AR-based Technoself Enhanced Learning Approach to Improving Student Engagement

The emerging technologies have expanded a new dimension of self – ‘technoself’ driven by socio-technical innovations and taken an important step forward in pervasive learning. Technology Enhanced Learning (TEL) research has increasingly focused on emergent technologies such as Augmented Reality (AR) for augmented learning, mobile learning, and game-based learning in order to improve self-motivation and self-engagement of the learners in enriched multimodal learning environments. These researches take advantage of technological innovations in hardware and software across different platforms and devices including tablets, phoneblets and even game consoles and their increasing popularity for pervasive learning with the significant development of personalization processes which place the student at the center of the learning process. In particular, augmented reality (AR) research has matured to a level to facilitate augmented learning, which is defined as an on-demand learning technique where the learning environment adapts to the needs and inputs from learners. In this paper we firstly study the role of Technology Acceptance Model (TAM) which is one of the most influential theories applied in TEL on how learners come to accept and use a new technology. Then we present the design methodology of the technoself approach for pervasive learning and introduce technoself enhanced learning as a novel pedagogical model to improve student engagement by shaping personal learning focus and setting. Furthermore we describe the design and development of an AR-based interactive digital interpretation system for augmented learning and discuss key features. By incorporating mobiles, game simulation, voice recognition, and multimodal interaction through Augmented Reality, the learning contents can be geared toward learner's needs and learners can stimulate discovery and gain greater understanding. The system demonstrates that Augmented Reality can provide rich contextual learning environment and contents tailored for individuals. Augment learning via AR can bridge this gap between the theoretical learning and practical learning, and focus on how the real and virtual can be combined together to fulfill different learning objectives, requirements, and even environments. Finally, we validate and evaluate the AR-based technoself enhanced learning approach to enhancing the student motivation and engagement in the learning process through experimental learning practices. It shows that Augmented Reality is well aligned with constructive learning strategies, as learners can control their own learning and manipulate objects that are not real in augmented environment to derive and acquire understanding and knowledge in a broad diversity of learning practices including constructive activities and analytical activities.

Reality Effects: The Historical Novel and the Crisis of Fictionality in the First Decade of the Twenty-first Century

This chapter looks at the assumptions made about the 'fictionality' of prose fiction implicit in the contemporary historical novel. In particular it argues that the recent historical novel has developed a set of 'reality effects' which appear to look back to modernist writing, but in fact work to secure a disguised referentiality in the face of a loss of faith in the fictional.

Transformative realism: reflections of reality in political avant-garde and contemporary fine art film - Spanish Labyrinth, south from Granada

A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid’s Plaza del Sol and Spain’s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930’s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, René Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists’ film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.