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Contingent scaffolding: analysis of teacher utterances and group success in collaborative mathematics tasks using multi-touch tables
Get PDFThis study explores teacher utterances during interactions with groups of participants (10–11 years old, n = 96 from six schools in England) engaged in collaborative text-based mathematics tasks using multi-touch tables. Utterances were coded using a modified version of Engle and Conant’s framework for fostering productive disciplinary engagement (2002). The results explore the association between the frequency and categories of utterance made by the teacher and subsequent degree of group success. Interactions with successful groups changed in focus from holding students accountable to disciplinary norms towards problematising towards the solution. Evidence suggests that successful groups take note of the unvoiced proleptic connotations of teacher utterances intended to scaffold productive working practices. Less successful groups do this less effectively
The elephant in the room: a global mechanism for e-sport disputes
Get PDFThe e-sports industry has seen exponential growth, leading to increased disputes among players, teams, and organisers. Traditional dispute resolution methods, such as litigation, often fall short due to their time-consuming nature, the lack of technical expertise of the parties, and the international scope of e-sports disputes. This article highlights the potential of Blockchain Dispute Resolution (BDR) mechanisms to address these challenges. BDR offers several advantages for e-sports dispute resolution, ensuring transparency by recording all transactions and decisions on a public ledger, which can be accessed by all parties involved. This reduces the risk of biased decisions and enhances trust among stakeholders. Additionally, smart contracts can automate the enforcement of agreements, reducing the need for intermediaries and speeding up the resolution process. The article also underscores the importance of developing standardised rules and protocols for blockchain-based dispute resolution in e-sports, as it provides a structured approach for the recognition and enforcement of decisions made through blockchain mechanisms. The article, therefore, argues that the integration of blockchain technology in e-sports not only offers potential solutions for dispute resolution but also opens new avenues for monetisation and fan engagement, exciting the industry and its fans with the possibilities it brings for a more interactive and engaging future
Pedagogy of empowerment: co-produced self-directed pedagogic spaces for inclusion
No full textWhat is more important in education than inclusion? In this present paper we argue that inclusion must be the starting point in the design of education. We focus on how all students can be included in the process of learning in formal education settings. We theoretically explore (a) whether applying a self-directed learning framework in education can enable co-produced pedagogic spaces, and then (b) the potential for self-directed co-produced pedagogic spaces to facilitate inclusion ‘in’ and ‘through’ education. We conclude that applying a self-directed learning framework in education could enable co-production at all pedagogical phases – planning, undertaking, and reviewing phases of learning; and that some inclusion of self-directed learning and/or elements of power-sharing possibilities would (arguably) be facilitative in terms of enabling inclusion in and through education. Further research in this novel topic area is recommended
'They don’t really know what they’re getting into': the impact of neoliberal and colonial policies within Israeli institutions of higher education on Palestinian Jerusalemite students
No full textThis study presents the case of Palestinian students from East Jerusalem studying at the education department at a major Israeli University. We conducted a qualitative study using semi-structured interviews with nineteen Palestinian students. The study found that the government’s neoliberal and colonial policies in East Jerusalem influence the students’ motivation, available options and the ability to compete within Israeli institutions of higher education. Furthermore, once the students manage to penetrate Israeli institutions of higher education, they are disillusioned with the experiences they are offered, they do not manage to study the fields that they desire and they are not offered sufficient support within the institution. We contend that this failure on the institutional level to address issues of multiculturalism and Indigenous populations’ unique needs makes the university complicit in maintaining a cultural and epistemic hierarchy
Thinking and working scientifically: science inquiry in action
No full textThis chapter explores science inquiry practices in action, considering planning and assessment for different types of inquiry in the Australian primary school context
The river of no one: telematic choreography and postdigital performance
No full textThis paper examines 'The river of no one' (2022), a telematic performance project developed in collaboration with DAP-Lab and Third Space Network. Emerging during the pandemic, this work explored online performance as a site for reimagining choreographic relationships within a digital third space. Through the integration of the LiveToAir platform, the performance enabled cross-continental collaboration, challenging conventional notions of liveness and embodiment in digital performance.
Building on Birringer’s (2022) conceptualisation of hydrocommons, 'The river of no one' engaged with ecological entanglements beyond human agency, investigating how digital choreography can articulate posthuman dramaturgies. However, the process also revealed the limitations of machinic co-presence - where the technical precision required for synchronisation constrained the generative potential of improvisation and corporeal interaction. As the choreographer and performer, I encountered challenges in navigating this hybrid space, where my embodied practice had to adapt to the absence of physical audiences and the presence of technological apparatuses.
This paper reflects on how the creative constraints of online performance during the pandemic continue to inform postdigital performance-making in the AI era. By examining how movement, technology, and collaboration intersect in The river of no one, I propose that telematic performance offers a critical site for rethinking agency, coordination, and affect in an increasingly AI-mediated world
Unveiling the body: a creative exploration into (re)connecting with the body using performance-based practices
No full textThis paper will address the early stages of my research which is exploring how autobiographical theatre and performance-making can aid in repairing a sense of connection to the body for victims of sexual trauma. It asks: How might live performance, both the process of making and the live event, help to repair a ruptured relationship with one's body?
Using a body-based approach to performance-making, the research project will explore the difference between the impact of the creative process (private) and the live event (public), in order to explore the impact of a creative approach to healing sexual trauma and dissociation. Using autoethnography as my methodology, (after Denzin, Spry), I will document and measure any changes in my relationship to my body by exploring my own lived experience. Autoethnography is an important methodology because ‘[…] It is more than performance. But it is performative. It is transgressive. It is resistance. It is dialogical. It is ethical. It is political, personal, embodied, collaborative, imaginative, artistic, creative, [...] intervention, a plea for social justice. […] Writing selves are performing new writing practices, blurring fact and fiction, challenging the dividing line between performer and performed, observer and observed’ (Denzin, 2018: viii). It offers an approach that is multifaceted - allowing the space to be reflexive. This research is informed by key works in adjacent fields such as academic, choreographer and creative-practitioner, Vicky Hunter’s exploration of site and body and theatre scholar, Miriam Haughton’s research into staging traumatic narratives (Haughton 2018). The proposed research is framed by theories on participatory performance, through an applied theatre lens. (Jackson 2011 and Kuppers 2007) and engages with Jill Bennet’s research into trauma and affect (2005).
This paper will focus on the early stages of this investigation, and I am particularly interested in examining one of the key areas of the symposium: How do bodies mean and how do audiences ‘read’ them? Can words and actions be disentangled from one’s voice and body (for instance, can another achieve the same meaning by imitating the gestures of another? The ultimate aim is to share the methodology I develop with women who have suffered from sexual trauma and work with them to find a way to work with and through their bodies to reconnect and repair their relationships to their bodies. Once I reach this stage, the women I work with will find ways of working with the embodied voice and discovering if a reconnection to their sense of self can be found.
Before I reach that stage however, I will work with my own lived experience and my own body. Therefore, within this paper I will share my early practice-as-research journey with a focus on the body. I want to discover if the practices rooted in theatre and performance that focus on the body can serve me in an act of repair and reclamation. The embodied voice through movement will be a key focus of the research and I want to find a way to weave my narrative through my own body. This will be documented through reflections, photographs and videos and it is this documentation and early research that I will consider within my paper. I am interested in exploring whether a performance platform can be a space for trauma survivors to reconnect with their bodies. This is a project that deals with acts of repair and personal discovery; it is a project rooted in events stored within the body, and I am finding ways to work within these boundaries publicly. The early stage of the research is focused on developing a method, rather than working with participants, therefore this paper will act as an enquiry into the next stage also
Making monsters: how can creative research methods help us understand audience engagements with children's media cultures?
No full texthaving to carry out the repetitive, mind-numbingly boring but still very necessary tasks required to manage increasingly complicated processes of production
Get PDFhaving to carry out the repetitive, mind-numbingly boring but still very necessary tasks required to manage increasingly complicated processes of production (2025) is part of a series of pieces that explores purposeless work. In the piece, the large ensemble players individually work through a looping set of sustained sounds, following commands given by their choice of player in the small ensemble which tell them when to move to the next sound. This cycle is sporadically interrupted by longer organ drones which reset the process.
Although the small ensemble players are given some control, they do not know the effect of their cues on the actions of the large ensemble players. Equally, the large ensemble players must keep cycling through their sounds, following increasingly complicated routes through the material. The organist is autonomous and can halt this process, but is in turn halted by the small ensemble.
There is an illusion of purpose and organisation, but essentially this is arbitrary. There are coercive rules to follow that shape the behaviours and culture of the players, but no indication of any goals or results to achieve. I am interested in playing with aspects of institutional behaviour, where an organsiational structure tasks its workers with clearly defined jobs which are obligatory but may have little obvious purpose. The title comes from David Graeber’s book Bullshit Jobs. It is well worth reading
