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Cat and Mouse Experiments with Cozmo Robotics:Bsc Computing Project
No full textUsing Cozmo robotics on a low powered and outdated systems, a physical simulation was developed and tested in the real world of a Cat and Mouse game. This included the construction of a physical maze for the Cozmo units to recognize via Barcodes on walls in the maze and navigate around, and a defined rule set that they must follow to complete their goals, which involve the Mouse attempting to capture the Cube, also referred to as Cheese and Cat attempting to capture Mouse. These captures are done via the visual recognition systems of the Cozmo detecting the Cube or the Barcodes on the rear of the Cozmo unit. This was a test of integrating pre defined systems in the Cozmo SDK on older hardware where compatibility issues do exist. The results were a successful simulation of the Cat and Mouse game where the Cozmo units were able to navigate the maze and react to each other under the rule set given to
them
Tourism employment and evolving gender norms in Peru
No full textThis study draws on ethnographic research in the town of Pisac, Peru, to interrogate how tourism employment may enable Mestiza women to contest traditional gender norms around work and family. Adopting a decolonial feminist lens, it analyses how Iberian Catholic, colonially imposed gender and ethnic norms shape women's tourism labour experiences. Findings reveal that, while tourism often reinforces patriarchal norms, it also creates openings for resistance through women's financial authority in the household, redefinitions of domestic responsibility, and collective practices of mutual support. Women's roles remain ambivalent, as they both reproduce and contest patriarchal structures. This study contributes to understanding how colonially shaped gender and ethnic constructs influence women's capacities to challenge patriarchy through tourism work
The perspectives of parents/carers on a new parental education occupational therapy intervention
Get PDFIntroduction: Parental Education has been highlighted as an effective intervention for children, young people and families. However, there are none underpinned by Occupational Therapy (OT) theory. The aim of this study was to understand the perspectives of parents/carers of children with neurodevelopmental disorders on the acceptability and design of a parental educational intervention underpinned by OT theory.
Method: 23 parents/carers of children aged between 5 - 11 years who had a diagnosis of ASD, ADHD and/or DCD participated in one of three online 90-minute focus groups. Participants were presented with a draft of the proposed intervention and engaged in facilitated discussion about the acceptability and feasibility of the intervention. Data were analysed using thematic analysis.
Results: Four Themes were generated: 1) Parents want to develop skills to support their child, 2) Parents also need support, 3) There are barriers to reaching parents, 4) Parents need an inclusive environment to promote their learning.
Conclusion: Parents/Carers acknowledged the benefits of the intervention highlighting the importance of focusing on supporting parents as well as their children. They also raised potential barriers to participation which included time and money and emphasised the importance of designing the group with inclusivity as a central principle
How essentialist are we?
Get PDFPsychological essentialism is a well-established view within developmental psychology that has considerable philosophical significance. Recently it has come under pressure from both theoretical and experimental quarters. In this article my aim is to defend psychological essentialism against this assault. Doing this will involve placing psychological essentialism in the broader context of the theory theory approach to cognition which portrays humans as having a battery of distinct theories that have been developed to enable us to deal with a variegated external reality. Once this is recognised, data that initially seemed to pose problems for the psychological essentialist can be seen to be handled quite readily by them
Primary Teaching Collection
No full textGuide to the Library's Primary Teaching Collection of resources for Education student
Different external cues elicit specific kinetic strategies during a drop jump in well-trained adolescent soccer players
Get PDFThe purpose of this study was to examine how different external cues that focus on jump height and ground contact time influence kinetic outcomes from a drop jump (DJ) in well-trained young soccer players. Following familiarization, 21 adolescent male soccer players performed 2 DJ trials under 4 different cue conditions: a height cue instructed subjects to jump to the ceiling, a ground contact cue instructed subjects to get off the ground as fast as possible, a combined condition joined both cues together, whereas a neutral cue with no external focus was used as a control condition. The height and contact time cues elicited specific kinetic responses that were significantly different to other conditions (p < 0.05); the height cue increasing impulses (d = 1.17–1.21) and jump height (d = 0.68), with the contact cue shortening ground contact time (GCT) (d = 1.27), increasing vertical stiffness (d = 1.48) and increasing force (d = 1.20–1.36). When combining the height and contact cue, a combination of significant (p < 0.05) kinetic responses were also observed, albeit to a lesser effect. Specifically, the combined cue increased impulse (d = 0.71–0.76) and jump height (d = 0.57) compared with a contact cue and a height cue, increased reactive strength index (d = 0.34), force (d = 0.69–0.83), and vertical stiffness (d = 0.75) while also reducing GCT (d = 0.69). Practitioners working with well-trained adolescent soccer players can use different external cues to effectively influence the kinetic strategies employed during a DJ
Exploring Internationalisation and EDI: an open conversation
Get PDFIn this concluding piece, we created an open forum and invited contributors to share insights on two key questions, the first relating to their experiences of internationalisation and the second dedicated to the most pressing issues in the field. Through these inquiries, we aimed to provide a platform for contributors to further elaborate on their own voices and experiences in the field
Star Wars after Williams : new sounds of a galaxy far, far away
Get PDFWhen Disney acquired Star Wars in 2012, fans were curious about the franchise’s new direction. While John Williams continued composing the music for the sequel trilogy, his absence was felt in the spin-off films Rogue One and Solo, where Michael Giacchino and John Powell took over. These films still bore Williams’ influence, though. The Disney+ series The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi, and Andor marked a significant departure from Williams’ neo-classical style, with composers Ludwig Göransson, Natalie Holt, and Nicholas Britell crafting more organic, raw scores. The distinct sounds of these new scores—ranging from sultry melodies to guttural choral themes—remained unmistakably “Star Wars”. This paper explores the shift in musical style, reflecting on the question: What is Star Wars music without John Williams, and is a new musical identity emerging for the franchise? =
Lorsque Disney a racheté Star Wars en 2012, de nombreux fans se sont interrogés sur la direction que prendrait la franchise. Si John Williams a continué à composer la musique de la trilogie suivante, son absence s’est néanmoins fait sentir dans les films dérivés Rogue One et Solo, où Michael Giacchino et John Powell lui ont pris le relais, tout en restant influencés par son style. Avec les séries Disney+ The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi et Andor, la franchise s’éloigne davantage du style néoclassique de Williams, les compositeurs Ludwig Göransson, Natalie Holt et Nicholas Britell créant des partitions plus brutes et organiques. Malgré des sonorités inédites allant de mélodies envoûtantes à des thèmes choraux gutturaux, ces compositions conservent une identité indéniablement « Star Wars ». Cet article explore ces évolutions stylistiques et s’interroge : qu’est-ce que la musique de Star Wars sans John Williams ? Une nouvelle identité musicale est-elle en train d’émerger pour la franchise