We should google that : the dynamics of knowledge-in-interaction in an online student meeting

Funding: This work was supported by the European Union H2020 Marie Sklodowska-Curie Actions, grant agreement No 845783 and Erasmus+ [VALIANT (626134-EPP-1-2020-2-ESEPPKA3-PIPOLICY)]This paper takes a multimodal conversation analytic approach to explore knowledge-in-interaction in a technology-mediated online environment (Skype videoconference) during a meeting between eight university students studying to become language teachers. The analysis considers the ways in which the studentteachers demonstrate their knowledge or understanding of telecollaborative project-based language learning while taking part in a telecollaborative exchange themselves. Given the growing predominance of online teaching and learning, it is increasingly relevant to have a deep understanding of the ongoing learner interaction that takes place in these environments, particularly considering that interaction can be understood as a trajectory of knowledge building. The study examines how the student-teachers make use of the different technological features of a videoconferencing platform to manage the assigned task, which is to complete a collaborative exam. These features include camera, shared links, parallel text chats and editing tools. Findings imply that the student-teachers sequentially organise their knowledge synthesis and co-construction of pedagogical understanding through technologically-supported mutually coordinated interaction. Although the analysis is contextually bound, the task-focused interaction that is highlighted is relevant to higher education teachers in a variety of contexts, apart from teacher education

Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston

The selfie and the transformation of the public–private distinction

The selfie is a contemporary form of self-portraiture, representing a photographic image of the human face. The selfie is created for the purpose of reproduction and to communicate images visually with others from a distance. The proliferation of web 2.0 technologies and mobile smart phones enables users to generate and disseminate images at an unprecedented scale. Coupled with the increasing popularity of social media platforms, these technologies allow the selfie to be distributed to a wide audience in close to real time. Drawing upon Erving Goffman’s approach to the study of face-to-face social interaction, this article presents a discussion of the production and consumption of the selfie. We draw upon Goffman’s dramaturgical approach, to explore how the ‘presentation of self’ occurs in the context of a selfie. Next, we consider how the selfie as a form of visual communication holds critical implications for mediated life online as individuals go about doing privacy. We conclude by reflecting on the role of the selfie and its impact on the boundaries between public and private domains in contemporary social life

Time as a strand of the dance medium

Time and space are at the core of our aesthetic experiences of dance performances, yet dance has been frequently categorised as a space-based art. In this paper I revise the choreological perspective developed by Preston-Dunlop and Sánchez-Colberg that conceives dance as an embodied performative art articulated in a multistranded medium (performer, movement, sound, space). I argue that time should be allowed a distinct place in the choreological discourse since its presence is key to the expressivity of a dance piece. I conceptualise the meaning of the time strand and expose how different substrands emerge, connect with others and become expressive in dance performances. My investigation considers in particular the aesthetics of time in live performances in the theatre compared to dances created for the camera, focusing specifically on instances of contemporary transpositions from one context to the other

Visual expertise as embodied practice

This study looks at the practice of thoracic radiology and follows a group of radiologists and radiophysicists in their efforts to find, discuss, and formulate issues or troubles ensuing the implementation of a new radiographic imaging technology. Based in the theoretical tradition of ethnomethodology it examines the local endogenous practices pertaining to the radiologists’ expertise in the interpretation of visual representations and tries to explicate the ways in which they draw upon various resources in order to accomplish their professional tasks. As the study is addressing the topic of visual expertise it also aims to do so in terms that acknowledge that all expertise is rooted in embodied practices. The analysis follows a case of what is called the enacted production of radiological reasoning. One of the central features of the described work is the manner in which it is carried out by way of the living present body of an expert. The experienced radiologist interweaves anatomical and technological terminology with visual representations and gestures in such a way that none of these components can be said to be superfluous to the argumentation. As a consequence, we should appreciate gestures and embodied actions as important means through which expertise become organised. These are parts of a repertoire of methods through which the experts learn their profession. In addition, gestures can also become enrolled in the re-negotiation of expertise in the face of new challenges

Towards a Practitioner Model of Mobile Music

This practice-based research investigates the mobile paradigm in the context of electronic music, sound and performance; it considers the idea of mobile as a lens through which a new model of electronic music performance can be interrogated. This research explores mobile media devices as tools and modes of artistic expression in everyday contexts and situations. While many of the previous studies have tended to focus upon the design and construction of new hardware and software systems, this research puts performance practice at the centre of its analysis. This research builds a methodological and practical framework that draws upon theories of mobile-mediated aurality, rhetoric on the practice of walking, relational aesthetics, and urban and natural environments as sites for musical performance. The aim is to question the spaces commonly associated with electronic music – where it is situated, listened to and experienced. This thesis concentrates on the creative use of existing systems using generic mobile devices – smartphones, tablets and HD cameras – and commercially available apps. It will describe the development, implementation and evaluation of a self-contained performance system utilising digital signal processing apps and the interconnectivity of an inter-app routing system. This is an area of investigation that other research programmes have not addressed in any depth. This research’s enquiries will be held in dynamic and often unpredictable conditions, from navigating busy streets to the fold down shelf on the back of a train seat, as a solo performer or larger groups of players, working with musicians, nonmusicians and other participants. Along the way, it examines how ubiquitous mobile technology and its total access might promote inclusivity and creativity through the cultural adhesive of mobile media. This research aims to explore how being mobile has unrealised potential to change the methods and experiences of making electronic music, to generate a new kind of performer identity and as a consequence lead towards a practitioner model of mobile music

A Review of Verbal and Non-Verbal Human-Robot Interactive Communication

In this paper, an overview of human-robot interactive communication is presented, covering verbal as well as non-verbal aspects of human-robot interaction. Following a historical introduction, and motivation towards fluid human-robot communication, ten desiderata are proposed, which provide an organizational axis both of recent as well as of future research on human-robot communication. Then, the ten desiderata are examined in detail, culminating to a unifying discussion, and a forward-looking conclusion