Injuries and lack of motivation are common reasons for discontinuation of running. Real-time feedback from wearables can reduce discontinuation by reducing injury risk and improving performance and motivation. There are however several limitations and challenges with current real-time feedback approaches. We discuss these limitations and challenges and provide a framework to optimise real-time feedback for reducing injury risk and improving performance and motivation. We first discuss the reasons why individuals run and propose that feedback targeted to these reasons can improve motivation and compliance. Secondly, we review the association of running technique and running workload with injuries and performance and we elaborate how real-time feedback on running technique and workload can be applied to reduce injury risk and improve performance and motivation. We also review different feedback modalities and motor learning feedback strategies and their application to real-time feedback. Briefly, the most effective feedback modality and frequency differ between variables and individuals, but a combination of modalities and mixture of real-time and delayed feedback is most effective. Moreover, feedback promoting perceived competence, autonomy and an external focus can improve motivation, learning and performance. Although the focus is on wearables, the challenges and practical applications are also relevant for laboratory-based gait retraining.
About the book: This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.
The authors compared three methods of reading and learning by using paper, as well as a variety of interactive study forms. Thier work is part of the large Amsterdam E-Boekenstad (E-Book city) research project (www.e-boekenstad.nl and http://e-boekenstad.wikispaces.com/). They investigate to what extent the materiality of a book determines the usability of the book form. Their tests were conducted in 2010 and 2011. They compared; 1.learning from paper, a laptop and an e-ink e-reader 2.paper with reading from web pages 3.paper and material presented into a digital mind map. As it turns out, in a study situation, electronic reading can only beat reading from paper when it offers real added value. For example, by providing a better overview and shorter comprehensive texts, like they did in their second study. The most important conclusion from all tests is that a simple translation from paper format to electronic format is not enough. Publishers should take advantage of the possibilities new techniques offer, and perhaps discard ‘traditional thinking’ in terms of linear essay-type books and paragraphs.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
Within TIND, Christian Roth studies the training of interactive narrative designers with the goal of developing teaching methods and learning tools for artists and designers to enable the creation of more effective artefacts. Interactive Narrative Design (IND) is a complex and challenging interdisciplinary field introducing new affordances in technique and user-experience. This requires practice-based research for further development of the educational format, demonstrating its potential while identifying and overcoming common learners’ challenges. This project aims to develop a framework for the design and evaluation of meaningful interactive narrative experiences that effectively stimulate a variety of cognitive and emotional responses such as reflection, insight, understanding, and potential behavior change. It provides tools, methods and activities to enable aspiring or practicing narrative designers through an interdisciplinary approach, including game design, immersive theatre, behavioral and cognitive psychology, and the learning sciences. HKU education means to prepare students for success in the creative industries and IND plays an important role for current and future jobs in education, arts and entertainment. IND has the potential to create an emotional impact and spark transformative change by offering agency, defined as the ability to influence narrative progression and outcomes in a meaningful way. This enables interactors to feel the weight of their own choices and their consequences, to explore different perspectives, and to more thoroughly understand complex multi-stakeholder issues, which could have significant impact on the success of emerging artistic, and learning applications. The research project is directly embedded in the curriculum of the HKU school Games & Interaction with annual educational offerings such as the Minor Interactive Narrative Design (MIND) and HKU wide broad seminars. Course evaluation and literature research will be used to create new and adjusted training for different HKU schools and the industry. Outcomes will be shared via an interactive website and events.
In the small village of Nuenen in the Netherlands, Vincent van Gogh, the legendary artist, resided with his parents for two years in the late 19th century. Today, visitors can literally walk in Vincent’s footsteps and hear stories about that period of his life. There is also a renovated indoor museum in the village showcasing many beautiful and inspiring objects.We carefully studied the visitor experience over two rounds of data collection: one in 2018 and another in 2023 after the museum's renovation. In the second round, 40 students from Breda University of Applied Sciences were invited to spend a day in Nuenen. The participants, aged mostly between 20 and 30 years, came from the Netherlands and 16 other countries. None of them had visited the previous museum setup in Nuenen, although two-thirds had visited at least one other Vincent-centered attraction or had researched Vincent and his life prior to the visit.During their visit, research participants were tracked using Bluetooth beacons (indoors) and GPS tracking (outdoors), while wearing wristbands that measured their level of emotional engagement in real time. They toured the museum and the village and provided feedback on their experience through questionnaires administered before and after the visit.The results of the research showed that visitors were emotionally touched at certain stops of the tour more than others, enjoyed interacting with specific elements in the museum, and spent more time in particular areas of the museum. Most participants could vividly imagine themselves back in the days (narrative transportation), felt closer to Nuenen residents as a result of the visit, and generally found the visit to be quite meaningful. Learning and self-expansion were high, with some visitors even finding the visit transformative, leading to changes in attitude, behavior, and identities. We also found a strong correlation between these measures and the Net Promoter Score (NPS). Recommendations and emotion maps were presented to the museum as they continue to refine their visitor experiences.Research carried out for Van Gogh Village Museum Nunen.
