Marking and providing feedback face-to-face: staff and student perspectives.

The setting, marking and providing feedback on assessments forms an important part of a tutor’s role. Studies into the use of feedback and how it is interpreted by students indicate a mismatch between what students are looking for and what tutors think they are giving. Tutors comment that students are more interested in the mark than the feedback, and yet students indicate that they do not get enough feedback, or that it is not useful. This study investigates student and staff perceptions of the linking of marking and feedback in face-to-face sessions. A cohort of year one university students were given the option of receiving either written feedback or a 15 minute meeting with one of their tutors to have their essay marked with them. Forty nine students chose face-to-face marking, the remaining 35 students received written feedback. Focus groups were used to investigate the student experience. Staff members were also asked to reflect on the process. Students and staff found the experience of face-to-face marking beneficial and positive. Both felt that the time spent together allowed for a feedback dialogue about the piece of work, and that staff could explain and justify why marks were given.

Using an Outdoor Learning Space to Teach Sustainability and Material Processes in HE product Design.

The world is facing environmental changes that are increasingly affecting how we think about manufacturing, the consumption of products and use of resources. Within the HE product design community, thinking and designing sustainability’ has evolved to become a natural part of the curriculum. Paradoxical as the rise in awareness of sustainability increases there is growing concern within HE product design of the loss of workshop facilities and as a consequence a demise in teaching traditional object-making skills and material experimentation. We suggest the loss of workshops and tangible ‘learning by making skills’ also creates a lost opportunity for a rich learning resource to address sustainable thinking, design and manufacture ‘praxis’ within HE design education. Furthermore, as learning spaces are frequently discussed in design research, there seems to be little focus on how the use of an outdoor environment might influence learning outcomes particularly with regard to material teaching and sustainability. This 'case study' of two jewellery workshops, used outdoor learning spaces to explore both its impact on learning outcomes and to introduce some key principles of sustainable working methodologies and practices. Academics and students mainly from Norway and Scotland collaborated on this international research project. Participants made models from disposable packaging materials, which were cast in tin, in the sand on a local beach, using found timber to create a heat source for melting the metal. This approach of using traditional making skills, materials and nature was found to be a relevant contribution to a sustainable discourse.

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.

Qualitative evaluation of KA24 (Knowledge Access 24)

Durbin, J. & Urquhart, C. (2003). Qualitative evaluation of KA24 (Knowledge Access 24). Aberystwyth: Department of Information Studies, University of Wales Aberystwyth. Sponsorship: Knowledge Access 24 (NHS)

The local and global dimensions of metalliferous pollution derived from a reconstruction of an eight thousand year record of copper smelting and mining at a desert-mountain frontier in southern Jordan

Grattan, J.P., Gilbertson, D.D., Hunt, C.O. (2007). The local and global dimensions of metaliferrous air pollution derived from a reconstruction of an 8 thousand year record of copper smelting and mining at a desert-mountain frontier in southern Jordan. Journal of Archaeological Science 34, 83-110

Subsethood-based fuzzy modelling and classification

K. Rasmani and Q. Shen. Subsethood-based fuzzy modelling and classification. Proceedings of the 2004 UK Workshop on Computational Intelligence, pages 181-188.

Examining the Aesthetic Dimensions of the Constitutional Treaty

Gibbs, Nathan, Examining the Aesthetic Dimensions of the Constitutional Treaty. European Law Journal, Vol. 11, No. 3, pp. 326-342, May 2005 RAE2008

Ubuntu and the Obligation to Obey the Law

Nkiruka, M., Ubuntu and the Obligation to Obey the Law, Cambrian Law Review. Vol. 37. 2006. p. 17 RAE2008

I Cannot Tell: Edward Thomas's Uncertainties

Poster, Jeremy, 'I Cannot Tell: Edward Thomas's Uncertainties', In: 'Branch-Lines: Edward Thomas and Contemporary Poetry', Guy Cuthbertson & Lucy Newlyn (eds), (London: Enitharmon Press), pp.264, 2007 RAE2008

Birkhoff normal forms for Fourier integral operators II

Iantchenko, A.; Sj?strand, J., (2001) 'Birkhoff normal forms for Fourier integral operators II', American Journal of Mathematics 124(4) pp.817-850 RAE2008

Kulturowy charakter czasu i przestrzeni. Analiza średniowiecznego i wczesnorenesansowego elitarnego budownictwa mieszkalnego i obronnego w Irlandii

Wydział Historyczny: Instytut Prahistorii

Listening to Anima Mundi: The Organic Metaphor in the Cosmoecological Perspective

This paper is an attempt to revise an organic epistemological approach toward nature. The sources for such a view are found in the metaphor of the Earth as a living organism, which can be traced even to ancient Greek philosophy. Drawing on the notion of cosmoecology and the Gaia-Uranus Hypothesis, we re-think and supplement the holistic perspective in environmental ethics by emphasizing the role of the embodied of nature, and by turning our attention back “from the heavens to earth”.

Kształtowanie systemu politycznego Kazachstanu w latach 1991-2000. Kontekst historyczno-kulturowy

Wydział Historyczny

I am a Child. Hypothesis on Spectator Pedagogy

The paper consists of series of suggestions and historical references on the basis of which it would become possible to think and practice „spectator pedagogy” in performing arts. Contemporary performance practices can claim for new kind of political relevance by focusing on the way spectator´s corporeal experience changes during and through theatrical situation. Naive body produced by a performance is also most susceptible for thoroughgoing political and ecological change. This is the first outline by its author on this topic.

A experiência de vida e as expectativas futuras de famílias beneficiárias de RSI

Dissertação de Mestrado apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Psicologia, especialização em Psicologia Clínica e da Saúde.