Kotitalouden opetustilat osana kehittyvää oppimisympäristöä : asumistoiminnot ja opetussuunnitelma muutoksen määrittäjinä

Home Economics Classrooms as Part of Developing the Environment Housing Activities and Curriculums Defining Change --- The aim of the research project was to develop home economics classrooms to be flexible and versatile learning environments where household activities might be practiced according to the curriculum in different social networking situations. The research is based on the socio-cultural approach, where the functionality of the learning environment is studied specifically from an interactive learning viewpoint. The social framework is a natural starting point in home economics teaching because of the group work in classrooms. The social nature of learning thus becomes a significant part of the learning process. The study considers learning as experience based, holistic and context bound. The learning environment, i.e. home economics classrooms and the material tools there, plays a significant role in developing students skills to manage everyday life. --- The first research task was to analyze the historical development of household activities. The second research task was to develop and test criteria for functional home economics classrooms in planning both the learning environment and the students activities during lessons. The third research task was to evaluate how different professionals (commissioners, planners and teachers) use the criteria as a tool. The research consists of three parts. The first contains a historical analysis of how social changes have created tension between traditional household classrooms and new activities in homes. The historical analysis is based on housing research, regulations and instructions. For this purpose a new theoretical concept, the tension arch, was introduced. This helped in recognizing and solving problems in students activities and in developing innovations. The functionality criteria for home economics classrooms were developed based on this concept. These include technical (health, safety and technical factors), functional (ergonomic, ecological, aesthetic and economic factors) and behavioural (cooperation and interaction skills and communication technologies) criteria. --- The second part discusses how the criteria were used in renovating school buildings. Empirical data was collected from two separate schools where the activities during lessons were recorded both before and after classrooms were renovated. An analysis of both environments based on video recordings was conducted. The previously created criteria were made use of, and problematic points in functionality looked for particularly from a social interactive viewpoint. The results show that the criteria were used as a planning tool. The criteria facilitated layout and equipment solutions that support both curriculum and learning in home economics classrooms taking into consideration cooperation and interaction in the classroom. With the help of the criteria the home economics classrooms changed from closed and complicated space into integrated and open spaces where the flexibility and versatility of the learning environment was emphasized. The teacher became a facilitator and counselor instead a classroom controller. --- The third part analyses the discussions in planning meetings. These were recorded and an analysis was conducted of how the criteria and research results were used in the planning process of new home economics classrooms. The planning process was multivoiced, i.e. actors from different interest groups took part. All the previously created criteria (technical, functional and behavioural) emerged in the discussions and some of them were used as planning tools. Planning meetings turned into planning studios where boundaries between organizations were ignored and the physical learning environments were developed together with experts. The planning studios resulted in multivoiced planning which showed characteristics of collaborative and participating planning as well as producing common knowledge and shared expertise. --- KEY WORDS: physical learning environment, socio-cultural approach, tension arch, boundary crossing, collaborative planning.

Charles M. Breder, Jr.: Bahamas and Florida

Dr. Charles M. Breder, a well known ichthyologist, kept meticulous field diaries throughout his career. This publication is a transcription of field notes recorded during the Bacon Andros Expeditions, and trips to Florida, Ohio and Illinois during the 1930s. Breder's work in Andros included exploration of a "blue hole", inland ecosystems, and collection of marine and terrestrial specimens. Anecdotes include descriptions of camping on the beach, the "filly-mingoes" (flamingos) of Andros Island, the Marine Studios of Jacksonville, FL, a trip to Havana, and the birth of seahorses. This publication is part of a series of transcriptions of Dr. Breder's diaries. (PDF contains 55 pages)

Rescue, rehabilitation, and release of marine mammals: An analysis of current views and practices.

Stranded marine mammals have long attracted public attention. Those that wash up dead are, for all their value to science, seldom seen by the public as more than curiosities. Animals that are sick, injured, orphaned or abandoned ignite a different response. Generally, public sentiment supports any effort to rescue, treat and return them to sea. Institutions displaying marine mammals showed an early interest in live-stranded animals as a source of specimens -- in 1948, Marine Studios in St. Augustine, Florida, rescued a young short-finned pilot whale (Globicephala macrorhynchus), the first ever in captivity (Kritzler 1952). Eventually, the public as well as government agencies looked to these institutions for their recognized expertise in marine mammal care and medicine. More recently, facilities have been established for the sole purpose of rehabilitating marine mammals and preparing them for return to the wild. Four such institutions are the Marine Mammal Center (Sausalito, CA), the Research Institute for Nature Management (Pieterburen, The Netherlands), the RSPCA, Norfolk Wildlife Hospital (Norfolk, United Kingdom) and the Institute for Wildlife Biology of Christian-Albrects University (Kiel, Germany).(PDF contains 68 pages.)

Lugar e participação em senha de acesso: práticas entre estúdio, palco e espaço urbano em dança contemporânea

Esta dissertação propõe reflexões em dança contemporânea a partir de duas palavras-problema: lugar e participação. Recomendado como caminhada, o texto se estrutura em torno do processo criativo do espetáculo senha de acesso (2011), de André Luiz Santos da Silva (André Bern em artes), para aventurar-se transversalmente por trabalhos de outros artistas (Coletivo Pague Leve, Denise Stutz, Gustavo Ciríaco & Andrea Sonnberger, Hélio Oiticica, hello!earth, Jérôme Bel, Morena Paiva, Victor DOlive, Yoko Ono) que evidenciam: 1) um entendimento de existência no mundo que propõe novas bases nas quais pode se dar o encontro entre artistas e público; 2) fricções promovidas nos deslocamentos e experimentos criativos entre estúdio, palco e espaço urbano; e 3) uma noção de corpo enquanto lugar em dança contemporânea. Para tanto, são disponibilizados trechos de conversas, notas de campo e relatos de artistas que se entrecruzam a análises de cenas de senha de acesso e de outras criações em dança contemporânea

Amplifying applied game development and uptake

The established (digital) leisure game industry is historically one dominated by large international hardware vendors (e.g. Sony, Microsoft and Nintendo), major publishers and supported by a complex network of development studios, distributors and retailers. New modes of digital distribution and development practice are challenging this business model and the leisure games industry landscape is one experiencing rapid change. The established (digital) leisure games industry, at least anecdotally, appears reluctant to participate actively in the applied games sector (Stewart et al., 2013). There are a number of potential explanations as to why this may indeed be the case including ; A concentration on large-scale consolidation of their (proprietary) platforms, content, entertainment brand and credibility which arguably could be weakened by association with the conflicting notion of purposefulness (in applied games) in market niches without clear business models or quantifiable returns on investment. In contrast, the applied games industry exhibits the characteristics of an emerging, immature industry namely: weak interconnectedness, limited knowledge exchange, an absence of harmonising standards, limited specialisations, limited division of labour and arguably insufficient evidence of the products efficacies (Stewart et al., 2013; Garcia Sanchez, 2013) and could, arguably, be characterised as a dysfunctional market. To test these assertions the Realising an Applied Gaming Ecosystem (RAGE) project will develop a number of self contained gaming assets to be actively employed in the creation of a number of applied games to be implemented and evaluated as regional pilots across a variety of European educational, training and vocational contexts. RAGE is a European Commission Horizon 2020 project with twenty (pan European) partners from industry, research and education with the aim of developing, transforming and enriching advanced technologies from the leisure games industry into self-contained gaming assets (i.e. solutions showing economic value potential) that could support a variety of stakeholders including teachers, students, and, significantly, game studios interested in developing applied games. RAGE will provide these assets together with a large quantity of high-quality knowledge resources through a self-sustainable Ecosystem, a social space that connects research, the gaming industries, intermediaries, education providers, policy makers and end-users in order to stimulate the development and application of applied games in educational, training and vocational contexts. The authors identify barriers (real and perceived) and opportunities facing stakeholders in engaging, exploring new emergent business models ,developing, establishing and sustaining an applied gaming eco system in Europe.

RAGE Architecture for Reusable Serious Gaming Technology Components

For seizing the potential of serious games, the RAGE project - funded by the Horizon-2020 Programme of the European Commission - will make available an interoperable set of advanced technology components (software assets) that support game studios at serious game development. This paper describes the overall software architecture and design conditions that are needed for the easy integration and reuse of such software assets in existing game platforms. Based on the component-based software engineering paradigm the RAGE architecture takes into account the portability of assets to different operating systems, different programming languages and different game engines. It avoids dependencies on external software frameworks and minimizes code that may hinder integration with game engine code. Furthermore it relies on a limited set of standard software patterns and well-established coding practices. The RAGE architecture has been successfully validated by implementing and testing basic software assets in four major programming languages (C#, C++, Java and Typescript/JavaScript, respectively). A demonstrator implementation of asset integration with an existing game engine was created and validated. The presented RAGE architecture paves the way for large scale development and application of cross-engine reusable software assets for enhancing the quality and diversity of serious gaming.

The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists´ work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star´s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars’ faces on their posters.

“The Double Feature Evil”: Efforts to Eliminate the American Dual Bill

The essay discusses the actions and motivations of various groups that tried to end the practice of double feature film exhibition in the United States during the 1930s and 1940s. Used as a price-cutting strategy, double features were embraced by marginal exhibitors and low-budget producers, but attacked by most major studios and established theatre chains. Methods employed to control the double feature included voluntary bans, governmental legislation, and legal action. During the depression, Franklin D. Roosevelt's New Deal opposed the double feature as a strategy likely to undermine established admission price levels. But the double feature proved resilient and survived all these efforts, as well as an additional series of assaults, based on conservation of energy and materiel, mounted during the Second World War.

Building Clouds Drifting Walls:Year One Design Studio: A Critical Appraisal

This is a Booklet about a first year design studio in a school of architecture. It describes and reflects on changes that happened in the course over a three year period starting September 2000. The Studio is made up of students from mainstream architecture, and dual courses with landscape and engineering. The booklet is for those who are thinking of studying architecture. It might also be for those already learning and teaching architecture who want to see how other design studios work.

Cast Offs (Touchstones in Practice)

The working process of an architect is not often shown publicly, as the finished buildings, more particularly images and publications on them tend to dominate how architecture is communicated. In this there is something lost. The experience of the building, which is its most valuable aspect, is only possible by being there physically. Photography and other means of representation of architecture can tend to an overly perfected and artificial read of both the building and how the design was produced. In truth the design process for a building is a complex one, full of chance discoveries, multiple abandoned ideas, and refinement which is lateral as well as rational.

When we were asked to exhibit it struck us that we should address this deficit in some small way. These are models made as part of the design process for four projects (an arts centre, a womens refuge, a villa and four artists studios). An important part of our work method is to try to explore the material qualities of the buildings we are working on. To advance this we commonly make models to allow us to make discoveries and to advance the project so that the finished building is imbued with material and spatial character. These models are not made to show the final design of the building but to highlight an aspect that we are interested in exploring, in some cases this is about a space, in others about texture and its relationship to form. We chose these four models as all in some way allowed us to make discoveries about the project being explored. This discovery, once made, is what we value. The model itself serves only to produce this, and once made we can cast off the model and move on. We show them, not as architecture, but as touchstones for ideas out of which architecture may come.

Relics, Scenarios and Props

Peter Mutschler and Ruth Morrow of PS2 profile '5 ways to say your prayers', which re-presented a selection of the belfast-based organisation's public engagement projects, facilitiated by Engage Studios at the Shed, Galway (26-21 July, 2013)

Metodologia de selecção de materiais em design: base de dados nacional

Desde a Pré-História que a escolha de materiais esteve relacionada com a Arte. Mais tarde, durante a Idade Moderna vai ganhando uma importância cada vez maior. Atingida que foi a Idade Contemporânea, nomeadamente após a Revolução Industrial e durante a Segunda Guerra Mundial, devido ao aumento do número de materiais disponíveis, é que se pode falar de uma verdadeira seleção de materiais. É também após a Revolução Industrial que se clarificam as relações entre a evolução dos materiais e os movimentos e correntes das Artes Plásticas. Neste contexto, estudaram-se as interligações entre o processo de design e as metodologias de seleção, assim como as diversas tipologias de ferramentas existentes para esse efeito. Deste estudo, consideradas as respetivas vantagens e limitações, foi possível identificar bases de dados essencialmente técnicas, ou ao invés, ferramentas para inspiração com muitas imagens e pouca informação sobre as propriedades dos materiais. Para completar este levantamento crítico sobre processos e ferramentas de seleção, inquiriram-se cinquenta e três profissionais que trabalhavam em diferentes gabinetes de design portugueses. As perguntas dirigidas aos designers portugueses versaram sobre problemas relacionados com a escolha de materiais, abrangendo o tipo de matériasprimas empregues, processos utilizados e a qualidade da informação obtida. Na sequência deste estudo, verificou-se a existência de diversas lacunas relativamente aos meios disponíveis, rotinas de seleção, qualidade da informação existente e metodologias utilizadas. Foi neste contexto que se iniciou o projeto de criação de uma nova metodologia suportada por uma ferramenta digital. Os principais aspetos inovadores são: uma melhor interligação entre a metodologia de design e o processo de seleção de materiais e a sua sincronização; a informação necessária em cada etapa e o destaque dos fatores catalisadores da seleção de materiais. Outro elemento inovador foi a conjugação de três formas deferentes de seleção de materiais numa só ferramenta (a geral, a visual e a específica) e a hipótese de aceder a diferentes graus de informação. A metodologia, no contexto dos recursos disponíveis, foi materializada sob a forma de ferramenta digital (ptmaterials.com). O protótipo foi aferido com testes de usabilidade de cariz heurístico, com a participação de dezanove utilizadores. Foram detetadas diversas falhas de interação que condicionaram a liberdade e o controlo da navegação no seio da interface. Os utilizadores também mencionaram a existência de lacunas na prevenção de erros e a ligação do sistema à lógica habitual de outras aplicações já existentes. No entanto, também constituiu um estímulo a circunstância da maioria dos designers avaliarem o sistema como eficaz, eficiente, satisfatório e confirmarem o interesse da existência dos três tipos de seleção. Posteriormente, ao analisar os restantes resultados dos testes de usabilidade, também foram evidenciadas as vantagens dos diferentes tipos de informação disponibilizada e a utilidade de uma ferramenta desta natureza para a Indústria e Economia Nacionais. Esta ferramenta é apenas um ponto de partida, existindo espaço para melhorar a proposta, apesar da concretização de uma ferramenta digital ser um trabalho de grande complexidade. Não obstante se tratar de um protótipo, esta ferramenta está adequada aos dias de hoje e é passível de evoluir no futuro, tendo também a possibilidade de vir a ser preferencialmente utilizada por outros países de língua portuguesa.

In and Out of Synch

A 16mm moving image work and expanded cinema performance co-commissioned by Tate Modern and Arnolfini. Shot at the post-production facilities of Pinewood studios, London, the close-up sequences feature abstract patterns of optical sound encoded as light, printed onto the soundtrack area of the filmstrip. The film features the quivering light of a 16mm mono and a 35mm stereo optical sound camera, providing a seismic glimpse at a sound-wave in formation, on occasions flashing like a stroboscopic Rorschach inkblot. Performances: Tate Modern Oil Tanks (London 2012); Arnfolini (Bristol 2012); Kunstnernes Hus, (Oslo 2013). Exhibitions: Two-person exhibition at Castlefield Gallery, (Manchester 2013). Screenings: Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016); Mini-retrospective screening, Gertrude Contemporary (Melbourne 2016).

Off Grid

Doctor Watson Architects joined with Samir Pandya and a select group of architecture students to work with line, colour and thread as a means of achieving a psycho-dynamic suspension of matter form and space in the newly opened studios on the 4th & 5th floors of the University of Westminster's Marylebone Block.