The qualities and availability of different video formats offer many opportunities within the context of Higher Education (Hansch et al., 2015; Johnson et al., 2016; van Huystee, 2016). There is a shift within Higher Education to transition from the traditional face to face approach, to a more ‘blended’ approach in which face to face and online delivery of content are blended (Bates, 2015). More delivery of content is now provided online in video format, viewed before the class, as part of a flipped classroom (Bishop & Verleger, 2013; Yousef, Chatti, & Schroeder, 2014) and this is impacting the traditional role of the lecturer from ‘sage on the stage’, to ‘guide on the side’ (Tapscott, 2009). When creating video, a lecturer needs to have an understanding of the particular pedagogic affordances of the different types of video (Koumi, 2014; Thomson, Bridgstock, & Willems, 2014) and to know how to implement and embed these effectively into the teaching environment as part of a blended approach (Dankbaar, Haring, Moes, & van Hees, 2016; Fransen, 2006; Woolfitt, 2015). There needs to be awareness of how to embed the video from a didactic perspective to create meaningful learning (Karppinen, 2005) and an understanding of some of the financial and technical issues which include the relationship between cost of video production and the user experience (Hansch et al., 2015) and creating the correct combination of multimedia visual and audio elements (Colvin Clark & Mayer, 2011). As the role of the lecturer changes, there are a number of challenges when navigating through this changing educational environment. Massive Open Online Courses (MOOCs) provide lots of data for analysis and research shows that students in this environment stop watching videos after about six minutes (Guo, Kim, & Rubin, 2014) and that the most common video style used in MOOCs was the talking head with Power Point (Reutemann, 2016). Further research needs to be conducted regarding student preferences of video styles and correlation between video styles and course drop-out rates. As part of its research, the Inholland research group ‘Teaching, Learning and Technology’ (TLT) examines the use of ICT and video to support teaching and learning within Inholland. In 2015-2016, several pioneers (Fransen, 2013) working at Inholland explored different approaches to using video to support the teaching and learning process within a number of educational environments. TLT supported the pioneers in establishing their role within their faculty, creating a framework within which the pioneer can design the video intervention, collecting data and reflecting on what was learned through this process. With some of the projects, a more formal research process was followed and a full research report could be compiled. In other cases, the pioneer took a more exploratory and experimental approach. In these cases, the pioneer may not have conducted the video intervention under a formal research framework. However, during this process the pioneer may have uncovered interesting and valuable practical examples that can inspire and be shared with other educators. This current report falls under the category Research Type 3 as defined by TLT. It describes and assesses an ICT application (in this case, video) in order to share the original approach that could have high potential to be implemented in a broader educational context.
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Video was used in a variety of formats during a third year elective Inholland course ‘Levensbeschouwing’ at the Faculty Onderwijs en Innovatie (education and innovation) in Amstelveen. From April to June (2017), 30 part-time and full-time students on the Tweedegraads Leraren Opleiding chose to follow the course for the ten week study period. Students used a variety of video formats to support and enhance their learning process. This research evaluates how the didactic embedding of video supported the teaching and learning on the course. The objective of the research was to gain insight into the ways in which video supports the learning and teaching process in the course and into the perceived practicality and effectiveness of this video support. The research examined how video was integrated into the course structure, how students and lecturers perceived the practicality of the use of video, and whether they considered it effective. The conversational framework of Laurillard (2002), was used as a framework in which to examine the interaction between students and teachers at the conceptual and application level. An overview was made of the different forms of videos used during the course (both teacher and student generated), how they were viewed and the value of them to the students. A survey was collected on the last day of the course in which students could share feedback on the ways in which video had contributed to their learning process. At the end of the course, a group interview was held with six student representatives (one from each group) and with the lecturers on the course to collect additional qualitative feedback on how video contributed to the learning process.
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The research examined the ways in which Student Generated Video supported the learning process on the course ‘Levensbeschouwing’ (Life Philosophy) on the third year on the teacher training course at Inholland in Amsterdam. The central question examined was: In which ways does the student generated video on the Inholland course ‘Life Philosophy’ contribute to students gaining insight, developing deeper knowledge, and achieving the course learning goals? The 30 students on the course participated in the research. During the course, they were involved in creating three video interviews per project group that examined the question of life philosophy from the perspective of personal life, life philosophy traditions and school life. Video production was segmented into four phases; pre-production, production, post-production and reflection. At each phase, students answered short open questions online, and on the final day completed a survey. A group of seven students participated in a group interview on the final day.
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Over the past years, innovative technologies (such as Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR)) have become more common within news organizations. These technologies allow users to immerse themselves in a virtual world. With these types of productions, the journalist tries to engage and involve the user by introducing emotional styles, often to create empathy. This does not only demand new technological skills, but also challenges the way journalist allow emotions in journalistic productions, and what role they take in relation to the story and the user. Through fifteen in-depth interviews with immersive producers and experts in renowned news organizations across the globe, this paper examines both the motivations of journalists who produce immersive stories, and how they seek to balance traditional journalistic norms and emotionality in them. The results show that journalists believe that emotions and facts can be compatible with journalistic production. Yet, they struggle with their role in relation to the user. Immersive journalism obliges journalists to carefully reconsider their relationship with their public. In sum, this study illuminates an ongoing professional debate on the role of emotionality, user agency, and journalistic control and autonomy.
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Nursing Leadership is an important competence to develop in order to provide quality of care and prevent attrition of nurses. This research program looked into the perceptions and experiences of nurses on practising leadership. Next to that supporting the development of nursing leadership was addressed. The program has a mixed-method, action research design in which 75 in-depth interviews and 24 focus group interviews and quantitative data of 435 nurses form the backbone. According to hospital nurses, nursing leadership is related to proactiveness and voicing expertise in order to deliver good nursing care. Nevertheless, they do not feel fully competent and knowledge deficits were detected on aspects of the bachelor nursing profile, such as evidence based practice. Working-culture factors can either inhibit or encourage nursing leadership. The further awareness of unconsciously using expertise and knowledge deficits as well as team development towards a continuous safe learning environment are necessary steps for the enhancement of nursing leadership. A Nursing Leadership model was developed in which generic personal leadership competencies combined with expertise of the nurses' level of education and degrees form the essence of shared leadership in teams focussed on the realisation of good nursing care.
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Background: Sexual deviance is regarded as an important risk factor for sexual offending. However, little is known about the development of deviant sexual interests. The transfer of arousal between emotions, i.e., excitation transfer, could attribute sexual salience to stimuli that would otherwise not be sexual in nature. As such, excitation transfer could contribute to the very beginning of unusual or deviant sexual interests. The current protocol proposes a study to investigate to what extent excitation transfer occurs, i.e., to what extent genital and subjective sexual arousal to sexual stimuli is higher in an emotional state than in a neutral state. Following a prior pilot study, several adjustments were made to the study protocol, including a stronger emotional manipulation by using 360-degree film clips and the inclusion of a larger and more sexually diverse sample. Methods: We will recruit 50 adult male volunteers with diverse sexual interests. We will induce sexual arousal in four different emotional states (aggression/dominance, endearment, fear, disgust) and a neutral state. Sexual arousal will be measured genitally using penile plethysmography and subjectively via self-report. Using paired samples t-tests, sexual arousal in the emotional states will be compared with sexual arousal in the neutral state. Discussion: We aim to show that arousal in response to emotional stimuli that are initially nonsexual in nature, can enhance sexual arousal. These findings have potentially important implications for the development of unusual and/or deviant sexual interests and possibly for the treatment of such sexual deviant interests in people who have committed sexual offenses.
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From June 28 to July 7 the National Arts Festival took place in Grahamstown, South Africa. For the 20th time Cue, a daily print newspaper about the Festival, was produced by Rhodes University journalism students. It was the first time that the newspaper was printed in full color. Cue is at the core of journalistic production during the Festival. But nowadays, what is a newspaper without pictures or without an online edition? Cue Pix, run by the photo department at the School of Journalism and Media Studies in the AMM (African Media Matrix) provides the pictures. Cue Online is run by the NML (New Media Lab) in the same building and is mostly shoveling print content online. Cue Radio and Cue TV take care of the audio and video, and broadcast during the Festival. Up to 2000 copies of Cue newspaper were printed daily with the number of sold copies around 1600. The newspaper was sold in the Grahamstown streets for 3 Rand. The number of pages of Cue ranges from 16 to 20, including advertisements. Cue is produced by students and lecturers of the School of Journalism and consists of about 50 student-reporters, 10 sub-editors, and 2 editors (who are generally University staff). The productions layout is taken care of by a group of design students. Twenty students from the photo department take care of the pictures and rework them with Adobes Photoshop. Cue TV and Cue Radio (with a total of about 10 students) brought their reporting skills to the Festival as well. Reporting about the Festival by Cue is a major happening that has been growing over the years. From print to TV, to radio and online. This is fantastic, but also reflects equal problems in the media industry: each media platform runs their own show. Print, TV, radio and photography: they all have their own targets, content production, and some coordination. In order to take full advantage of the different possibilities of all the media platforms, convergence is the keyword.
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Daily wheelchair ambulation is seen as a risk factor for shoulder problems, which are prevalent in manual wheelchair users. To examine the long-term effect of shoulder load from daily wheelchair ambulation on shoulder problems, quantification is required in real-life settings. In this study, we describe and validate a comprehensive and unobtrusive methodology to derive clinically relevant wheelchair mobility metrics (WCMMs) from inertial measurement systems (IMUs) placed on the wheelchair frame and wheel in real-life settings. The set of WCMMs includes distance covered by the wheelchair, linear velocity of the wheelchair, number and duration of pushes, number and magnitude of turns and inclination of the wheelchair when on a slope. Data are collected from ten able-bodied participants, trained in wheelchair-related activities, who followed a 40 min course over the campus. The IMU-derived WCMMs are validated against accepted reference methods such as Smartwheel and video analysis. Intraclass correlation (ICC) is applied to test the reliability of the IMU method. IMU-derived push duration appeared to be less comparable with Smartwheel estimates, as it measures the effect of all energy applied to the wheelchair (including thorax and upper extremity movements), whereas the Smartwheel only measures forces and torques applied by the hand at the rim. All other WCMMs can be reliably estimated from real-life IMU data, with small errors and high ICCs, which opens the way to further examine real-life behavior in wheelchair ambulation with respect to shoulder loading. Moreover, WCMMs can be applied to other applications, including health tracking for individual interest or in therapy settings.
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Created for the 2019 Prague Quadrennial’s 36Q°, Blue Hour VR was a site-responsive mixed reality performative installation that placed the spectator, as experiencer, within a hybrid landscape of real- time three-dimensional computer graphics and 360-degree video. This article describes the design process, staging and experience of Blue Hour VR from the vantage point of its creators. Using a phenomenological perspective, the article discusses how Blue Hour VR staged presence and embodiment within an intermedial haptic experience. Blue Hour VR demonstrates how virtual reality technology can be harnessed by a mixed reality performance design, which includes both the material and virtual environment, creating a complex stratigraphy of intermedial textures and visual dramaturgies that co-exist inside, outside and in between perceptual realities. In doing so, the article aims to contribute to the limited body of work on mixed and virtual reality in the context of theatre and performance design.
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