A dynamic role-playing platform for simulations in legal and political education

One big challenge in deploying games-based learning, is the high cost and specialised skills associated with customised development. In this paper we present a serious games platform that offers tools that allow educators without special programming or artistic skills to dynamically create three dimensional (3D) scenes and verbal and non-verbal interaction with fully embodied conversational agents (ECAs) that can be used to simulate numerous educational scenarios. We present evaluation results based on the use of the platform to create two educational scenarios for politics and law in higher education. We conclude with a discussion of directions for the further work.

Charting the territory : how female artist/teachers balance their artistic practice with their institutional responsibilities as teachers /

This r\.~et.lrch examined ho\\' ~ight \\'omen artists \\'ho t~ach at the uni versity and college level, balance thcir artistic practic~ and their institu tional responsibilities as tcachers. This thesis reprt.~ents the culmination of \\'ork for my second graduate degree. For my first degrCt! on th~ grad uat~ level, I concentratoo on d~veloping my artistic practice. This ~Iaster's Degree in Education is no k~ important to m~. In pursuing studies in the field of education I \\'anted to understand my rol~ as both an educator and an artist and in the process I uncovered the interplay of race, class, and gender at \\'ork in th~ classroom. Coming from a \\'orking-class, immigrant background \\'here higher education \vas vie\\'cd as a stepping stone that \"ould enable my siblings and me a greater spectrum of opportunities, I \\'as at last able to understand my o\\'n educational experiences, more clearly. I discovered ho\\' d\.~ply I internalized the racism, sexism and class discrimination, I submitted to in my history as a student. Becoming a\\'are about the social forc\.~ at "'ork \\'ithin my day to day life has provided me \\'ith instruments \\'hich I can usc to examine and respond to these inequities as I confront them in th~ future. This \,'ork exists as a serk'S of responses and further av~nues for investigation on some themes I first began to explor~, albeit very tentati\'~ly, during my first incarnation as a graduate student and so though the h\'o bound volum~s rna-\' one da.v sit si.d~ b\' s id~ on the bookshelf, th~\-' exist in the context of my life as a set of brackets surrounding a series of qUl'Stions about being a \\'Onlan, a teachcr and an artist.

Making it "click": collaborative perceptions of creative practice in art education /

Making it "Click": Collaborative Perceptions ofCreative Practice in Art Education examined the teaching practice of 6 art educators who conducted their work through the Niagara Falls Art Gallery's (NFAG) in-schools and Children's Museum programmes. These community resources service the elementary levels of participatory Public, Catholic and French schools in the Niagara Peninsula. The goal of this research was to find ways in which these teachers could explore their creative potential as art educators. The "click," a term introduced by participants indicating the coming together of all positive factors towards creativity, became the central theme behind this study. Research revealed that the effective creative process was not merely a singular phase, but rather a series of 4 processes: 1 , gathering knowledge; 2, intuitive and experiential; 3, the informal presentation of information in which creativity as a process was explored; and 4, formal presentation that took the analysis of information to a deeper, holistic level. To examine the ways in which experience and knowledge could be shared and brought together through a collaborative process, this study employed data collection that used literature research, interviews, focus group discussions, and personal journal entries. Follow-up discussions that assessed the effectiveness of action research, took place VA months after the initial meetings. It is hoped that this study might assist in creative educational practices, for myself as a member of the NFAG teaching team, for colleagues in the art programmes, art educators, and other teachers in the broader disciplines of education.

The nature of the highly artistic student in visual arts at secondary school /

This qualitative investigation examined the nature of 7 highly artistic visual arts students at 2 secondary schools in southcentral Ontario. Through interviews, questionnaires, observations, and artwork documents, this study attempted to understand these highly artistic students in terms of creativity, motivation, social and emotional perspectives, and cognitive processes. Data collection occuned over a 3-monlh period. and the data analysis program NVivo 7 was used for coding to develop themes and categories for organizing data. The findings of this study illustrate the significant place that \ isual arts can lake in the growth and development for the youth of today. Participants idcniificd dcxclopnig critical thinking and problem-solving skills, taking risks, and meeting challenges ilirouuh their engagement in the creative process. The transferability of these skills \\ as referenced to numerous aspects of their lives. By enhancing individual perspectives through the study of visual arts, their local and world connections were extended, and environmental and societal concerns evolved. In addition, the communicative opportunities that visual arts provided for these students in terms of personal expression provided emotional health and paths of personal discovery. Through the participants' production of artwork with the many stages this involves, combined with insight into their needs, the participants relayed miportant suggestions for programming enhancements and educational settmgs lor \ isiial arts classrooms. These suggestions are meaningful for educators and curriculum developers of the future.

Is there a difference in artistic ability between learning -disabled students and "regular-class" students?

Research and practice regarding LO students usually has focussed upon defining and supplementing deficiencies rather than seeking unique talents and capability patterns for learning and expression. This study examined nine dimensions that may constitute artistic or creative talent and compared LDs with "regular-class" students, pair-wise and as groups, for levels and distributions of the dimensions. For 14 LO and 9 "regular-class" elementary-school subjects, both genders, data were taken by direct observation, from a standardized test and assessments by two practicing artists. Assessments by artists were in concord. LOs improved more in "Composition". No other significant class, age or gender-related differences were found.

Culture clash : artistic production and the school environment

Artists-in-schools programs involving contemporary art practices can be transformational for the participants when environmental considerations are integral to the planning and structure of the project and both the form and content of the program are reflected upon critically.

Pedagogy of connections : findings of a collaborative action research project in outdoor and environmental education

Improving human-nature relationships is often a stated aim of outdoor education, yet this aim is not always made explicit in practice. This paper reflects on a pedagogical intervention which aims to find ways to explicitly develop students' connections with natural places through a tertiary outdoor and environmental education program. It describes the intervention process, which is guided by principles of collaborative action research. Furthermore, the intervention uses a multi-pronged teaching approach incorporating repeated visits to natural places utilizing different 'ways of knowing', weekly readings, journal writing, collaborative discussions, and others. We summarize the key findings of the research project and report that repeated visits to a natural place using different ways of knowing (e.g., historical, scientific, ecological, artistic, experiential, etc.) are influential in improving connections. We conclude with a discussion of the opportunities and dilemmas of using action research as a form of pedagogy.

The best of all worlds : immersive interfaces for art education in virtual and real world teaching and learning environments

A collaborative constructivist model of e-learning enabled second year undergraduate students and art educators to establish a community of learners within an augmented immersive learning environment. Artistic practice and work based learning was enhanced through the creation of digital artifacts to support shared knowledge building using authentic learning tasks and social networking.

It can be quite difficult to have your creativity on tap : balancing client expectations and artistic practice in the tattoo industry

Tattoo artists work in a commission structure. Their artistic practice, possibly more than in any other creative career, requires the complete approval of the client prior to the creation of the final work. An unsatisfactory tattoo cannot be on-sold, discarded or easily replaced. Rarely can a tattooer practice their art without external participation. Therefore, tattoo artists come up with a number of strategies to manage their client base to ensure that the art they are asked to create satisfies both the client and their own artistic skills and preferences. Drawing on phenomenological research conducted for my PhD investigating artistic persona, this paper will explore the strategies tattoo artists use to construct their portfolios, manage the tattoo consultation and design process, and develop their own artistic skills, in order to build a successful and rewarding career in the tattoo industry.

Whose culture, where and why? – Identity, culture and artistic expression

This research addresses how the visual and artistic expression represents my cultures and gendered identities. My journey mapped cultural inheritances, ancestry and postcolonial influences from home country, my childhood memories, life experiences and migration transitions to Australia. A series of my artworks represent cultural markers, a sense of belonging, nostalgia and challenges of relocation. Findings support how art expression can forge ‘affective links’ and develop pedagogies for intercultural understanding through Art Education.

Summer is a good time for informal education

Students look forward to summer because usually it means a break from formal and non-formal education. Formal education refers to education in formal educational institutions, such as pre-schools, primary, secondary and tertiary educational institutions and other registered training organisations. Non-formal education refers to organised educational activity outside the established formal system, that is intended to deliver a defined set of learning objectives to an identifiable group of learners (Chemistry in Australia, October 2014, page 33). Informal education refers to all learning outside the formal non-formal educational system; informal education is often associated with life-long learning as it can include reading non-fiction books and scholarly articles, viewing documentaries and other informal professional development. Informal education can also include travel to other countries and climates. Social constructivist theory maintains that learning occurs in social settings; conversely, most learners are limited by their cultural experiences. For example, Australian students have little first-hand experience of sublimation, but this is commonly observed in very cold climates when frost, ice or snow apparently “disappears” as it sublimes to water vapour, without passing through the liquid state. A favourite summertime activity is to go to the movies, especially in air-conditioned cinemas on a hot day or night. Watching movies are a form of virtual travel, and many educators make use of movies to illustrate chemistry concepts. Some movie producers want a sense of authenticity and work hard to get the details right, even though those details might be incidental to the main plot. For example, in Centurion, Roman soldiers fail in their rescue attempt, and are taunted by the Picts for stupidity -- they would have succeeded if they had only realised that metal become brittle in the cold. Another favourite example comes from The Lord of the Rings: The Two Towers, when Bilbo, Samwise and Gollum are crossing the Dead Marshes and see lights that appear to float over the Marshes. These wills-o-the-wisp have been known for centuries, and was the subject of a debate between George Washington and his officers. Washington and Thomas Paine, “the Father of the American Revolution”, believed that the lights were due to a flammable gas released from the marsh, while Washington’s officers believed that the lights were due to a flammable liquid on the surface of the marsh. On Guy Fawkes Night, 5 November, 1783, the Washington-Paine experiment showed that when mud at the bottom of a river was disturbed, bubbles of flammable gas rose to the surface of the water. (Unknown to Washington and Paine, Alessandro Volta had performed a similar experiment in 1776.) A problem with informal education is that it is often unguided. Students may find it difficult to discern the difference between scientific reality and an artistic distortion of reality in novels and movies. Educators have an important role here. If we only teach facts and concepts, learners will be dependent on a teacher. If however, we foster students’ curiosity and ability to exercise judgement, they will be able to learn for themselves, not just during the summer, but also in every season of every year.

Competitive artistic gymnastics and coaches' philosophy

The current study is a piece from the original project entitled "Diagnosis of the Artistic Gymnastics Development Program in Brazil". Among others issues, the coaching philosophy of coaches who are developing gymnasts that may be representative of the national team was a matter of analysis. We interviewed 46 coaches from 29 sports institutions in Brazil. As data collection we used a semi-structured interview and for data treatment we adopted the content analysis method of Bardin (2010). We have found out that there is an inconsistent philosophical basis, and in many institutions this has been mixed up with the objectives of the training program or just doesn't exist. This fact needs consideration and criticism, but we know that the coaching philosophy is not developed during the coaching education courses.

Quantification of impacts in artistic gymnastics with accelerometry: an approximation

Intensity and volume of training in Artisti Gymnastics are increasing as the sooner athlete's age of incorporation creating some disturbance in them.

Some considerations of hazards in the use of lasers for artistic displays /

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