Learning analytics beyond the LMS : the Connected Learning Analytics toolkit

We present a Connected Learning Analytics (CLA) toolkit, which enables data to be extracted from social media and imported into a Learning Record Store (LRS), as defined by the new xAPI standard. Core to the toolkit is the notion of learner access to their own data. A number of implementational issues are discussed, and an ontology of xAPI verb/object/activity statements as they might be unified across 7 different social media and online environments is introduced. After considering some of the analytics that learners might be interested in discovering about their own processes (the delivery of which is prioritised for the toolkit) we propose a set of learning activities that could be easily implemented, and their data tracked by anyone using the toolkit and a LRS.

Perceiving the interactive body in dance: Enhancing kinesthetic empathy through art objects

Through a consideration of audience experience of embodiment in contemporary dance performance, this project used kinesthetic empathy as a theoretical construct to inform choreographic decision-making. The research outcome challenged the traditional performer/audience relationship through an interactive dance performance work entitled Planets. This acted as a platform that allowed both audience and performer to collaboratively listen to, process and form movement in a shared kinesthetic state. This connection was enabled through the distribution of interactive art objects, which responded to the shifting proximity between performer and audience. The performance was thus experienced through following a shared goal as instigated by the interactive technology. Through practice-led research, knowledge from kinesthetic empathy, embodied cognition and the mirror neuron system were used to develop the project’s aim in encouraging interactive audiences to engage in movement. This aim influenced studio explorations of movement through an enquiry into the kinesthetic self in dance. Investigations used movement quality, tension, mobility and acceleration to access a familiar movement vocabulary appropriate for a broad interactive audience. This informed the role of the researcher as performer. Planets was developed as a collaborative project between Michael Smith and interactive visual designer Andy Bates and performed over three nights at the Ars Electronica Festival 2014 in Linz, Austria. Supported by documented footage from Planets and audience responses to the performances, this paper draws together the theoretical underpinnings behind the development of the work and includes the experiential perspective of the performer.

Stroke: A brain attack!

Brain cells control everything we do - from speaking to walking to breathing. The brain needs a steady supply of blood and oxygen to function properly. Without this vital steady supply of blood, brain cells don't get enough nutrients and oxygen to do their job, and a stroke or 'brain attack' occurs. The human brain is divided into regions that control various motor (movement) and sensory (the senses) functions. Damage from stroke to a specific region may affect the functions it controls. This causes symptoms such as paralysis (loss of movement), difficulty speaking, or loss of coordination. The left side of the brain controls motor and sensory functions on the right side of the body. The left side is also responsible for scientific functions, understanding written and spoken language, number skills and reasoning. The right side of the brain controls motor and sensory functions on the left side of the body. It also controls artistic functions, such as music, art awareness, and insight. If an artery inside the brain or leading to the brain becomes temporarily blocked, the flow of blood to an area of the brain slows or stops. The lack of blood can cause temporary symptoms such as weakness, numbness, problems with speech, dizziness, or loss of vision.

New mobilities for accessible cities: Toward scenarios for seamless journeys

While cities increasingly attest to plans to make their resources accessible for people with disabilities, the realities of achieving the travel considered integral to urban life continue to be frustrating and prohibitive for this group. Accessing the basic opportunities of contemporary urban life now presupposes the supports and resources afforded by new mobilities, combining virtual and actual travel and communication in negotiating our work, leisure, connections with families and culture. For the researchers applying the new mobilities paradigm, this requires a focus which is suited to capturing movement and its spatial and temporal coordinates and should also turn to illuminate the darker side of these relationships: coerced immobility experienced by people with disabilities. This chapter discusses an approach to research and the development of design scenarios – concepts emerging from research that may inform design - that take seriously the role of movement, time and space in the achievement of valued connections by individuals with disabilities with particular reference to the journey to work. In particular we apply, in a case study, concepts of time and space that are relevant to the in situ experience of getting to work; raising questions regarding the way getting ready and travelling are experienced in the context of risk and contingency and the actual and potential role of the technical, material and social environment. We then respond to the analysis of this case with a discussion about the way emergent scenarios can imagine “possible or preferable futures” for the mobile citizenship of people with disabilities.

Policing expert testimony in a death investigation: Medical opinion as legal fact

Within coronial investigations, pathologists are called upon to given evidence as to cause of death. This evidence is given great weight by the coroners; after all, scientific ‘truth’ is widely deemed to be far more reliable than legal ‘opinion’. The purpose of this paper is to examine the ontological and epistemological status of that evidence, from the perspectives of both the pathologists and the coroners. As part of an Australian Research Council Linkage Grant, interviews were conducted with seven pathologists and 10 coroners from within the Queensland coronial system. Contrary to expectations, and the work of philosophers of science, such as Feyerabend (1975), pathologists did not present their findings in terms of unequivocal facts or objective truths relating to causes of death. Rather, their evidence was largely presented as ‘educated opinion’ based upon ‘the weight of evidence’. It was actually the coroners who translated that opinion into ‘medical fact’ within the proceedings of their death investigations, arguably as a consequence of the administrative necessity to reach a clear-cut finding as to cause of death, and on the basis of their own understanding of the ontology of medical knowledge. These findings support Latour’s (2010) claim that law requires a fundamentally different epistemology to science, and that science is not entirely to blame for the extravagant truth-claims made on its behalf

Reverie I

Reverie I is a large-scale public art work commissioned by the Brisbane City Council for permanent installation on the Gardens Point Road Plinth adjacent to QUT Gardens Point campus in Brisbane. The work forms part of the artist's ongoing exploration of the methodology of self-portraiture and amorphous form. In this work, sculpted curls of hair have been assembled according to contours of its constituent cast panels - their capacity to nest with one another determined the final form of the work. The resulting mass of curls resembles both an oversized wig, a withered mulberry and a leaden cloud to invoke notions of movement, reflection and temporality. From the didactic panel: "The curls of Reverie I are derived from 18th century sculptural portraiture. The twisting forms of the highly styled wig known as a periwig were abstracted and inventive, while also bestowing an air of intellectual authority. Curls also evoke two aspects of this particular site: the erratic movement of water associated with the complex tidal movements of Brisbane River, and a state of mental reflection relevant to both the nearby university grounds (where intellectual work takes place) and the riverside pathway (a site for daydreaming)."

Catacoustics

'Catacoustics' was an exhibition of sculptural assemblages and photographs that continues my exploration of self-portraiture and the sculptural object. The exhibition was presented as part of the 2015 MetroArts curated exhibition program (Curator: Amy-Clare McCarthy). The work specifically extends the formal vocabulary of my studio practice to incorporate a replica casting of the Ian Fairweather memorial rock at Bribie Island, Queensland. The resulting casts are combined with a series of heptagonal forms derived from the memorial plinth and other sundry components taken from previous exhibitions.,The final arrangement of this diverse field of elements are determined in part by their formal properties (e.g. their capacity to nest, prop, balance, support each other) frequently also taking the horizontal/vertical and the orientation of surrounding walls as formal cues. In so doing, the body of work acts as a manifestation of object-agency. Within this studio methodology, practice is theorised as a site for the interplay of non-human agents. The resulting exhibition thus acts a meditation on the ontology of art practice, conceived as a 'topology' - a fluid network of relationships forged largely by objects.