Breaking the Rules: writing reflectively for yourself.

The rules which epitomise good writing may on occasions be broken, deliberately and with what the writers judge to be good purpose. This can well occur when students or staff set out to engage effectively with their personal and professional development, through personal reflection on and in experiences. They may do this in what has been called “stream of consciousness” writing, which is deliberately compiled in a manner at variance with the general rules for best practice. The rationale for such an unusual decision, namely to engage in what is frankly disorderly writing, is set out briefly in this chapter. Its characteristics are summarised, in implicit contrast with more conventional styles of writing. Examples are included of claims for the effectiveness of this style when used for developmental purposes by students and staff; and reference is made to the publications of some of those who have endorsed this approach.

Reflective writing: The student nurse's perspective on reflective writing and poetry writing.

Summary Background Reflective writing is a mandatory part of nurse education but how students develop their skills and use reflection as part of their experiential learning remains relatively unknown. Understanding reflective writing in all forms from the perspective of a student nurse is therefore important. Objectives To explore the use of reflective writing and the use of poetry in pre-registered nursing students. Design A qualitative design was employed to explore reflective writing in pre-registered nursing students. Setting A small university in Scotland. Participants BSc (Hons) Adult and Mental Health Pre-registration Student Nurses. Methods Two focus groups were conducted with 10 student nurses during March 2012. Data was analysed thematically using the framework of McCarthy (1999). Results Students found the process of reflective writing daunting but valued it over time. Current educational methods, such as assessing reflective accounts, often lead to the ‘narrative’ being watered down and the student feeling judged. Despite this, reflection made students feel responsible for their own learning and research on the topic. Some students felt the use of models of reflection constricting, whilst poetry freed up their expression allowing them to demonstrate the compassion for their patient under their care. Conclusions Poetry writing gives students the opportunity for freedom of expression, personal satisfaction and a closer connection with their patients, which the more formal approach to reflective writing did not offer. There is a need for students to have a safe and supportive forum in which to express and have their experiences acknowledged without the fear of being judged.

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.

Writing the War on Terrorism: Language, Politics and Counter-terrorism

Jackson, Richard, Writing the War on Terrorism: Language, Politics and Counter-terrorism (Manchester: Manchester University Press, 2005), pp.viii + 232 RAE2008

Medieval Women's Writing

Watt, P., Medieval Women's Writing (Cambridge: Polity Press, 2007) RAE2008

Women writing woman: representations of gender and sexuality

Pykett, Lyn. 'Women writing woman: representations of gender and sexuality', In: Women and literature in Britain 1800 - 1900 (Cambridge: Cambridge University Press, 2001), pp.78-98, 2008. RAE2008

Writing Home : Martin Walser's Ein fliehendes Pferd as Anti-Tourist Literature

Wilkinson, Jane, 'Writing Home: Martin Walser's Ein fliehendes Pferd as Anti-Tourist Literature', Journal of Tourism and Cultural Change (2006) 4(3) pp.001-017 RAE2008

Quantitative evaluation of electron beam writing in passivated gold nanoclusters

Jenkins, Tudor; Hayton, D.J.; Bedson, T.R.; Palmer, R.E., (2001) 'Quantitative evaluation of electron beam writing in passivated gold nanoclusters', Applied Physics Letters (78) pp.1921-1923 RAE2008

Project Sanitarium: gaming TB: a serious game for a serious problem

Collaborative projects between Industry and Academia provide excellent opportunities for learning. Throughout the academic year 2014-2015 undergraduates from the School of Arts, Media and Computer Games at Abertay University worked with academics from the Infection Group at the University of St Andrews and industry partners Microsoft and DeltaDNA. The result was a serious game prototype that utilized game design techniques and technology to demystify and educate players about the diagnosis and treatment of one of the world's oldest and deadliest diseases, Tuberculosis (TB). Project Sanitarium is a game incorporating a mathematical model that is based on data from real-world drug trials. This paper discusses the project design and development, demonstrating how the project builds on the successful collaborative pedagogical model developed by academic staff at Abertay University. The aim of the model is to provide undergraduates with workplace simulation, wider industry collaboration and access to academic expertise to solve challenging and complex problems.

BitBox!: A case study interface for teaching real-time adaptive music composition for video games

Real-time adaptive music is now well-established as a popular medium, largely through its use in video game soundtracks. Commercial packages, such as fmod, make freely available the underlying technical methods for use in educational contexts, making adaptive music technologies accessible to students. Writing adaptive music, however, presents a significant learning challenge, not least because it requires a different mode of thought, and tutor and learner may have few mutual points of connection in discovering and understanding the musical drivers, relationships and structures in these works. This article discusses the creation of ‘BitBox!’, a gestural music interface designed to deconstruct and explain the component elements of adaptive composition through interactive play. The interface was displayed at the Dare Protoplay games exposition in Dundee in August 2014. The initial proof-of- concept study proved successful, suggesting possible refinements in design and a broader range of applications.

The game jam movement: disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art.

An impression of home: player nostalgia and the impulse to explore game worlds

This is the accepted version of the paper following peer review.

An Infinite Pebble Game and Applications

We generalize the well-known pebble game to infinite dag's, and we use this generalization to give new and shorter proofs of results in different areas of computer science (as diverse as "logic of programs" and "formal language theory"). Our applications here include a proof of a theorem due to Salomaa, asserting the existence of a context-free language with infinite index, and a proof of a theorem due to Tiuryn and Erimbetov, asserting that unbounded memory increases the power of logics of programs. The original proofs by Salomaa, Tiuryn, and Erimbetov, are fairly technical. The proofs by Tiuryn and Erimbetov also involve advanced techniques of model theory, namely, back-and-forth constructions based on a variant of Ehrenfeucht-Fraisse games. By contrast, our proofs are not only shorter, but also elementary. All we need is essentially finite induction and, in the case of the Tiuryn-Erimbetov result, the compactness and completeness of first-order logic.

The atom pencil: serial writing in the sub-micrometre domain

The atom pencil we describe here is a versatile tool that writes arbitrary structures by atomic deposition in a serial lithographic process. This device consists of a transversely laser-cooled and collimated cesium atomic beam that passes through a 4-pole atom-flux concentrator and impinges on to micron- and sub-micron-sized apertures. The aperture translates above a fixed substrate and enables the writing of sharp features with sizes down to 280 nm. We have investigated the writing and clogging properties of an atom pencil tip fabricated from silicon oxide pyramids perforated at the tip apex with a sub-micron aperture.