Risk Perception Influences Athletic Pacing Strategy.

PURPOSE: To examine risk-taking and risk-perception associations with perceived exertion, pacing and performance in athletes. METHODS: Two experiments were conducted in which risk-perception was assessed using the domain-specific risk-taking (DOSPERT) scale in 20 novice cyclists (Experiment 1) and 32 experienced ultra-marathon runners (Experiment 2). In Experiment 1, participants predicted their pace and then performed a 5 km maximum effort cycling time-trial on a calibrated KingCycle mounted bicycle. Split-times and perceived exertion were recorded every kilometer. In experiment 2, each participant predicted their split times before running a 100 km ultra-marathon. Split-times and perceived exertion were recorded at 7 check-points. In both experiments, higher and lower risk-perception groups were created using median split of DOSPERT scores. RESULTS: In experiment 1, pace during the first km was faster among lower compared to higher risk-perceivers, t(18)=2.0 P=0.03, and faster among higher compared lower risk-takers, t(18)=2.2 P=0.02. Actual pace was slower than predicted pace during the first km in both the higher risk perceivers, t(9)=-4.2 P=0.001, and lower risk-perceivers, t(9)=-1.8 P=0.049. In experiment 2, pace during the first 36 km was faster among lower compared to higher risk-perceivers, t(16)=2.0 P=0.03. Irrespective of risk-perception group, actual pace was slower than predicted pace during the first 18 km, t(16)=8.9 P<0.001, and from 18 to 36 km, t(16)=4.0 P<0.001. In both experiments there was no difference in performance between higher and lower risk-perception groups. CONCLUSIONS: Initial pace is associated with an individual's perception of risk, with low perceptions of risk being associated with a faster starting pace. Large differences between predicted and actual pace suggests the performance template lacks accuracy, perhaps indicating greater reliance on momentary pacing decisions rather than pre-planned strategy.

From Kandinsky to Java (The Use of 20th Century Abstract Art in Learning Programming)

At the University of Worcester we are continually striving to find new approaches to the learning and teaching of programming, to improve the quality of learning and the student experience. Over the past three years we have used the contexts of robotics, computer games, and most recently a study of Abstract Art to this end. This paper discusses our motivation for using Abstract Art as a context, details our principles and methodology, and reports on an evaluation of the student experience. Our basic tenet is that one can view the works of artists such as Kandinsky, Klee and Malevich as Object-Oriented (OO) constructions. Discussion of these works can therefore be used to introduce OO principles, to explore the meaning of classes, methods and attributes and finally to synthesize new works of art through Java code. This research has been conducted during delivery of an “Advanced OOP (Java)” programming module at final-year Undergraduate level, and during a Masters’ OO-Programming (Java) module. This allows a comparative evaluation of novice and experienced programmers’ learning. In this paper, we identify several instructional factors which emerge from our approach, and reflect upon the associated pedagogy. A Catalogue of ArtApplets is provided at the associated web-site.

Exploring Intrinsic Gender Identity Using Second Life

Virtual Worlds (VWs) provide an environment to understand and explore notions of gender and identity, particularly given the ability for users to experiment with gender in online worlds. Our study analyses gender identity using the virtual space of Second Life (SL) to explore experiences and responses to gender in an avatar. We introduced 46 novice users to the VW of SL in order to see if real life gender influenced their choices of avatar. Participants selected the gender of their original avatar and once they were used to SL, they were then asked to change the gender of that avatar. We used mixed methods research consisting of paper based questionnaires (n=34) and focus groups (n=46) conducted in SL. Nearly all participants chose an initial avatar that reflected their real-life gender with females (n=22) reporting higher levels of identification with this initial avatar. Females were significantly more concerned with the gender-specific appearance of their initial avatar. On swapping gender, females reported higher levels of discomfort and many changed back before 7 minutes. Males (n=24) did not report significant discomfort with their changed-gender avatar and did not revert back to their original avatar as quickly. Our findings suggest that female participants in this study tended to reinforce gender binaries through such things as clothing, hairstyles and behaviors of their avatars. Male participants were less likely to experience discomfort through changing the gender of their avatar (with the males noting they still perceived an avatar with a female appearance as male).