Haptic history : heads, hands and hearts

This thesis was prompted by the issue of widespread student disengagement in history classrooms. I argue that a key factor in student disengagement with school history is disciplinary history’s pedagogic legacy as an ocular, text-focused intellectual pursuit. This is part of a broader disjunction between public and academic history. Ordinary people primarily make sense of the past through the materiality of things—through objects, artefacts, landscapes and their bodies—but this is not reflected in the way history is usually taught in schools. My research addresses this problem by developing a materialist model of history pedagogy— ‘haptic history’—that has been derived from a close analysis of two groups who employ materiality in their history praxis: school teachers, who self-identify as employing a materialist approach in their history teaching; and historical re-enactors/living historians. These groups are the focus of this study. They have an avowed educative goal and use the materiality of the past as both source and method, to construct historical knowledge, ‘do’ historical thinking and experience historical consciousness. I explore the materialist praxis of these groups using a qualitative methodology of surveys, in-depth interviews, auto-ethnography, focus groups and case studies. In analysis, I draw on Collingwood’s idea of history, together with interdisciplinary and theoretical insights from the fields of archaeology, social anthropology, museum, performance and material culture studies, to unpick and analyse the way materiality is used in these contexts as forms of historical consciousness and historical thinking. The analysis is then used to construct a model of haptic history pedagogy, with guideposts to support teacher classroom praxis. In the process of building a haptic history model of pedagogy, my research makes broader arguments around materiality and history. I argue that materiality is a significant part of ‘historical consciousness’ and our sense of self as historical beings. I further conclude that the (co)agency of ‘things’ weave webs of entanglement and connection between people in the present and the past that are deeply connective, engaging and serve to foster kinaesthetic empathy. This conclusion warrants an expansion of current models of historical empathy beyond the cognitive and affective, to include the kinaesthetic dimension. My research makes a significant contribution to history pedagogy by demonstrating the importance of touch and embodiment as performative and experiential modes for knowing the past. I demonstrate that when the materiality of history is experienced synergistically through ‘heads, hands and hearts’, the historical sensation of ekstasis is facilitated. This research further contributes to issues of access and equity in history education; haptic history’s materialist approach engages a wide range of learners, especially (but not exclusively) those who struggle to engage with traditional, text-heavy forms of history. Beyond history pedagogy, this study advances the case for disciplinary history to embrace the possibilities and opportunities inherent in interdisciplinary approaches to the study of the past. In venturing into the field of materiality, my research also raises significant questions around the co-agency of things in history, and in doing so joins others in prompting a reconsideration of an exclusively anthropocentric view of agency in the past

Evaluation of Presence in Virtual Environments: Haptic Vest and User's Haptic Skills

This paper presents the integration of a haptic vest with a multimodal virtual environment, consisting of video, audio, and haptic feedback, with the main objective of determining how users, who interact with the virtual environment, benefit from tactile and thermal stimuli provided by the haptic vest. Some experiments are performed using a game application of a train station after an explosion. The participants of this experiment have to move inside the environment, while receiving several stimuli to check if any improvement in presence or realism in that environment is reflected on the vest. This is done by comparing the experimental results with those similar scenarios, obtained without haptic feedback. These experiments are carried out by three groups of participants who are classified on the basis of their experience in haptics and virtual reality devices. Some differences among the groups have been found, which can be related to the levels of realism and synchronization of all the elements in the multimodal environment that fulfill the expectations and maximum satisfaction level. According to the participants in the experiment, two different levels of requirements are to be defined by the system to comply with the expectations of professional and conventional users

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

Spatial Cues Provided by Sound Improve Postural Stabilization: Evidence of a Spatial Auditory Map?

International audienceIt has long been suggested that sound plays a role in the postural control process. Few studies however have explored sound and posture interactions. The present paper focuses on the specific impact of audition on posture, seeking to determine the attributes of sound that may be useful for postural purposes. We investigated the postural sway of young, healthy blindfolded subjects in two experiments involving different static auditory environments. In the first experiment, we compared effect on sway in a simple environment built from three static sound sources in two different rooms: a normal vs. an anechoic room. In the second experiment, the same auditory environment was enriched in various ways, including the ambisonics synthesis of a immersive environment, and subjects stood on two different surfaces: a foam vs. a normal surface. The results of both experiments suggest that the spatial cues provided by sound can be used to improve postural stability. The richer the auditory environment, the better this stabilization. We interpret these results by invoking the " spatial hearing map " theory: listeners build their own mental representation of their surrounding environment, which provides them with spatial landmarks that help them to better stabilize

From potential words to actual words: Supporting adult ESL learners to develop productive oral vocabulary

A limited productive oral vocabulary can cause a significant level of frustration for learners of English. Words carry the foundational information required to communicate thoughts and participate in meaningful conversations and, without sufficient word knowledge, communication is limited. Moreover, participating in conversation requires an ability to understand words that are heard, but also the ability to use words appropriately in speech. Yet, it is generally accepted that learners’ receptive vocabulary (i.e., words understood in reading and listening) is significantly larger than their productive vocabulary (i.e., words used in writing and speaking) (Laufer, 1998; Waring, 1997; Webb, 2008b). Further problematic is that the transformation of adult learners’ vocabulary from receptive to productive can be a challenging task and more research into the types of activities that second language (L2) teachers can use to support such a transformation is needed. To date, only one study has examined the development of productive vocabulary (Teng & Xu, 2022); however, their study focused on written modes and no studies to date have investigated productive oral vocabulary development. This thesis addresses this research gap and provides insights into the types of classroom activities that can be used to develop adult learners’ productive oral vocabulary knowledge. The present study offers a new and innovative pronunciation-integrated teaching model to facilitate productive oral vocabulary development. In teaching English as a Second Language, vocabulary teaching and pronunciation training are frequently viewed as discrete areas of teaching and the value of metalinguistic awareness, which is the ability to consciously reflect on and manipulate language (Tunmer, Herriman, & Nesdale, 1988), of target words is rarely acknowledged. This thesis proposes that, in the context of developing learners’ productive oral vocabulary, vocabulary teaching, pronunciation training and metalinguistic awareness of target words are highly complementary

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Getting the point: tracing worked examples enhances learning

Embodied cognition perspectives suggest that pointing and tracing with the index finger may support learning, with basic laboratory research indicating such gestures have considerable effects on information processing in working memory. The present thesis examined whether tracing worked examples could enhance learning through decreased intrinsic cognitive load. In Experiment 1, 56 Year 6 students (mean age = 11.20, SD = .44) were presented with either tracing or no-tracing instructions on parallel lines relationships. The tracing group solved more acquisition phase practice questions and made fewer test phase errors, but otherwise test results were limited by ceiling effects. 42 Year 5 students (mean age = 10.50, SD = .51) were recruited in Experiment 2 to better align the materials with students’ knowledge levels. The tracing group outperformed the non-tracing group at the test and reported lower levels of test difficulty, interpreted as lower levels of intrinsic cognitive load. Experiment 3 recruited 52 Year 6 and Year 7 students (mean age = 12.04, SD = .59) presented with materials on angle relationships of a triangle; the tracing effect was replicated on test scores and errors, but not test difficulty. Experiment 4 used the parallel lines materials to test hypothesized gradients across experimental conditions with 72 Year 5 students (mean age = 9.94, SD = .33), predicting the tracing on the paper group would outperform the tracing above the paper group, who in turn would outperform the non-tracing group. The hypothesized gradient was established across practice questions correctly answered, practice question errors, test questions correctly answered, test question time to solution, and test difficulty self-reports. The results establish that incorporating the haptic input into worked example-based instruction design enhances the worked example effect and that tracing worked examples is a natural, simple yet effective way to enhance novices’ mathematics learning

Teaching the art museum to play : enhancing early childhood education in art museums through play theory

This study investigates the impact of implementing play in the art museum to educate and engage children aged 2 to 5, utilizing lessons learned from children’s museums. In order to establish themselves as welcoming and educative resources for children, the programing and exhibit design of art museums must support the unique needs of early learners, namely, learning through play. Within the museum field, children’s museums offer best examples of how play can be integrated into a museum environment to encourage early learning. This study was conducted in three stages using the methodology of grounded theory. The first stage investigated the educational practice grounded in play theory of the Boston Children’s Museum in Boston, Massachusetts by observing the play of children aged 2 to 5 at an exhibit in the Boston Children’s Museum. Based on this data, the second stage developed a play-based workshop for local pre-kindergartners. The third stage implemented this workshop at the Blanton Museum of Art, in Austin, Texas, collecting data through video recording and interview. Findings from this workshop led to the formation of the following grounded theory: the integration of play in the art museum affords children aged 2 to 5 a context for making meaning about the artworks, encouraging engagement with artworks and providing opportunities for child agency. Art museums can help children develop an awareness of themselves and the wider world, offering experiences to engage, teach, and empower young learners. But, first, they must learn how to play.Art Educatio

Ctrl Shift: How Crip Alt Ctrl Designers Change the Game and Reimagine Access

My journey as a disabled arts practitioner has been one of invention, hacking, and re-imagining what input systems could be. I have created my own modalities for creating work, rather than relying on commercially available options. This is a common practice within the disabled community, as individuals often modify and hack their surroundings to make them more usable. For example, ADAPT activists took sledgehammers to smash curb cuts and poured curb ramps with cement bags, ultimately leading to the widespread adoption of curb cuts as a standard architectural feature. As Yergeau notes, this type of "criptastic hacking" represents a creative resistance.(Yergeau, 2012) My interfaces and art projects are a combination of science fiction world-building, technology prototyping, and experimentation with novel ways of experiencing the world that work for my ability. I have been building interactive objects for over 20 years, and my bespoke controller games are both pieces I find comfortable to play and conceptual proposals that I share with the games community to spark consideration for alternative ways of interacting with games culture. This interdisciplinary design research herein crosses a range of disciplines, drawing inspiration from radical forms of cognitive science, games studies, feminist studies, HCI, crip technoscience, radical science fiction, disability studies, and making practices. What has emerged through studying my own practice and the practices of others during this research is a criptastic design framework for creating playful experiences. My research aims to gain a deeper understanding of the ways that hacking and remaking the world manifests as modifications to the design process itself. I created four versions of a physical alt ctrl game and conducted a design study with disabled artists and alt ctrl game creators. The game, Bot Party, was developed through a series of public exhibitions and explored my relationship between criptastic bespoke interface design and embodied experiences of group play. Bot Party involves physical interaction among players in groups to understand my own ways of designing, while the study looks three other disabled designers to understand the ways in which their process is similar or different to my own. By conducting this work, I aim to contribute to the larger conversation within the games studies community about the importance of accessibility and inclusivity in game design. The results highlight the need for continued exploration and development in this area, specifically in design methods. The study’s findings as they relate to my own practice revealed the importance of considering a set of values and design processes in relation to disability when creating games and playful experiences. With this perspective, I propose an initial framework that outlines possible key themes for disabled game designers. Using values as a starting point for creating deeply accessible games, this framework serves as a starting point for future research into accessible game design. This framework seeks to subvert the notion that accessibility is a list of UX best practices, audio descriptions, captions, and haptic additions and moves towards embedding within game design the values and practices used by disabled designers from the outset of the creative process. Access can be a creative framework. An important point to make is that my efforts to do a PhD resist the academic ableism limiting the participation of people who are not from a normative background. The act of creating this PhD has eaten at the edge of my ability, and the research here was often conducted in pain under extremely trying circumstances. This perspective is relevant because it often informed my design choices and thinking. Additionally, it was conducted at a university where I experienced active discrimination from members of staff who simply refused to believe in disabilities they could not see, and in one case writing down my disability was, “self-ascribed.” To work, I had to move outside the academy and seek out workshops which gave me accessible, ergonomic equipment as is discussed in the Bot Party section. This bears mentioning because it reflects on how threatening disabilities can be within academic settings and how even providing basic levels of accessibility remains a challenge for academic institutions. The above framework could benefit academia if used to redesign postgraduate academic research practices within the academy from a place of Crip-informed pedagogy. This is future work that this academic researcher hopes to explore in depth within their academic journey. It is important to note, much of the most relevant research to this thesis around disability studies and technology has emerged in recent years and as a result, was included iteratively in the literature review. It has informed the third study and my iterative design practice as part of the journey; however, I began this work before much of the writing in the literature review existed, including the creation of Bot Party’s first iterations. Finding this scholarship and these authors has been a kinning. Kinship, according to Gavin Van Horn, “can be considered a noun…shared and storied relations and memories that inhere in people and places; or more metaphorical imaginings that unite us to faith traditions, cultures, countries, or the planet…Perhaps this kinship-in-action should be called kinning.” (Horn et al., 2021) Kinning happened throughout this work and this thesis served me as a place for discovery, contemplation, and empowerment. It is my hope sections of it will serve this function for others within my community. I found kinship with other authors working in the field of disability studies and technology, particularly with Alison Kafer, who offers a critique of Donna Haraway's cyborg in her book "Feminist Queer Crip." (Kafer, 2013) Kafer's work highlights the limitations of Haraway's cyborg as a figure of empowerment for marginalized bodies and identities, and instead advocates for a crip-queer-feminist perspective on technology and embodiment. Additionally, the author has also found resonance in the work of Aimi Hamraie and Kelly Fritsh, whose work in disability studies and HCI has been instrumental in shaping this research. Specifically, their concept of "crip technoscience" has been a key framework for understanding technology creation by disabled technologists. (Hamraie and Fritsch, 2019) Overall, it is my hope that this thesis will serve as a generative resource for others within the community on this journey, particularly for those who are working towards a more inclusive and intersectional understanding of technology and embodiment