A Haptic System for Depicting Mathematical Graphics for Students with Visual Impairments

When teaching students with visual impairments educators generally rely on tactile tools to depict visual mathematical topics. Tactile media, such as embossed paper and simple manipulable materials, are typically used to convey graphical information. Although these tools are easy to use and relatively inexpensive, they are solely tactile and are not modifiable. Dynamic and interactive technologies such as pin matrices and haptic pens are also commercially available, but tend to be more expensive and less intuitive. This study aims to bridge the gap between easy-to-use tactile tools and dynamic, interactive technologies in order to facilitate the haptic learning of mathematical concepts. We developed an haptic assistive device using a Tanvas electrostatic touchscreen that provides the user with multimodal (haptic, auditory, and visual) output. Three methodological steps comprise this research: 1) a systematic literature review of the state of the art in the design and testing of tactile and haptic assistive devices, 2) a user-centered system design, and 3) testing of the system’s effectiveness via a usability study. The electrostatic touchscreen exhibits promise as an assistive device for displaying visual mathematical elements via the haptic modality.

A Stationless Bikeshare Proof of Concept for College Campuses

Bikeshares promote healthy lifestyles and sustainability among commuters, casual riders, and tourists. However, the central pillar of modern systems, the bike station, cannot be easily integrated into a compact college campus. Fixed stations lack the flexibility to meet the needs of college students who make quick, short-distance trips. Additionally, the necessary cost of implementing and maintaining each station prohibits increasing the number of stations for user convenience. Therefore, the team developed a stationless bikeshare based on a smartlock permanently attached to bicycles in the system. The smartlock system design incorporates several innovative approaches to provide usability, security, and reliability that overcome the limitations of a station centered design. A focus group discussion allowed the team to receive feedback on the early lock, system, and website designs, identify improvements and craft a pleasant user experience. The team designed a unique, two-step lock system that is intuitive to operate while mitigating user error. To ensure security, user access is limited through near field ii communications (NFC) technology connected to a mechatronic release system. The said system relied on a NFC module and a servo working through an Arduino microcontroller coded in the Arduino IDE. To track rentals and maintain the system, each bike is fitted with an XBee module to communicate with a scalable ZigBee mesh network. The network allows for bidirectional, real-time communication with a Meteor.js web application, which enables user and administrator functions through an intuitive user interface available on mobile and desktop. The development of an independent smartlock to replace bike stations is essential to meet the needs of the modern college student. With the goal of creating a bikeshare that better serves college students, Team BIKES has laid the framework for a system that is affordable, easily adaptable, and implementable on any university expressing an interest in bringing a bikeshare to its campus.

Teaching Sight-Reading to Undergraduate Choral Ensemble Singers: Lessons from Successful Learners

This study was designed to investigate professional choral singers’ training, perceptions on the importance of sight-reading skill in their work, and thoughts on effective pedagogy for teaching sight-reading to undergraduate choral ensemble singers. Participants in this study (N=48) included self-selected professional singers and choral conductors from the Summer 2015 Oregon Bach Festival’s Berwick Chorus and conducting Master Class. Data were gathered from questionnaire responses and audio recorded focus group sessions. Focus group data showed that the majority of participants developed proficiency in their sight-reading skills from instrumental study, aural skills classes, and through on-the-job training at a church job or other professional choral singing employment. While participants brought up a number of important job skills, sightreading was listed as perhaps the single most important skill that a professional choral singer could develop. When reading music during the rehearsal process, the data revealed two main strategies that professional singers used to interpret the pitches in their musical line: an intervallic approach and a harmonic approach. Participants marked their scores systematically to identify problem spots and leave reminders to aid with future readings, such as marking intervals, solfege syllables, or rhythmic counts. Participants reported using a variety of skills other than score marking to try to accurately find their pitches, such as looking at other vocal or instrumental lines, looking ahead, and using knowledge about a musical style or time period to make more intuitive “guesses” when sight-reading. Participants described using additional approaches when sight-reading in an audition situation, including scanning for anchors or anomalies and positive self-talk. Singers learned these sight-reading techniques from a variety of sources. Participants had many different ideas about how best to teach sight-reading in the undergraduate choral ensemble rehearsal. The top response was that sight-reading needed to be practiced consistently in order for students to improve. Other responses included developing personal accountability, empowering students, combining different teaching methods, and discussing real-life applications of becoming strong sight-readers. There was discussion about the ultimate purpose of choir at the university level and whether it is to teach musicianship skills or produce excellent performances.

The Space Between

I approach my practice through the truth that art is inseparable from reality. Reducing art to a single idea is an unnatural limitation because the creative process and its manifestations result from many parallel ideas, instincts, emotions and reflections. In the following, I trace the central sources of the inspiration for work and attempt to bridge the experiential and intuitive processes that concurrently fuel my creative process.

Visual Insight in Geometry

According to a traditional rationalist proposal, it is possible to attain knowledge of certain necessary truths by means of insight—an epistemic mental act that combines the 'presentational' character of perception with the a priori status usually reserved for discursive reasoning. In this dissertation, I defend the insight proposal in relation to a specific subject matter: elementary Euclidean plane geometry, as set out in Book I of Euclid's Elements. In particular, I argue that visualizations and visual experiences of diagrams allow human subjects to grasp truths of geometry by means of visual insight. In the first two chapters, I provide an initial defense of the geometrical insight proposal, drawing on a novel interpretation of Plato's Meno to motivate the view and to reply to some objections. In the remaining three chapters, I provide an account of the psychological underpinnings of geometrical insight, a task that requires considering the psychology of visual imagery alongside the details of Euclid's geometrical system. One important challenge is to explain how basic features of human visual representations can serve to ground our intuitive grasp of Euclid's postulates and other initial assumptions. A second challenge is to explain how we are able to grasp general theorems by considering diagrams that depict only special cases. I argue that both of these challenges can be met by an account that regards geometrical insight as based in visual experiences involving the combined deployment of two varieties of 'dynamic' visual imagery: one that allows the subject to visually rehearse spatial transformations of a figure's parts, and another that allows the subject to entertain alternative ways of structurally integrating the figure as a whole. It is the interplay between these two forms of dynamic imagery that enables a visual experience of a diagram, suitably animated in visual imagination, to justify belief in the propositions of Euclid’s geometry. The upshot is a novel dynamic imagery account that explains how intuitive knowledge of elementary Euclidean plane geometry can be understood as grounded in visual insight.