5 resultados para Openness to Experience

em Research Open Access Repository of the University of East London.


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Conventional taught learning practices often experience difficulties in keeping students motivated and engaged. Video games, however, are very successful at sustaining high levels of motivation and engagement through a set of tasks for hours without apparent loss of focus. In addition, gamers solve complex problems within a gaming environment without feeling fatigue or frustration, as they would typically do with a comparable learning task. Based on this notion, the academic community is keen on exploring methods that can deliver deep learner engagement and has shown increased interest in adopting gamification – the integration of gaming elements, mechanics, and frameworks into non-game situations and scenarios – as a means to increase student engagement and improve information retention. Its effectiveness when applied to education has been debatable though, as attempts have generally been restricted to one-dimensional approaches such as transposing a trivial reward system onto existing teaching materials and/or assessments. Nevertheless, a gamified, multi-dimensional, problem-based learning approach can yield improved results even when applied to a very complex and traditionally dry task like the teaching of computer programming, as shown in this paper. The presented quasi-experimental study used a combination of instructor feedback, real time sequence of scored quizzes, and live coding to deliver a fully interactive learning experience. More specifically, the “Kahoot!” Classroom Response System (CRS), the classroom version of the TV game show “Who Wants To Be A Millionaire?”, and Codecademy’s interactive platform formed the basis for a learning model which was applied to an entry-level Python programming course. Students were thus allowed to experience multiple interlocking methods similar to those commonly found in a top quality game experience. To assess gamification’s impact on learning, empirical data from the gamified group were compared to those from a control group who was taught through a traditional learning approach, similar to the one which had been used during previous cohorts. Despite this being a relatively small-scale study, the results and findings for a number of key metrics, including attendance, downloading of course material, and final grades, were encouraging and proved that the gamified approach was motivating and enriching for both students and instructors.

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The ability and right to have secrets may be a condition of social ethics (Derrida, A Taste for the Secret), but at the same time the nature of secrets is that they undermine themselves. Once told, secrets are no longer secret but are known. Even to name them as possibilities is to bring them into view as objects of knowledge. Secrets are thus always in some ways partial secrets, but their “openness” also connotes the lack of certainty of any knowledge about them, their evasiveness, their lack of fixity, and hence, their partial character and openness to change. In this article, I explore partial secrets in relation to a 2011 interview study of HIV support in the United Kingdom, where HIV’s relatively low prevalence and high treatment access tends toward its invisibilization. I suggest that in this context, HIV is positioned ambiguously, as a “partial secret,” in an ongoing and precarious tension between public knowledge and acceptance of HIV, HIV’s constitution as a condition of citizenship attended by full human rights, and HIV’s being resecreted through ongoing illness, constrained resources, citizenly exclusion, and the psychological and social isolation of those affected.

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Studies conducted in various contexts and with varied populations have found expressive writing enhances physical and psychological wellbeing. This pilot intervention study countered the predominantly quantitative evidence by adopting a qualitative methodology, exploring the experience of using positive emotions in expressive writing. Participants (n = 10), who all had previous experience in expressive writing, were asked to select one of ten positive emotion cards (PECs) each day for three days. Participants were then asked to write expressively through the ‘lens’ of their chosen emotion. Semi-structured interviews were conducted and experiences were evaluated using Thematic Analysis. The results identified two main themes that compared the experience of expressive writing both with and without the PECs. The first theme, Processing (without the PECs) contained three sub-themes: sense of relief, habitual perspective and reactive to experience. The second main theme, Progressing (with the PECs) contained three different sub-themes: sense of direction, changed perspective and interactive with experience. This study found that, for expressive writers, positive emotions may function in three ways: to relate to others or self-expand, to move past challenges cognitively or change unconstructive perspectives, and finally as a way to interactively link or ‘bridge’ from the written subject matter to constructive action, thus breaking cycles of reactive writing and rumination. Implications of the study on the practice of expressive writing and its potential as a positive psychology intervention (PPI) are discussed.

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Social media are increasingly being recruited into care practices in mental health. This paper analyses how a major new mental health social media site (www.elefriends.org.uk) is used when trying to manage the impact of psychiatric medication on the body. Drawing on Henri Bergson's concept of affection, analysis shows that Elefriends is used at particular moments of reconfiguration (e.g. change in dosage and/or medication), periods of self-experimentation (when people tailor their regimen by altering prescriptions or ceasing medication) and when dealing with a present bodily concern (showing how members have a direct, immediate relationship with the site). In addition, analysis illustrates how users face having to structure their communication to try to avoid 'triggering' distress in others. The paper concludes by pointing to the need to focus on the multiple emerging relationships between bodies and social media in mental health due to the ways the latter are becoming increasingly prominent technologies through which to experience the body when distressed.

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This paper aims to investigate the ways in which context-based sonic art is capable of furthering a knowledge and understanding of place based on the initial perceptual encounter. How might this perceptual encounter operate in terms of a sound work’s affective dimension? To explore these issues I draw upon James J. Gibson’s ecological theory of perception and Gernot Böhme’s concept of an ‘aesthetic of atmospheres’. Within the ecological model of perception an individual can be regarded as a ‘perceptual system’: a mobile organism that seeks information from a coherent environment. I relate this concept to notions of the spatial address of environmental sound work in order to explore (a) how the human perceptual apparatus relates to the sonic environment in its mediated form and (b) how this impacts on individuals’ ability to experience such work as complex sonic ‘environments’. Can the ecological theory of perception aid the understanding of how the listener engages with context-based work? In proposing answers to this question, this paper advances a coherent analytical framework that may lead us to a more systematic grasp of the ways in which individuals engage aesthetically with sonic space and environment. I illustrate this methodology through an examination of some of the recorded work of sound artist Chris Watson.