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The efficacy of REV-OPOLY augmented reality board game in higher education
Get PDFAugmented Reality (AR) in the classroom is becoming a new trend, which incorporates technology in the teaching of topics in a particular course. An instance of the technology used in the classroom is an AR board game which is designed to aid in learning through games. This study is a continuation of a preliminary work, which will concentrate in the designing, developing, and testing phases of REV-OPOLY, a board game with AR intervention in the area of the emerging technology revolution. This study employs a quantitative method of quasi-experimental design using pre-test and post-test, and test assessment. It was conducted within one semester on 100 undergraduate students who enrolled in the Computer Application in Management subject in Universiti Utara Malaysia. Findings show significant improvements in students' scores in all tests preceding the use of REV-OPOLY
The effectiveness of vibrotactile sensor technology in the creation of an augmented reality sonic experience
No full textFast Forward report 2022: equality, diversity and inclusion - changes in policy and practice
Get PDFWith the recent popularity and mainstream media attention of feminist movements such as #MeToo and Times Up an urgent need for a reassessment of gender equality within photography and creative industries is necessary in order to promote change. Current research has shown that there is a need for intersectionality within the sector. Fast Forward: Women in Photography is working to enact innovative and robust approaches to combat the lack of representation of women photographers and to affect change through collaboration, research, networking, and mentorship.
In April of 2020 Fast Forward: Women in Photography launched the Fast Forward Manifesto for Increased Involvement of Women in Photography to demand change, recognition, and equality in the creative arts sector. The manifesto has collected 1051 signatures to date from people and organisations around the world including institutions such as the PHMuseum, Photoworks, and the Royal Photographic Society. This manifesto laid the groundwork for future developments and research to progress equality for women photographers. Since the manifesto was first launched conversations about gender equality have developed and a clear need for further investigations was identified.
As a result, in Spring 2022, Fast Forward: Women in Photography held a research workshop hosted by The Hyman Foundation to bring together experts, industry professionals, and representatives from global institutions to establish the key issues today for women in photography and identify what needs to change. This report provides evidence of the feedback and knowledge that was gathered during this workshop. It evaluates data collected in 2020 by Fast Forward: Women in Photography on the representation of women photographers in exhibitions, collections, publications, and education and establishes a framework for how to move forward and progress gender equality
Feeling time, fashioning age: pre-teen girls negotiating life course and the ageing process through dress
Get PDFBased on research with eight to eleven-year-old girls from the South of England, I discuss the relationship between their clothes, identity, temporality, life course and the ageing process. Despite media accounts suggesting the passivity of pre-teen girls’ fashionable dress consumption, unknowingly becoming prematurely sexualised through hyper-feminine dress, by using the interlinking of materiality and life course as a lens to explore girls’ understanding of fashion, my research showed that girls engage with popular debates about age-appropriate dress. I demonstrate that the participants were aware of sexual generationing and explored older, hyper-feminine, sexualised identities at specific, socially-approved times. Most significantly, this materiality/life course approach offers new insights into how girls explore the past, present and the future, feeling the passing of time and the ageing process on their bodies, through the materiality of their clothes. It is through dress that girls come to understand age, temporality and where they are on their life course
Local innovation systems related to waste fishing gear
Get PDFResearch report on the findings from stakeholder workshops related to local innovation systems related to waste and "end of life" fishing gear
In conversation with Professor Henry Jenkins
No full textThe following interview includes Professor Henry Jenkins' answers to the questions of Dr Diğdem Sezen regarding transmedia storytelling, new media literacies and fan culture. The interview, hosted by Istinye University, was held online on 5 November, 2022, on the occasion of the fiftieth anniversary of John Berger's book 'Ways of Seeing'
Graduates' employability in the creative industry in China: what competencies, qualities, and skills Chinese graduates with an undergraduate degree in Fine Art need for employment in China
Get PDFWith the evolving effect of globalisation, the employment challenges of Chinese graduates has become highly complex and increasingly uncertain. China has witnessed a rapid expansion in its higher education sector in recent decades, with a concomitant increase in the number of graduates. This has severely affected the availability of relevant jobs, to the extent that we are witnessing a saturation of the graduate job market. In addition, various industrial restructuring and repositioning of productivity has created further challenges in the job market.
This emerging imbalance between job availability and graduates has become a matter of concern, not only for the those seeking professional employment, but for employers, government and universities. This research addresses the specific concerns regarding the employment of Fine Art graduates in China. Statistics indicate that, across all higher education disciplines, the employment rate for Fine Art graduates, six months after graduation, has severely declined for four consecutive years. This implies that existing pedagogical approaches and education policies in China have not successfully projected or responded to the changing job market and have not positively impacted the employment levels of Fine Art graduates.
The Fine Art curriculum in China is based on a relatively traditional approach to the discipline and is mostly dedicated to the development of skills in painting, drawing sculpting and printmaking. In contrast, the cultural industries, in which Fine Art is supposedly situated, are undergoing a process of development towards an approach more in line with the globalised creative industries. It is this situation that presents, not only an urgent, ongoing problem regarding the sustainability of Fine Art education in China, but also the central research problem of this thesis. The research addresses this problem through an analysis that uses a coordination triangle model in combination with a heuristic model of employability, with the aim of identifying the competencies, qualities and skills Chinese graduates, with an undergraduate degree in Fine Art, need for employment in the emerging creative industries in China.
The research argues that the current traditional skills based approach to Fine Art education in China does not meet the needs of students in terms of their professional job prospects in the context of the fast developing, globalised creative industries. Furthermore, the researcher makes recommendations, based on a thorough analysis of original, current, primary data, for Fine Art higher education programmes towards curriculum development and delivery, that meets the expectations of graduates and employers of the creative industries of China
Feral participations: exploring art and the creaturely through interspecies practice
Get PDFThis art research project develops strategies to challenge and loosen anthropocentrism in art through its vulnerable, responsive and speculative approach to art participations with other species. ‘Feral participations’ bring the labile energy of experimental art into spaces of care and attentiveness for and with real, situated beings. The practice is ‘feral’ in its crossings and connections with other-than-human beings and beyond human realms. The ‘vulnerable artmaking’ of feral participation is porous and playful, exploring diverse aesthetics and foregrounding distinctive creaturely subjectivities. A responsive, additive approach to methods acts as a model for expanded dialogue with other species, which extends the concept of the dialogical aesthetic in participatory art. Through this, ethics and aesthetics become irrepressibly entwined.
This thesis proposes ‘unknowing’ as a concept for interspecies practice, which articulates how the human artist consciously delimits their expectations of other-than-human participants to open space for new distributed knowledge to emerge. It develops ‘speculative anthropomorphism’ as a tool to imaginatively adopt differing creaturely perspectives and bring together alternative sources of knowledge that offer fresh approaches to human ideas and problems, and challenge epistemological hierarchies. Feral participations generate artworks that create opportunities for human audiences to engage more deeply and imaginatively with nonhuman beings, and perceive them and ourselves in new ways, and co-shape the ethical and aesthetic register in which art is made and received.
The research draws selectively from participatory art, feminist new materialisms and indigenous animisms, as well as the writing of Deleuze and Guattari, to articulate the affective dynamics of feral participations, which position other-than-human subjectivities (for example ants) as specifically powerful and influential within a creative assemblage. What currently occupies a position outside art (the gestures, forms and markings of the nonhuman) is brought into its purview. All beings are brought forward as persons, and their societies as cultural containers of knowledge and creativity, with and from which humans can learn
"My god I’m wearing Tesco!": fashion, pre-teen femininity and the commercialisation of childhood
Get PDFAs a lecturer in historical and theoretical studies within the creative business field, I encourage students to think critically and creatively about the world around them. In order to keep up-to-date with current theory and push my own critical thinking, it is important that I maintain my own research, which subsequently feeds into my teaching. As such, this chapter draws on my doctorate study, which sought to explore recent UK debates about the potential commercialisation of childhood through girls' consumption of fashion. Taking a post-structuralist, feminist approach, the research was ethnographic, exploring pre-teen girls' relationship with their dress. Mixed methods were used in order to create a multi-faceted picture of girls' everyday experiences of dress. Fashion is a shared phenomenon, therefore firstly focus groups were conducted to explore how fashion was discussed and debated. Secondly, participants were asked to take photographs of their clothes, and lastly, individual, semi-structured interviews were carried out asking the girls about the items they had photographed, in order to explore their personal relationship with the materiality of their dress.
The findings suggested that many girls knew a whole range of clothing brands, felt the general pressure to consume and also experienced pressure from peers. However, pre-teen girls engagement with fashion and brands is more nuanced than popular debate allows. For example, dressing the same as peers also helped friendship groups ‘display’ (Finch 2007) their friendship to others, and in addition, there was talk of using dress to express individuality and self-expression. Some participants showed an awareness of financial constraints to consuming and clothes did not always need to be brand new to be acceptable to wear. However, girls are constantly growing out of clothing, a favourite outfit and resultant constructed identity is soon rendered obsolete and girls must constantly consume in order to be clothed and constitute a new subjectivity. Dressing is a social practice, and it is through girls’ interaction with fashionable dress that they are able to explore their identity and their relationship with others, in complex and interesting ways
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