In and out of preschool learning with iPads

In this chapter we describe and explain the ways we negotiated these same epistemological tensions and structural realities as we implemented the iPad loan component of the project reported in this book (hereafter: “iPad loan program”).Children who participated in the iPad loan program were able to take home one of the project iPads used in their preschool centre, much as they were able to take home books and puzzles. This component was one reflection of the ethos of “digital inclusion” that infused the project. As we noted in the introduction to this book, there is international recognition of the role that schools can play in ensuring all communities can participate in digital culture and the digital economy (e.g., European Commission, 2014; United States Government, 2013). Accordingly, we conducted the project in preschool centres where at least some groups of children were thought to enjoy less access to learning on digital platforms than others. Our goal was to put the iPad into the hands of children who might not otherwise have had access to it, while supporting teachers and parents in capitalising on the learning potential of the device for all the children. Centres nominated for the project by administrators in the preschool system all served communities that were either affected by poverty and/or diverse in language and culture.

Live from the Sydney Opera House: Remote musical interactions for teacher professional development

A significant challenge for the implementation of the Australian Curriculum: The Arts is the professional development of primary school teachers in all parts of the country. During 2012, the Sydney Symphony Orchestra (SSO) conducted a remote music professional development workshop as part of the Sydney Opera House’s Digital Education Program for teachers in New South Wales using the Department of Education’s Connected Classroom system which allows live synchronous interaction between facilitators and participants in multiple sites. In this article, we analyse observational and videotape data collected during this live professional development event to consider the opportunities and challenges presented by this type of professional learning experience in the arts. In particular, consideration is given to the impact of a remote musical interaction on embodied learning and aesthetic experience. We draw on actor-network theory to consider the ways in which a remote professional development experience differs to one in which all participants are present in the same space. Finally, we conclude that although there are significant differences in the type of learning that occurs in a remote music interaction, the online space provides a legitimate and potentially transforming experience for primary school teachers.

A Deweyan experience economy for higher education : The case of the Australian Indie 100 Music Event

In this essay we argue that a Deweyan experience economy will best support the higher education (HE) sector in the future, and we draw a contrast between that economy and the sector’s current focus on informational concerns, as expressed by the recent rush to Massive Open Online Courses (MOOCs) and other mass online informational offerings. We base our argument on current developments in music education and music technology that we see as being preemptive of wider trends. We use examples from a three-year study of online and offline music pedagogies and outline a four-year experiment in developing a pedagogical experience economy to illustrate a theoretical position informed by John Dewey’s theory of experience,Pierre Bourdieu’s theory of habitus and capital, and recent work in economic geography on epistemic communities. We argue further that the future of the HE sector is local rather than global, experiential rather than informational, and that therefore a continued informational approach to the future of HE risks undermining the sector.

Acting, accidents and performativity: Challenging the hegemonic good student in secondary schools

Current educational practice tends to ascribe a limiting vision of the good student as one who is well behaved, performs well in assessments and demonstrates values in keeping with dominant expectations. This paper argues that this vision of the good student is antithetical to the lived experience of students as they negotiate their positionality within complex power games in secondary schools. Student voices in focus group research nominate six rationales of the good student that inform their ‘performances’ of the good student. Understanding the multiplicity and dynamism of the good student is an educational imperative as schools seek to meet the changing needs of society in the new millennium.

Complimentary collaborations: Teachers and researchers co-developing best practices in art education

Australia is currently experiencing a huge cultural shift as it moves from a State-based curriculum, to a national education system. The Australian State-based bodies that currently manage teacher registration, teacher education course accreditation, curriculum frameworks and syllabi are often complex organisations that hold conflicting ideologies about education and teaching. The development of a centralised system, complete with a single accreditation body and a national curriculum can be seen as a reaction to this complexity. At the time of writing, the Australian Curriculum is being rolled out in staggered phases across the states and territories of Australia. Phase one has been implemented, introducing English, Mathematics, History and Science. Subsequent phases (Humanities and Social Sciences, the Arts, Technologies, Health and Physical Education, Languages, and year 9-10 work studies) are intended to follow. Forcing an educational shift of this magnitude is no simple task; not least because the States and Territories have and continue to demonstrate varying levels of resistance to winding down their own curricula in favour of new content with its unfamiliar expectations and organisations. The full implementation process is currently far from over, and far from being fully resolved. The Federal Government has initiated a number of strategies to progress the implementation, such as the development of the Australian Institute for Teaching and School Leadership (AITSL) to aid professional educators to implement the new curriculum. AITSL worked with professional and peak specialist bodies to develop Illustrations of Practice (hereafter IoP) for teachers to access and utilise. This paper tells of the building of one IoP, where a graduate teacher and a university lecturer collaborated to construct ideas and strategies to deliver visual arts lessons to early childhood students in a low Socio- Economic Status [SES] regional setting and discusses the experience in terms of its potential for professional learning in art education.

The potential benefits of divergent thinking and metacognitive skills in STEAM learning: A discussion paper

In the wake of an almost decade long economic downturn and increasing competition from developing economies, a new agenda in the Australian Government for science, technology, engineering, and mathematics (STEM) education and research has emerged as a national priority. However, to art and design educators, the pervasiveness and apparent exclusivity of STEM can be viewed as another instance of art and design education being relegated to the margins of curriculum (Greene, 1995). In the spirit of interdisciplinarity, there have been some recent calls to expand STEM education to include the arts and design, transforming STEM into STEAM in education (Maeda, 2013). As with STEM, STEAM education emphasises the connections between previously disparate disciplines, meaning that education has been conceptualised in different ways, such as focusing on the creative design thinking process that is fundamental to engineering and art (Bequette & Bequette, 2012). In this article, we discuss divergent creative design thinking process and metacognitive skills, how, and why they may enhance learning in STEM and STEAM.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Animated virtual agents to cue user attention: comparison of static and dynamic deictic cues on gaze and touch responses

This paper describes an experiment developed to study the performance of virtual agent animated cues within digital interfaces. Increasingly, agents are used in virtual environments as part of the branding process and to guide user interaction. However, the level of agent detail required to establish and enhance efficient allocation of attention remains unclear. Although complex agent motion is now possible, it is costly to implement and so should only be routinely implemented if a clear benefit can be shown. Pevious methods of assessing the effect of gaze-cueing as a solution to scene complexity have relied principally on two-dimensional static scenes and manual peripheral inputs. Two experiments were run to address the question of agent cues on human-computer interfaces. Both experiments measured the efficiency of agent cues analyzing participant responses either by gaze or by touch respectively. In the first experiment, an eye-movement recorder was used to directly assess the immediate overt allocation of attention by capturing the participant’s eyefixations following presentation of a cueing stimulus. We found that a fully animated agent could speed up user interaction with the interface. When user attention was directed using a fully animated agent cue, users responded 35% faster when compared with stepped 2-image agent cues, and 42% faster when compared with a static 1-image cue. The second experiment recorded participant responses on a touch screen using same agent cues. Analysis of touch inputs confirmed the results of gaze-experiment, where fully animated agent made shortest time response with a slight decrease on the time difference comparisons. Responses to fully animated agent were 17% and 20% faster when compared with 2-image and 1-image cue severally. These results inform techniques aimed at engaging users’ attention in complex scenes such as computer games and digital transactions within public or social interaction contexts by demonstrating the benefits of dynamic gaze and head cueing directly on the users’ eye movements and touch responses.

BitBox!

BitBox! is an installation that takes game music from the screen and brings it into the room. Using ultrasonic sensors, the system tracks your position in 3D space and uses your location in real time to create evolving soundscapes, dynamic textures and interactive music tracks. Shake and move to create your own music effect.

A genetic algorithm based economic dispatch (GAED) with environmental constraint optimisation

The role of renewable energy in power systems is becoming more significant due to the increasing cost of fossil fuels and climate change concerns. However, the inclusion of Renewable Energy Generators (REG), such as wind power, has created additional problems for power system operators due to the variability and lower predictability of output of most REGs, with the Economic Dispatch (ED) problem being particularly difficult to resolve. In previous papers we had reported on the inclusion of wind power in the ED calculations. The simulation had been performed using a system model with wind power as an intermittent source, and the results of the simulation have been compared to that of the Direct Search Method (DSM) for similar cases. In this paper we report on our continuing investigations into using Genetic Algorithms (GA) for ED for an independent power system with a significant amount of wind energy in its generator portfolio. The results demonstrate, in line with previous reports in the literature, the effectiveness of GA when measured against a benchmark technique such as DSM.

Solder paste characterisation: towards the development of quality control (QC) tool

Purpose – The purpose of this paper is to develop a quality control tool based on rheological test methods for solder paste and flux media. Design/methodology/approach – The rheological characterisation of solder pastes and flux media was carried out through the creep-recovery, thixotropy and viscosity test methods. A rheometer with a parallel plate measuring geometry of 40mm diameter and a gap height of 1mm was used to characterise the paste and associated flux media. Findings – The results from the study showed that the creep-recovery test can be used to study the deformation and recovery of the pastes, which can be used to understand the slump behaviour in solder pastes. In addition, the results from the thixotropic and viscosity test were unsuccessful in determining the differences in the rheological flow behaviour in the solder pastes and the flux medium samples. Research limitations/implications – More extensive rheological and printing testing is needed in order to correlate the findings from this study with the printing performance of the pastes. Practical implications – The rheological test method presented in the paper will provide important information for research and development, quality control and production staff to facilitate the manufacture of solder pastes and flux media. Originality/value – The paper explains how the rheological test can be used as a quality control tool to identify the suitability of a developmental solder paste and flux media used for the printing process.

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.

Estrategias de marketing y comercialización de las editoriales independientes, dedicadas a las disciplinas artísticas de diseño y moda en Bogotá

El presente documento describe cómo funcionan las editoriales independientes dedicadas a las disciplinas artísticas de diseño y moda en Bogotá, proyecto que pretende ser una herramienta de estudio para las nuevas y nacientes publicaciones que deseen expresar sus intereses, lograr reconocimiento, culturizar al público y obtener ingresos en el proceso. El siguiente trabajo indaga sobre el movimiento de la moda, el arte y el diseño, corriente que ha evolucionado reveladoramente en los últimos años, la cual se ha convertido en una gran economía a nivel mundial. El sector de las editoriales independientes dedicadas a las disciplinas artísticas es un tramo emergente, existen varios proyectos que exponen nuevas propuestas de jóvenes diseñadores, empresarios y emprendedores colombianos que se mueven en la escena artística de la capital del país. Estos tipos de ediciones muestran lo que está sucediendo en Bogotá en diferentes aspectos, ejemplo; eventos relacionados con la música, gastronomía, moda, entre otros. Presentan las nuevas tendencias referentes al diseño y se proponen descubrir y publicar a los artistas emergentes de la capital para que ellos gocen de un medio para exhibir su trabajo. Muchas de estas ediciones no tienen la posibilidad de imprimir sus ediciones, y si las imprimen no logran vender su trabajo, con este documento se pretender brindar estrategias de mercadeo y comercialización de las editoriales independientes dedicadas a las disciplinas artísticas de diseño y moda de la ciudad de Bogotá , con el objetivo de que estas continúen funcionado, para que haya una circulación de información artística a la población capitalina, de esta manera jóvenes colombianos tengan una plataforma para exponer su trabajo y la ciudad misma se convierta en un centro de expresión cultural reconocida mundialmente.

Relações intersemióticas entre literatura, cinema, artes plásticas e desenho em dois romances de Márcio Souza

Este trabalho tem por objetivo explorar as relações entre diferentes linguagens artísticas – literatura, cinema, artes plásticas e desenho –, investigando o funcionamento das técnicas de colagem (termo originário das artes plásticas) e montagem (técnica cinematográfica) e de que forma foram transpostas para a literatura. Para tal, tomaremos como objeto de análise os romances Galvez imperador do Acre ([1977] 1983) e A resistível ascensão do Boto Tucuxi (1982), do escritor amazonense Márcio Souza.