previous study that defined the semantic and emotional scope of future hybrid cars for European using visual stimuli. This kansei design methodology creates and assesses multi-sensory atmospheres is order to provide tangible direction composed of vision, touch, hearing and smell stimuli. From the cognitive and affective responses of the 42 participants we were able to detail 3 directions for future cars interiors that aim to enrich the styling design briefs and to influence the design strategies such as the management of the different grades. The research presented here was supported by the Kansei Design department from Toyota Motor Europe (TME-KD). This collaboration also brought an industrial context to it.SUPPORTED BY TOYOTA EUROP

I Am The Passenger: How Visual Motion Cues Can Influence Sickness For In-Car VR

This paper explores the use of VR Head Mounted Displays (HMDs) in-car and in-motion for the first time. Immersive HMDs are becoming everyday consumer items and, as they offer new possibilities for entertainment and productivity, people will want to use them during travel in, for example, autonomous cars. However, their use is confounded by motion sickness caused in-part by the restricted visual perception of motion conflicting with physically perceived vehicle motion (accelerations/rotations detected by the vestibular system). Whilst VR HMDs restrict visual perception of motion, they could also render it virtually, potentially alleviating sensory conflict. To study this problem, we conducted the first on-road and in motion study to systematically investigate the effects of various visual presentations of the real-world motion of a car on the sickness and immersion of VR HMD wearing passengers. We established new baselines for VR in-car motion sickness, and found that there is no one best presentation with respect to balancing sickness and immersion. Instead, user preferences suggest different solutions are required for differently susceptible users to provide usable VR in-car. This work provides formative insights for VR designers and an entry point for further research into enabling use of VR HMDs, and the rich experiences they offer, when travelling

Head-related Impulse Response Cues for Spatial Auditory Brain-computer Interface

This study provides a comprehensive test of a head-related impulse response (HRIR) cues for a spatial auditory brain-computer interface (saBCI) speller paradigm. We present a comparison with the conventional virtual sound headphone-based spatial auditory modality. We propose and optimize the three types of sound spatialization settings using a variable elevation in order to evaluate the HRIR efficacy for the saBCI. Three experienced and seven naive BCI users participated in the three experimental setups based on ten presented Japanese syllables. The obtained EEG auditory evoked potentials (AEP) resulted with encouragingly good and stable P300 responses in online BCI experiments. Our case study indicated that users could perceive elevation in the saBCI experiments generated using the HRIR measured from a general head model. The saBCI accuracy and information transfer rate (ITR) scores have been improved comparing to the classical horizontal plane-based virtual spatial sound reproduction modality, as far as the healthy users in the current pilot study are concerned.Comment: 4 pages, 4 figures, accepted for EMBC 2015, IEEE copyrigh

Experimental analysis of the accessibility of drawings with few segments

The visual complexity of a graph drawing is defined as the number of geometric objects needed to represent all its edges. In particular, one object may represent multiple edges, e.g., one needs only one line segment to draw two collinear incident edges. We study the question if drawings with few segments have a better aesthetic appeal and help the user to asses the underlying graph. We design an experiment that investigates two different graph types (trees and sparse graphs), three different layout algorithms for trees, and two different layout algorithms for sparse graphs. We asked the users to give an aesthetic ranking on the layouts and to perform a furthest-pair or shortest-path task on the drawings.Comment: Appears in the Proceedings of the 25th International Symposium on Graph Drawing and Network Visualization (GD 2017

Taste and the algorithm

Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are involved in a process of mutual influences, and are partially determined by the invisible guiding hand of algorithms. With regard to this topic, this paper will introduce some key issues concerning the role of algorithms in aesthetic domains, such as taste detection and formation, cultural consumption and production, and showing how aesthetics can contribute to the ongoing debate about the impact of today’s “algorithmic culture”

Macaques preferentially attend to visual patterns with higher fractal dimension contours.

Animals' sensory systems evolved to efficiently process information from their environmental niches. Niches often include irregular shapes and rough textures (e.g., jagged terrain, canopy outlines) that must be navigated to find food, escape predators, and master other fitness-related challenges. For most primates, vision is the dominant sensory modality and thus, primates have evolved systems for processing complicated visual stimuli. One way to quantify information present in visual stimuli in natural scenes is evaluating their fractal dimension. We hypothesized that sensitivity to complicated geometric forms, indexed by fractal dimension, is an evolutionarily conserved capacity, and tested this capacity in rhesus macaques (Macaca mulatta). Monkeys viewed paired black and white images of simulated self-similar contours that systematically varied in fractal dimension while their attention to the stimuli was measured using noninvasive infrared eye tracking. They fixated more frequently on, dwelled for longer durations on, and had attentional biases towards images that contain boundary contours with higher fractal dimensions. This indicates that, like humans, they discriminate between visual stimuli on the basis of fractal dimension and may prefer viewing informationally rich visual stimuli. Our findings suggest that sensitivity to fractal dimension may be a wider ability of the vertebrate vision system