Engaging with children's graphic ensembles of an archaeological site: A multi-modal social semiotic approach to learning

Children’s drawings have been widely used in the field of museum education as indicators for learning, as well as means for evaluating the teaching that takes place in a museum or a heritage site. This paper employs social semiotics and multimodality as tools for introducing a different perspective when it comes to building a descriptive and an interpretative framework for analysing children’s production, as representative of their learning. The insight into their work is based on the assumptions that learning can be multi-modally mediated through a particular pedagogy and further be made accessible to us through the material realisation of children’s production across multiple modes. The paper aims to explore the implications of this position for generating knowledge about children’s learning. The main argument discussed here is that engaging with a child’s graphic ensemble through a multimodal and social semiotic perspective can enable us, hypothetically, to recover children’s meanings about the archaeological site as well as the aspects of their overall learning experience. Viewing their graphic ensembles as constructions that are interest driven and multi-modally realized could open up more possibilities for accessing the agendas and interests that guide their learning. The paper further uses this visual material as an opportunity to argue that when engaging with children’s learning, multimodality can work not as a theory on its own means, but as the framework that conditions a theory (e.g. social semiotics and discourse) into a direction of encompassing more possibilities for reading their understanding of the world

National Gallery ‘Picture in Focus’ : evaluation of the national roll-out

This report builds on The National Gallery ‘Picture in Focus’ Project: A Research Evaluation by Dr Dominic Wyse and Laura McGarty (who were at the time from the Faculty of Education, University of Cambridge) completed as part of their work for the National Gallery. Their work included two other research evaluations: 1) The National Gallery Initial Teacher Education Cultural Placement Partnership: A Research Evaluation, and 2) Evaluation Report: Out of Art into Storytelling. The current report is contextualised in the literature covered in these previous reports so doesn’t repeat this material. A key element across all these evaluations is the ways that art can be used as a stimulus for teaching and learning across a wide range of curriculum subjects and thematic areas

Characterization of vertically aligned carbon nanotube forests grown on stainless steel surfaces

Vertically aligned carbon nanotube (CNT) forests are a particularly interesting class of nanomaterials, because they combine multifunctional properties, such as high energy absorption, compressive strength, recoverability and super-hydrophobicity with light weight. These characteristics make them suitable for application as coating, protective layers and antifouling substrates for metallic pipelines and blades. Direct growth of CNT forests on metals offers the possibility to transfer the tunable CNT functionalities directly onto the desired substrates. Here, we focus on characterizing the structure and mechanical properties, as well as wettability and adhesion of CNT forests grown on different types of stainless steel. We investigate the correlations between composition and morphology of the steel substrates with the micro-structure of the CNTs, and reveal how the latter ultimately controls the mechanical and wetting properties of the CNT forest. Additionally, we study the influence of substrate morphology on the adhesion of CNTs to their substrate. We highlight that the same structure-property relationships govern the mechanical performance of CNT forests grown on steels and on Si

The Choreography of the Museum Experience: Visitors’ Designs for Learning

This paper acknowledges the multimodal and social nature of the museum experience. In this paper, we advocate the view that, within this multimodal frame, visitors are agents of their own design for learning as they engage with the exhibition and each other, redesigning the stories told by the curators. Audio-visual data from two individual projects in the UK illustrate the multimodal, embodied and social nature of the museum experience, which is often assumed to be ocularcentric and logocentric, and suggest that visitors learn by constantly making selections and transformations of the exhibition design, based on their own interests and responses to the various prompts emerging in and through social interaction. As such, the data analysis foregrounds the modes of movement, gaze, deixis and posture, which, alongside speech, are integral elements of the learning experience. Shifting our research focus on visitors’ redesigns of the exhibition poses a challenge to the curatorial design and has implications for exhibition-makers as it calls into question the assumptions of what should be learned and why, as well as how the resources in the exhibition space should be organised

Evaluating a Reference Architecture for Privacy Level Agreement\u27s Management

With the enforcement of the General Data Protection Regulation and the compliance to specific privacyand security-related principles, the adoption of Privacy by Design and Security by Design principles can be considered as a legal obligation for all organisations keeping EU citizens’ personal data. A formal way to support Data Controllers towards their compliance to the new regulation could be a Privacy Level Agreement (PLA), a mutual agreement of the privacy settings between a Data Controller and a Data Subject, that supports privacy management, by analysing privacy threats, vulnerabilities and Information Systems’ trust relationships. However, the concept of PLA has only been proposed on a theoretical level. In this paper, we propose a novel reference architecture to enable PLA management in practice, and we report on the application and evaluation of PLA management within the context of real-life case studies from two different domains, the public administration and the healthcare, where sensitive data is kept. The results are rather positive, indicating that the adoption of such an agreement promotes the transparency of an organisation while enhances data subjects’ trust

Seeing and Being Seen: The Multimodality of Museum Spectatorship

This article argues that museum visiting and the act of ‘spectatorship’, both of which are often assumed to be ocularcentric, are multimodal events. Anchored in Goffman’s dramaturgy and frame analysis theory, as well as Kress’s multimodal and social semiotic theory of representation and communication, this article presents an apposite interpretative and methodological framework to account for what has not been widely addressed by museum studies; that is, the multimodality of the museum experience. By drawing upon audio-visual excerpts of museum encounters, this analysis brings to the fore the embodied visiting and viewing practices of visitors in museum galleries. Specifically, this article highlights the range of modes of communication and representation, beyond gazing and looking, which are employed, negotiated and regulated within the social context of the visit. The article suggests that visitors’ experiences are embodied and performative interactions with the exhibits and other visitors.Key words: embodiment, multimodality, museums, social interaction, visitor