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Interactions with Virtual Therapists during Motor Rehabilitation in Immersive Virtual Environments: A Systematic Review
Get PDFIntroduction: Virtual Reality applications for rehabilitation are increasing in popularity. In traditional as well as virtual rehabilitation, the guidance of an occupational therapist through physical and verbal interaction is often required. Several studies have attempted to implement a virtual therapist or assistant in immersive virtual environments for rehabilitation.
Objective: This research aims to systematically review these studies, understanding the therapist’s role and how they are represented in the virtual environment, how the virtual therapist and patient interact and the experience of users. Our goal is to provide guidance for virtual therapist implementations into fully immersive virtual reality environments.
Method: The researchers systematically reviewed the literature on virtual therapists in immersive virtual environments for motor rehabilitation (protocol prospectively registered with PROSPERO ID: CRD42022357369).
Results and Conclusion: Seven studies were identified, with findings showing that virtual therapists are often human-like avatars that guide patients, requiring them to mimic the therapist’s movements. Visual, haptic, or one-direction audio feedback from the therapist to the patient was provided in five studies. The selected studies were all newly developed custom-made systems, with five systems developed using the same game engine. Studies carrying out user testing utilised several methods to understand user experience, evidencing a positive attitude from therapists and motivated and satisfied patients.
Future Research: The roles of virtual therapists for motor rehabilitation needs to be explored further in rigorous empirical studies to gather data on patient and therapist user experience. Considerable potential was identified in the development of virtual therapists and therapeutic alliance in the virtual environment. Future systems should reduce manual input from therapists and include personalisation and individualised patient feedback
14 Principles for better Practice: Principles for Land Practitioners based on Indigenous and Gaelic Heritage
Get PDFThese 14 principles are distilled from a conversation among three creative practitioners whose work revolves around ideas of land, people, and heritage; as well as inclusions from others who have spoken and written thoughtfully on the topics of indigeneity, ancestry, and kinship. For one of us, this is a specifically Gaelic practice, drenched in their own history, their architectural work focuses on nurturing a return of resources and abundance to the Western Isles. For another, their identity and their collaborative creative work are one, rooted in indigenous and colonial ancestry reaching through creative technologies to work across the global north and south. For the third, the work is an evolving academic discourse about the power of community in action, and the notion that our regenerative futures depend on an integration of old ways of knowing with the now, innovation from tradition. These principles are a guide to keep ever present as we all continue to do work within the ecosystem of people, processes, and place. Whether you are a facilitator, an educator, a developer, a builder, a maker, we can all do with a reminder to think of the big picture, past and present as we shape the future
Choose Your Own Adventure! An empirical study on gamification of postgraduate learning on research project design
Get PDFIt is difficult to teach complex topics such as academic research to student cohorts who are widely heterogeneous in prior knowledge, learning goals, and learning preferences. Exploratory, quest-like approaches show promise for increasing engagement, personalization, and autonomy, however, there is a lack of empirical data on which, if any, aspects of gamification can benefit learning. This paper presents analytics and qualitative responses to a Choose Your Own Adventure for postgraduate design of research projects. It focusses on non-linear navigation for self-directed personalization, digital badges, and the role of narrative within a gamified learning tool. Results highlight high user attrition, effective personalization of learning, high acceptance of gamification approaches, and much lower interest in some gamification elements, contributing value to the pedagogy of learning and teaching research skills
Sandra George
Get PDFThis solo exhibition of Sandra George’s (1957-2013) presents her photography and a selection from her wider artistic multi-disciplinary practice which includes printing, painting, bookworks, textiles and jewellery. This exhibition, curated by Jenny Brownrigg and in partnership with Craigmillar Now, is part of Glasgow International Festival of Visual Art 2024.
George was a community worker in Craigmillar, Edinburgh. She was a prolific social-documentary photographer, taking thousands of images of community projects across Scotland between the late 1980s through to the late 2000s. Social justice and equity was at the heart of both George’s community and artistic work. Her black and white photography includes subjects ranging from Braille classes in Royal Blind School Edinburgh, to capturing sessions with disabled musicians. Her perspective and insight as a Black female social documentary photographer and artist adds further importance to this collection – women photographers of colour capturing community life in Scotland over this time period are significantly underrepresented. George did not exhibit work in her lifetime. The message of her work – community, care, accessibility and equality in the arts and workplaces, ethics in working with others in under-reached communities, exploration of identity - are all relevant to issues and themes today.
As well as the exhibition there is also a commission for a Scotland-based Black or Person of Colour contemporary photographer / artist / community education worker or curator to engage with the Sandra George Archive at Craigmillar Now and develop an event for Glasgow International (Friday 7th – Sunday 23rd June 2024) that shares their response to her work.
Bio:
Born in Nottingham, Sandra George (1957-2013) lived the first seven years of her life in Jamaica with her mother, before moving to Birmingham, and then Edinburgh, to live with her father. George studied at Napier University (1979-1982) gaining a BA (hons) Photography; then a BA (hons) Fine Art at Edinburgh College of Art (2001-2004) in Drawing and Painting. In 2004 she graduated in Community Education at The University of Edinburgh. George was a freelance photographer for over 30 years for organisations and publications such as the Sentinel, the Tollcross Community Newspaper, Shelter, and the Craigmillar Festival News and the Craigmillar Chronicle. In the 1980s' she worked in Community Development in Wester Hailes. In the 1990s’ she worked in Craigmillar, Edinburgh for organisations including McGovan house, the Thistle Foundation, and the Craigmillar Community Arts Centre. In 2008 she was Youth Services Manager with Hunter’s Hall Cooperative, Craigmillar. That year she launched Niddrie Community Youth Group.
Whilst George did not exhibit in her lifetime, Craigmillar Now have curated: ‘Sandra George, Craigmillar 1988 – 1994', The White House, Craigmillar (2022): 'Sandra George, Craigmillar 1988 – 1994', Oman’s Pub, Craigmillar (2023); and in the group exhibition 'We Love Craigmillar', at The Craigmillar Heart’s Community Club (2023)
Craigmillar Now is a community-led arts and heritage organisation based in Craigmillar, Edinburgh who hold George’s collection
Speaking With
Get PDFSpeaking With (2020-23) is a moving image work which explores entangled spaces of feminist thinking and writing through Marita Fraser's response to texts by Carla Lonzi and Clarice Lispector, alongside material practices of dying, textiles and movement, utilising cinematic space as a site to hold Fraser's social and maternal concerns. This visual essay contains stills from the moving image work
Bits + Bytes
No full textParticipation in group show 'Bits and Bytes'. Organised by the GSA Gallery society and featuring works that interrogate ideas of the digital self, methods of production and reading of digital artefacts and the limits of digital art. Show was in New Glasgow Society 13th-16th May 2024.
Participation in the show was made of following pieces:
Spider - a bookwork that exists in digital form (3.5 Floppy Disk)
Operations - a conventional bookwork
Extracted pages from 'Operations' work as a wall piece
Both bookworks interrogate the invisible networks that exists in parallel and ask of the viewer to consider them as tangible alternative spaces where all interaction may be devoid of a physical body, but has real consequences
La couleur est la lumière: Inventions historiques, experimentations contemporaines, Le Point Du Jour, France
Get PDFExperiments on Light (after Mary Somerville) was exhibited at the group exhibition 'La couleur est la lumière: Inventions historiques, experimentations contemporaines' at Le Point Du Jour, Cherbourg, France, curated by Nathalie Boulouch.
The show is an exploration of how ‘the invention of colour in photography resonates in current artistic creation’ (Le Point du Jour 2024). My work is exhibited alongside other contemporary artists and lesser-known pioneers of nineteenth-century early photography. These include some pioneers of early photography in France; Hippolyte Bayard, Louise Deglane, Louis Ducos du Hauron, Léon Gimpel, Louis Lumière, José Julio Rodrigues as well as a host of contemporary artists including; Hreinn Fridfinnsson, Patrick Faigenbaum, Hanako Murakami, and Laure Tiberghien.
In recent years I have been researching the work of the Scottish scientist Mary Somerville and her connections to early photography. Somerville represents a uniquely significant figure to address issues around gender and access in photographic invention. For this exhibition, I created photographic anthotypes in response to Somerville’s 1845 colour Experiments on Light.
My anthotypes (prints made with vegetable juices), were shown in a display case with an accompanying facsimile page from Somerville’s 1845 notebook demarcating the thresholds of the spectrum of light. The notebook is held in the Bodleian Library and shown with the permission of Somerville College, Oxford
The Gorgeous Pouting Mr AR "A Grand Day"
No full textA video for the first single from the album recording "The Beyond and the Better Way" by Ronan Breslin's recording pseudonym "The Gorgeous Pouting Mr AR" - single release September 20th, 2024
[Book review] Interiors in the Age of Enlightenment: A Cultural History
No full textComprising an introduction and eight chapters by authors at the forefront of research on historical interiors, this volume takes an interdisciplinary approach to interpretations of interior spaces—built or imagined—located in Europe and North America during the Enlightenment era, 1660–1800. The aim of this book is to “offer an introduction to the history of interiors for those just starting out and a critical reflection on it for scholars immersed in the field” (p. xiii). This is a tricky balance to achieve and, in the text, some tensions can be detected between deep knowledge of the subject and the necessity to provide a brief overview. The book’s introduction by the editor, Stacey Sloboda, presents a concise outline of recent approaches to interiors in the Enlightenment age, characterized by studies of urban development and the growth of the city, the origins and rise of a consumer culture, distribution of consumer goods, and, importantly, how the interior self is narrated in these spaces as “comfort, convenience, privacy and expression of taste through objects and interiors became ideological values—seemingly self-evident cultural principles through which modern subjectivity was expressed” (p. 12)
I Long for- and Fight- (και ποθήω και μάομαι)
No full text12 x 16 inches wooden panel coated with rabbit skin glue and drawn with silver point.
The fragmental inscription is one that remains of the great lyric poet Sappho, and is a matter of debate. As the Greek Language is more elliptical than any translation can provide, the fragment is a matter of debate. Sappho’s poems were almost never saved in their entirety, hence the context is one that is missing> The invocation here (if indeed it is one) is one that shifts between ‘longing’ and ‘needing’, between need and desire, and one that offers ‘fighting’, ‘grasping’ or even ‘holding’ as solution. Offered with a district typeset that that mimics didactic texts, the work ask questions of translation, transliteration and ultimately offers little in resolution. The diptych of works is one when subject is missing, but the drive to communicate is ever present and carries through. The work is made by tracing the inscription found in an Egyptian parchment in silverpoint, an old method of making something last through the years. By slowly depositing small particles of silver in a rough surface, the text continues its precarious journey, looking for a translation, and ultimately a resolution.
Text and art are both uncertain and intertwined in their histories. They are rhizomatic structures that frequently compliment each other. Both have many shared tools in their history, and a focus on encoding information to address the world around us.
This exhibition explores how the presence of language, even when unreadable to the viewer, changes an artwork. The artwork selected often questions the boundaries between art and text, and what it means to draw on the history of either, examining the role of text as a signifier, and how this can shape the way we encounter art