Study on Teaching Method Innovation of Art Design Basic Courses

Teaching methods are operating methods and techniques applied by teachers to finish teaching tasks. The key to improving the teaching quality is to rationally and flexibly use appropriate teaching methods which are actively explored and reformed as per the features and requirements of the design majors that is also essential to improve teaching effects. This essay analyzes the status of teaching of design basis and the premises of teaching innovation, and tries to give opinions and suggestions on the innovation of teaching methods in art design basic courses, in combination with the author’s teaching practices in recent several years

Visual Design and Research for Presentation Based on Physiological Study of Audience Cognition

In modern presentation design, special attention is paid to people orientation, and to full improvement of service quality and information conveying efficiency, which should be based on the comprehensive understanding and research on people. Just based on this idea, contemporary presentation activities and presentation designers attach great important to audience cognitive science, especially the research and discussion on visual physiology. Through the research and application in this field, the effect of information conveying in presentation activities is greatly enhanced, and the quality and level of contemporary presentation are significantly improved

Strengthen Students’ Self-Awareness, Foster Their Creative Spirit: “Open-Type” Teaching Philosophy-Based Art Design Teaching Discussion and Practice

The first that education should endow the students is the active participation as main part if it wants to change students and foster their creative spirit indeed. For this perspective, it is shown that the key of creative education or the immediate mission of teaching is to create subjects and activities suitable for students to participate and explore independently, and to provide students with the necessary method, conditions and environment for fostering creative spirit. In this paper, we, in combination with our own teaching practice, propose an open-type teaching mode, attempt to break restraints set up by traditional art design teaching mode, and explore a path of teaching in favor of fostering students’ creative spirit and practical ability, as well as being beneficial to induce students’ interests, and build their curiosity, imagination and creativity, thus to find an effective path of practically implementing goal of innovation education in design

Sex-Related Differences in Vocal Responses to Pitch Feedback Perturbations During Sustained Vocalization

The present study assessed the effect of sex on voice fundamental frequency (F0) responses to pitch feedback perturbations during sustained vocalization. Sixty-four native-Mandarin speakers heard their voice pitch feedback shifted at ±50, ±100, or ±200 cents for 200 ms, five times during each vocalization. The results showed that, as compared to female speakers, male speakers produced significantly larger but slower vocal responses to the pitch-shifted stimuli. These findings reveal a modulation of vocal response as a function of sex, and suggest that there may be a differential processing of vocal pitch feedback perturbations between men and wome

Dynamics of Vocalization-Induced Modulation of Auditory Cortical Activity at Mid-utterance

Background: Recent research has addressed the suppression of cortical sensory responses to altered auditory feedback that occurs at utterance onset regarding speech. However, there is reason to assume that the mechanisms underlying sensorimotor processing at mid-utterance are different than those involved in sensorimotor control at utterance onset. The present study attempted to examine the dynamics of event-related potentials (ERPs) to different acoustic versions of auditory feedback at mid-utterance. Methodology/Principal findings: Subjects produced a vowel sound while hearing their pitch-shifted voice (100 cents), a sum of their vocalization and pure tones, or a sum of their vocalization and white noise at mid-utterance via headphones. Subjects also passively listened to playback of what they heard during active vocalization. Cortical ERPs were recorded in response to different acoustic versions of feedback changes during both active vocalization and passive listening. The results showed that, relative to passive listening, active vocalization yielded enhanced P2 responses to the 100 cents pitch shifts, whereas suppression effects of P2 responses were observed when voice auditory feedback was distorted by pure tones or white noise. Conclusion/Significance: The present findings, for the first time, demonstrate a dynamic modulation of cortical activity as a function of the quality of acoustic feedback at mid-utterance, suggesting that auditory cortical responses can be enhanced or suppressed to distinguish self-produced speech from externally-produced sounds

Hollow Nanostructured Anode Materials for Li-Ion Batteries

Hollow nanostructured anode materials lie at the heart of research relating to Li-ion batteries, which require high capacity, high rate capability, and high safety. The higher capacity and higher rate capability for hollow nanostructured anode materials than that for the bulk counterparts can be attributed to their higher surface area, shorter path length for Li+ transport, and more freedom for volume change, which can reduce the overpotential and allow better reaction kinetics at the electrode surface. In this article, we review recent research activities on hollow nanostructured anode materials for Li-ion batteries, including carbon materials, metals, metal oxides, and their hybrid materials. The major goal of this review is to highlight some recent progresses in using these hollow nanomaterials as anode materials to develop Li-ion batteries with high capacity, high rate capability, and excellent cycling stability

Experience and Cognition: A Study on “Experiential” Design in Exhibitions

The experience economy boosts the development of experience design, which, as a new form of design, has become a hot spot in studies on exhibition design. This article probes into the experiences and experience design in exhibition design, primarily in aspects such as the definition of experience, the reasons why the experience is stressed in exhibition design, misunderstanding about experience and factors that constitute experience. The analysis of the above questions forms the basis for the experience theory in exhibition design. This article aims to provide theoretical guidance on development of exhibition design practices, and serves to finally achieve the purposes of exhibition design