39 research outputs found
Development of a virtual reality video game using principal component analysis to map isometric force efforts for haptic feedback: A proof of concept
No full textCerebral palsy is a developmental movement disorder that is associated with antenatal, perinatal, or postnatal trauma to the central nervous system and manifests peripherally. The kind of cerebral palsy a person displays can be classified in multiple ways, focusing on the tonicity, movement behavior, and location of atypical movement. One subtype of cerebral palsy, dystonic cerebral palsy, is particularly difficult to treat and manage as little is known on therapeutic methods that work with children with dystonia. Treatments that show promise, such as deep brain stimulation, are invasive procedures; non-invasive therapies that significantly improve the comfort of children with dystonic cerebral palsy is a needed area of study.
This thesis outlines the process by which a virtual reality video game was concepted, developed, and tested as a novel non-invasive mode for selective motor control training, which can be poor in children with cerebral palsy. The game is also targeted to children with dystonic cerebral palsy by reducing the range of motion necessary for gameplay as well as by increasing motivation by using a robotic interface and virtual reality head mounted display. The game is played by interacting with a force/torque sensor mounted onto the end effector of the robot and force feedback is given real time as participants aim to match force targets in a lower dimensional space.
Preliminary results of a typically developing child indicate lower error during gameplay over six trials as well as between levels of the game. These results show promise of motor learning of specific force tasks as well as possibly confirm that the game requires progressively increasing selective motor control for task completion.Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2021-05-01The student, Reika McNish, accepted the attached license on 2019-04-25 at 11:42.The student, Reika McNish, submitted this Thesis for approval on 2019-04-25 at 12:00.This Thesis was approved for publication on 2019-04-25 at 16:44.DSpace SAF Submission Ingestion Package generated from Vireo submission #13912 on 2019-08-22 at 15:08:38Made available in DSpace on 2019-08-23T20:36:12Z (GMT). No. of bitstreams: 3
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Previous issue date: 2019-04-25Embargo set by: Seth Robbins for item 112218
Lift date: 2021-08-23T20:36:18Z
Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD systemU of I Only Restriction Lifted for Item 112218 on 2021-08-24T09:15:28Z
Organizational Camping Practice for Female College Students and Prospects for Camp in Campus
No full text本研究は、19年度から22年度にかけて「教養演習Ⅱ」で実践した野外活動を整理するとともに、大学のキャンパスを活用した野外活動の課題を明らかにすることを目的に検討を行った。学内の自然を活用した野外体験活動は、コロナ禍であっても遂行することができ、むしろ学外へ行くリスクがないことから、幅広い内容で展開することができていた一方で、宿泊を伴う組織キャンプについては、その時々の活動の制限によって中止したり規模を縮小したりと、コロナ禍以前同等とまではいかなかった。しかしながら、学内施設を活用した組織キャンプを行ったり、人数を制限あるいは部屋割りを工夫することによって学外であってもキャンプを実施することは可能であり、他大学の活動状況から見ても、学内をうまく活用することで、安全に野外活動を実施することが可能であると考える。また、野外教育だけでなく、防災教育の観点からも学内においてキャンプを実施する重要性が伺えた。departmental bulletin pape
Helena Kolody, carbono & diamante: uma biografia ilustrada
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaHelena Kolody, carbono & diamante - uma biografia ilustrada conta a vida da escritora Helena Kolody, a partir de sua inscrição na literatura, questionando sua identidade, o mundo que a cercava e o sentido de sua existência. Equivale a dizer: em sua lírica, reflexões e sentimentos se entretecem a partir de uma matéria pessoal e localizada. Da estação ferroviária à estação tubo; da Ucrânia ao centro de Curitiba; de Paisagem interior a Reika; do século XIX ao século XXI, a literatura de Helena Kolody gerencia sua presença na consolidação do binômio arte-vida. O retrato da autora acaba se constituindo também por meio de farto aparato iconográfico; pelos mais de quinhentos textos críticos elencados e por sua obra completa. Fragmentação deliberadamente assumida, a pessoa se revela em sua inteireza.Helena Kolody, carbon & diamond - an illustrated biography tells the life of Helena Kolody, from her very insertion in literature, as it questions her identity, the world surrounding her, and the meaning of her existence. That is equivalent to saying that in her poetry there is the intermingling of reflections and feelings that derive from personal and localized material. From the railroad station to the tube-shaped bus stops; from Ukraine to downtown Curitiba; from Paisagem interior to Reika; from the nineteenth century to the twenty-first century, Helena Kolody's literature guarantees her presence in the consolidation of the art/life binomial. The portrait of the author ends up by also being made up of an abundant iconographic apparatus, of the over five hundred critical texts listed, and of her complete work. The person, although deliberately accepting her own fragmentation, reveals herself in her entireness
The Subject and Source of Kikkawa Reika’s Encountering Sorrow
No full textEncountering Sorrow by Kikkawa Reika (1875 – 1929) was displayed in the 7th Teiten (Exhibition of the Imperial Academy of Fine Arts) exhibition held from October 17 – November 20, 1926 (Taishô 15) at the Tokyo Prefectural Art Museum. The painting was extolled by Teiten judge Fujikake Shizuya and other committee members.
This work consists of a pair of hanging scrolls. The right scroll shows a woman floating in clouds, riding along with two servant women and a dragon. The woman’s appearance resembles that of Avalokitesvara (Jp: Kannon), so clearly Reika was expressing in this figure a sacred being beyond mere mortal. The left screen shows a man leading two horses at the water’s edge. He turns back and his gaze focuses on a dragon, not unlike that depicted in the right scroll, seen in the distance immersed in clouds.
There are numerous theories about the identity of the man and woman depicted in this work, as well as about the subject itself. Fujikake believed that the subject of the work was “Li Sao” (here translated as “Encountering Sorrow”), a lengthy poem by Qu Yuan that appears in the ancient Chinese poetry anthology, Chu ci (variously translated as Verses of Chu, Songs of Chu or Songs of the South). The two figures consist of the poet himself, the chief character in the poem, as the male, and the woman as Fufei (Jp: Fukuhi), who appears in the poem. On the other hand, while agreeing with Fujikake that the scroll’s subject is based on “Encountering Sorrow,” Hosono Masanobu surmises that the woman is the wizard who foretells that Qu Yuan will meet a man of virtue, while the left scroll depicts the final scene in the poem where he wished a dragon would build him a bridge.
Around the same time that Fujikake published his interpretations, the art critic Wakimoto Rakushiken surmised in the Tokyo Asahi Shimbun that the source of the work could be found in “Xiang Furen” (“The Lady of the Xiang”) from the set of poems known as Jiu Ge (Nine Songs). While this interpretation has not gained much attention, Shimao Arata suggested recently that the source could be found in “Xiang Jun” (“The Goddess of the Xiang”) of the Nine Songs.
While agreeing with Wakimoto and Shimao’s interpretations, the author here seeks to provide more positive clarification of the sourcing of this work in “Xiang Jun” or “Xiang Furen” from the Nine Songs.
Like Encountering Sorrow, the Nine Songs are poems included in the Chu ci. “Xiang Jun” and “Xiang Furen” are the third and fourth poems of the set respectively. The two poems have been interpreted as expressing the sorrow Qu Yuan felt upon not being able to see the form of the goddess of the Xiang River no matter how hard he tried. The seven elements depicted in the Reika work, namely: 1) woman leading a dragon; 2) man looking into the distance; 3) servant woman; 4) water’s edge with rocks and flying dragon; 5) two horses; 6) rough belt worn by the man; and 7) flowers held by the woman, can all be explained by either the contents of “Xiang Jun” or “Xiang Furen” or their annotations. It seems most appropriate to identify the woman in the right scroll as the Xiang River goddess descending to earth and the man in the left scroll as Qu Yuan awaiting that descent.
Numerous paintings on the theme of the Nine Songs exist in Chinese painting. A comparison of this work with extant examples of Nine Songs iconography reveals that a direct iconographic similarity can be noted in the Nine Songs images published in the late Ming dynasty Chengshi moyuan (Master Cheng’s Gardens of Ink). The iconography of the Xiang Furen and Yunzhongjun images in this book resemble those of Reika’s right scroll.
Originally the term Li Sao, or Encountering Sorrow, was not a proper noun indicating a specific poem, but rather meant “a poem by Qu Yuan.” Given that the Nine Songs are poems by Qu Yuan, they can be categorized within, “Encountering Sorrow.” This understanding of the term Encountering Sorrow was accepted in Japan. Mention of the Nine Songs was lessening in the Chu ci-related books that were published when Reika was painting this pair of scrolls, so it was not commonly known that Encountering Sorrow was also used as a term indicating Qu Yuan’s poems.
We can surmise the existence of a discrepancy between the artist and the viewer in terms of the understanding of the painting’s Encountering Sorrow theme. In other words, Reika titled this work Encountering Sorrow on the basis of the awareness that the terms Nine Songs and Encountering Sorrow both meant “poems by Qu Yuan.” However, both Wakimoto and Fujikake mistakenly identified the source of the Encountering Sorrow title of the scrolls as the poem entitled “Encountering Sorrow” found in the Chu ci anthology. And their misconception was then handed on and continued without further investigation.
In addition, during his naming of this work Encountering Sorrow, Reika can be thought to have referred to Li sao tu (Illustrations to Encountering Sorrow), a book published at the beginning of the Qing dynasty. This book presents interpretations and illustrations of Qu Yuan’s poems, including the Nine Songs under the collective book title of Illustrations to Encountering Sorrow. Then can’t we consider that when Reika read this book, he would have felt that a painting of a Nine Songs theme could be appropriately titled Encountering Sorrow?
It is fascinating to note that immediately prior to Reika’s production of this work, the Illustrations to Encountering Sorrow volume was reissued in both Shanghai and Tokyo. The illustrations in the book for “Xiang Jun” and “Xiang Furen” poems, with their image of a goddess flying away accompanied by a dragon, resemble this work’s image of a goddess leading a dragon. Further, the detail of the woman holding flowers and the dramatic composition of the two gods gazing at each other are also elements close to this work. What Reika probably saw was Xiao Chimu Li sao tu (Xiao Chimu’s Illustrations to Encountering Sorrow) that was reissued in Tokyo 10 months prior to the creation of this work. Reika had access to this book thanks to his close contact with Masaki Naohiko, the head of the Tokyo School of Fine Arts. Masaki was deeply involved in the reissuing of the illustrated Zuhon sokan that included the Xiao Chimu Li sao tu and thus it was an environment in which Reika would have easily obtained the volume.
Further, the Zuhon sokan including the Xiao Chimu Li sao tu also contained the Chengshi moyuan. The iconography for the “Xiang Furen” and “Yun zhong jun” in the Chengshi moyuan can be considered the direct iconographic source for Reika’s painting. Given this environment, this book would also have been at hand. In addition, the rock expression found in the Suyuan shi pu (Catalogue of Suyuan Rocks) contained in the Zuhon sokan resembles the rock expression in Reika’s painting. Thus it is highly likely that Reika referred to the Zuhon sokan during his painting production.
This work is constructed from a reusing of iconography published in Chinese books, and works he personally viewed in the Shôsôin treasures and early illustrated handscrolls. The Chengshi moyuan and Li sao tu particularly inspired Reika. There are many examples of modern Nihonga paintings based on Chinese paintings. This work can also be generally positioned within the context of Chinese painting reception in modern Nihonga.
However, the iconography that Reika used as his model for this work was first made publicly available to the Japanese in the 1920s. The mistaken interpretation of the work’s subject –– even though it is a close copied reuse of Nine Songs iconography and even prior to the understanding of the Encountering Sorrow term –– can be thought to have been based in the fact that the iconography used in this work had been virtually unseen in Japan prior to the 1920s. Historically speaking, the 1920s witnessed an unprecedented interchange of people, things and information between Japan and China, and it was a time when a new image of China was being cultivated. The Zuhon sokan referred to by Reika was also a book created out of this artistic interchange between Japan and China. In this manner, it was the 1920s themselves, a time when Japan was directing a new gaze at China, that underpinned the production of this work.journal articl
The Potential of Digital Learning Materials as Seen from Students' Class Notes
No full text本研究は、デジタルノートが大学生にどのように使用されているかを整理するとともに、デジタル教材としてどのような使い方ができるのか、またその使い方によってどのような学習効果が期待できるのか、その可能性を探ることを目的とし、筆者が担当している授業科目「遊びと運動」の受講者16名のデジタルノートを研究対象として分析を行った。
その結果、デジタルノートには一定の弱点はあるものの、自ら選んだ画像をもとに自身のノートを作り上げることで、より学んだ知識を深めるという学習効果が期待できると示唆された。また、指導法の観点から指導者にとっても利点があり、結果として受講者へ質の高い教育を提供することにもつながることから、デジタルノートを活用することが有効であることも明らかとなった。departmental bulletin pape
Helena Kolody, carbono
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaHelena Kolody, carbono & diamante - uma biografia ilustrada conta a vida da escritora Helena Kolody, a partir de sua inscrição na literatura, questionando sua identidade, o mundo que a cercava e o sentido de sua existência. Equivale a dizer: em sua lírica, reflexões e sentimentos se entretecem a partir de uma matéria pessoal e localizada. Da estação ferroviária à estação tubo; da Ucrânia ao centro de Curitiba; de Paisagem interior a Reika; do século XIX ao século XXI, a literatura de Helena Kolody gerencia sua presença na consolidação do binômio arte-vida. O retrato da autora acaba se constituindo também por meio de farto aparato iconográfico; pelos mais de quinhentos textos críticos elencados e por sua obra completa. Fragmentação deliberadamente assumida, a pessoa se revela em sua inteireza.Helena Kolody, carbon & diamond - an illustrated biography tells the life of Helena Kolody, from her very insertion in literature, as it questions her identity, the world surrounding her, and the meaning of her existence. That is equivalent to saying that in her poetry there is the intermingling of reflections and feelings that derive from personal and localized material. From the railroad station to the tube-shaped bus stops; from Ukraine to downtown Curitiba; from Paisagem interior to Reika; from the nineteenth century to the twenty-first century, Helena Kolody's literature guarantees her presence in the consolidation of the art/life binomial. The portrait of the author ends up by also being made up of an abundant iconographic apparatus, of the over five hundred critical texts listed, and of her complete work. The person, although deliberately accepting her own fragmentation, reveals herself in her entireness
女子高等教育機関における野外教育の意義 ―社会人基礎力に着目して—
No full text女子高等教育機関において、野外教育がもたらす社会人基礎力への影響について、先行研究をもとに文献調査を行った。その結果、社会人基礎力の中でも特に「チームで働く力」の向上に期待できることが明らかとなった。野外教育を組み込む時期やメンバーの構成、プログラム内容などを適切に設定することで、よりよい教育活動が展開できると示唆されたが、ストレスコントロール力には影響が見受けられていないため、事前教育やプログラム内容を開発するなど、今後の課題が明らかとなった
