scholarly journals Normalising death in the time of a pandemic

2021 ◽  
Author(s):  
Marc Trabsky
Keyword(s):  
Initial Phase ◽  
First Year ◽  
Global North ◽  
The Creation

This paper examines a tension during the first year of the COVID-19 pandemic between discourses of death as an anomaly and techniques for normalising death as an inevitable outcome of life. It contends that the technology of registering a death in the Global North in 2020 was conditioned upon differentiating between the normal and the pathological, standards and variations, and an average and excess. Indeed, the registration of a death depended on the creation of a new universal nomenclature for ascertaining causation, which excluded various circumstances of a person’s life in order to stabilise SARS-CoV-2 as a normative category for classification. The paper thus reveals how in the time of a pandemic, the technology of registration can be utilised to pathologise specific kinds of death, while unproblematically reifying the concept of a normal death. It argues that what the initial phase of COVID-19 exposes, particularly though the productive tension between discourses of death as both an anomaly and inevitability, is that normalising technologies are inextricable from how a panoply of institutions determine what deaths should be counted at all.

Decolonising a landscape architecture studio: Spatial modelling of student narratives

2021 ◽  
Vol 1 (1) ◽  
pp. 39-47
Author(s):  
Christine Price
Keyword(s):  
Spatial Model ◽  
Meaning Making ◽  
Three Dimensional ◽  
Spatial Modelling ◽  
First Year ◽  
Spatial Form ◽  
Public Park ◽  
New Meanings ◽  
Global North

This paper problematises the dominance of global north perspectives in landscape architectural education, in South Africa where there are urgent calls to decolonise education and make visible indigenous and vernacular meaning-making practices. In grappling with these concerns, this research finds resonance with a multimodal social semiotic approach that acknowledges the interest, agency and resourcefulness of students as meaning-makers in both accessing and challenging dominant educational discourses. This research involves a case study of a design project in a first-year landscape architectural studio. The project requires students to choose a narrative and to represent it as a spatial model: a scaled, 3D maquette of a spatial experience that could be installed in a public park. This practitioner reflection closely analyses the spatial model of one student, Malibongwe, focusing on his interest in meaning-making; the innovative meaning-making practices and diverse resources he draws on; and his expression of spatial signifiers of the Black experiences portrayed in his narrative. This reflection shows how Malibongwe’s narrative is not only reproduced in the spatial model, it is remade: the transformation of resources into three-dimensional spatial form results in new understandings and the production of new meanings.

scholarly journals Hybrid Java: The creation of a Hybrid Programming Environment

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Mark Noone ◽  
Aidan Mooney ◽  
Keith Nolan
Keyword(s):  
Programming Languages ◽  
Programming Language ◽  
Visual Programming ◽  
First Year ◽  
Programming Environment ◽  
Programming Environments ◽  
Hybrid Programming ◽  
Java Language ◽  
The Creation ◽  
Visual Programming Language

This article details the creation of a hybrid computer programming environment combining the power of the text-based Java language with the visual features of the Snap! language. It has been well documented that there exists a gap in the education of computing students in their mid-to-late teenage years, where perhaps visual programming languages are no longer suitable and textual programming languages may involve too steep of a learning curve. There is an increasing need for programming environments that combine the benefits of both languages into one. Snap! is a visual programming language which employs “blocks” to allow users to build programs, similar to the functionality offered by Scratch. One added benefit of Snap! is that it offers the ability to create one’s own blocks and extend the functionality of those blocks to create more complex and powerful programs. This will be utilised to create the Hybrid Java environment. The development of this tool will be detailed in the article, along with the motivation and use cases for it. Initial testing conducted will be discussed including one phase that gathered feedback from a pool of 174 first year Computer Science students. These participants were given instructions to work with the hybrid programming language and evaluate their experience of using it. The analysis of the findings along with future improvements to the language will also be presented.

scholarly journals Emergent learning and interactive media artworks: Parameters of interaction for novice groups

2011 ◽  
Vol 12 (7) ◽  
pp. 40 ◽  
Author(s):  
Marta Kawka ◽  
Kevin Larkin ◽  
Patrick Alan Danaher
Keyword(s):  
Interactive Learning ◽  
Interactive Media ◽  
Learning Task ◽  
Learning Assessment ◽  
First Year ◽  
Media Arts ◽  
Participant Engagement ◽  
Emergent Learning ◽  
The Creation ◽  
Conventional Models

<p class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">Emergent learning describes learning that occurs when participants interact and distribute knowledge, where learning is self-directed, and where the learning destination of the participants is largely unpredictable (Williams, Karousou, &amp; Mackness, 2011). These notions of learning arise from the topologies of social networks and can be applied to the learning that occurs in educational institutions. However, the question remains whether institutional frameworks can accommodate the opposing notion of “cooperative systems” (Shirky, 2005), systems that facilitate the creation of user-generated content, particularly as first-year education cohorts are novice groups in the sense of not yet having developed university-level knowledge.</p><p class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">This paper theorizes an emergent learning assessment item (Flickr photo-narratives) within a first-year media arts undergraduate education course. It challenges the conventional models of student–lecturer interaction by outlining a methodology of teaching for emergence that will facilitate student-directed and open-ended learning. The paper applies a matrix with four parameters (teacher-directed content/student-directed content; non-interactive learning task/interactive learning framework). This matrix is used as a conceptual space within which to investigate how a learning task might be constructed to afford the best opportunities for emergent learning. It explores the strategies that interactive artists utilize for participant engagement (particularly the relationship between the artist and the audience in the creation of interactive artworks) and suggests how these strategies might be applied to emergent generative outcomes with first-year education students.<br /><br />We build upon Williams et al.’s framework of emergent learning, where “content will not be delivered to learners but co-constructed with them” (De Freitas &amp; Conole, as cited in Williams et al., 2011, p. 40), and the notion that in constructing emergent learning environments “considerable effort is required to ensure an effective balance between openness and constraint” (Williams et al., 2011, p. 39). We assert that for a learning event within a Web 2.0 environment to be considered emergent, not only does there need to be an effective balance between teacher-directed content and student-directed content for knowledge to be open, creative, and distributed by learners (Williams et al., 2011), but there also need to be multiple opportunities for interaction and communication between students within the system and that these “drive the emergence of structures that are more complex than the mere parts of that system” (Sommerer &amp; Mignonneau, 2002, p. 161). <br /><br /></p>

Organ accompaniment in silent films, part 1 – the process of cinematic art creation

2020 ◽  
Vol 2 (14) ◽  
pp. 59-72
Author(s):  
Filip Presseisen
Keyword(s):  
Initial Phase ◽  
Data Flow ◽  
Anglo Saxon ◽  
Silent Cinema ◽  
Pipe Organ ◽  
Silent Films ◽  
Doctoral Thesis ◽  
Place Of Origin ◽  
The Creation ◽  
Lumiere Brothers

The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.

scholarly journals LAMPU HIAS DENGAN DEKORASI MOTIF BATIK PARANG DAN KAWUNG INOVASI PENCIPTAAN KERAMIK

CORAK ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 1-16
Author(s):  
Dwita Anja Asmara
Keyword(s):  
Production Method ◽  
Global Market ◽  
First Year ◽  
Production Methods ◽  
Market Trends ◽  
Second Year ◽  
The Creation ◽  
Market Test ◽  
The Right ◽  
Renewal Method

ABSTRACTProduct innovation is a strategy that must be carried out by(UMKM) in the craft business in order to always have a competitive advantage. This research is a discussion to get ceramic products that have an assessment of Indonesia so that they can compete in the global market. Parang and Kawung traditional batik motifs representing the freedom of choice of Indonesia were chosen as a form of innovation that was tried to be mixed with ceramic decorative lighting products. This batik motif is not only placed on ceramic decorative lighting products, but will be made together and become a part or character of the ceramics. This study uses a renewal method in the design of ceramic products, starting from the exploration of trends, analysis, sketching, and the last is per work design drawings or designs. Embodiment or production is done by experimentation to get the right material composition, technique, and production method or process. It will also conduct a market test by exhibiting prototype products in art-shops owned by ceramic craftsmen.The research target in the first year is the creation of techniques or production methods, and 10 ceramic designs that are in accordance with market trends and tastes. In the second year the creation of 10 prototype products and submitted to IPR, approved scientific articles, and market testing. The results of this study are expected to help craftsmen diversify their products to increase sales for the export market.ABSTRAKInovasi produk adalah strategi yang harus terus dilakukan oleh usaha mikro kecil menengah (UMKM) kerajinan agar selalu memiliki keunggulan kompetitif. Penelitian ini adalah sebuah eksplorasi penciptaan untuk mendapatkan produk keramik yang memiliki nuansa etnis Indonesia sehingga dapat berkompetisi pada pasar global. Motif batik tradisional Parang dan Kawung mewakili nuansa etnis Indonesia dipilih sebagai bentuk inovasi yang dicoba untuk di-mix-kan dengan produk lampu hias keramik. Motif batik tersebut tidak hanya sekedar ditempelkan pada produk lampu hias keramik, akan tetapi dibuat menyatu dan menjadi bagian atau karakter dari keramik tersebut. Penelitian ini menggunakan metode pendekatan estetis dalam merancang desain produk keramik, dimulai dari ekplorasi trend, analisis, pembuatan sketsa, serta yang terakhir adalah perancangan gambar kerja atau desain. Perwujudan atau produksi dilakukan dengan eksperimentasi untuk mendapatkan komposisi bahan, teknik, dan metode atau proses produksi yang tepat. Selain itu juga akan dilakukan uji pasar (market test) dengan memamerkan produk prototype di art-shop yang dimiliki oleh pengrajin keramik. Target penelitian pada tahun pertama adalah terciptanya teknik atau metode produksi, dan 10 desain keramik yang sesuai dengan trend dan selera pasar. Pada tahun ke dua terciptanya 10 produk prototype dan mendaftarkan ke HKI, penerbitan artikel ilmiah, serta uji pasar. Hasil penelitian tersebut diharapkan dapat membantu para pengrajin melakukan diversifikasi produk guna meningkatkan penjualan terutama untuk pasar ekspor.

scholarly journals The use of a peer assisted learning scheme within a mathematics degree

2016 ◽  
Author(s):  
Claire Cornock
Keyword(s):  
Support Groups ◽  
Group Contribution ◽  
First Year ◽  
Peer Assisted Learning ◽  
First Year Students ◽  
Assessment Task ◽  
Learning Scheme ◽  
The Creation ◽  
Very High ◽  
Mathematics Community

The peer assisted learning (PAL) scheme in the mathematics degree at Sheffield Hallam University consists of final year PAL leaders guiding groups of first year students through an assessment task. Evaluation of the scheme in 2014-15 took place through a number of methods, including questionnaires, reflective log book comments and group contribution sheets. The scheme was found to help to ease the transition into university, help develop a mathematics community through the creation of support groups, and encourage inter-year interactions, developing skills, and increasing confidence of all involved. Engagement and enjoyment was very high and success extended far beyond the duration of the scheme. Despite the overall success, improvements will be made following on from comments and suggestions made by students.

Wainting for...

2018 ◽  
Vol 8 (2) ◽  
pp. 361-367
Author(s):  
Alexandra Bandac
Keyword(s):  
Samuel Beckett ◽  
First Year ◽  
First Year Of College ◽  
The Subject ◽  
The Creation ◽  
The Spectator ◽  
The Aesthetic ◽  
The One ◽  
To Receive

Abstract I have known Professor Huțanu since the first year of college and, although he wasn’t my professor, I have always admired the glimpse in the eyes of his students when they talked about rehearsing with him for exams or shows. Recently, when I found out that he was staging a show after a text by Samuel Beckett, I dared to approach him in order to “question” him about my favourite author, who is also the subject of my PhD research, as to say, a serious matter. This is how I came to discover a passionate man, director, teacher and actor, who mingles these three hypostases naturally, with diffidence. A generous man, who has permitted me to lift up (with shyness from me, of course) the frail curtain of the creation laboratory behind a difficult show, as to the nature of the animation theatre, implying technical rigors, and also to the aesthetic of the approach. I was permitted to attend rehearsals, to ask questions, to discuss, debate, to have doubts and, more importantly, to receive answers from the man behind the curtain, the one who thought and felt the Godot. Below there is a fragment of an interview – part of my PhD study – and, maybe a subjective mirror of the rustle reflected between the spectator and the creator.

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