Maker spaces are generally regarded as a valuable innovation in comparison to traditional education, although it is largely unclear what is exactly learned. This deficiency hampers the deployment of maker spaces, particularly their embedding and integration in the existing practice in formal education. In the work presented here, we explore the possibility of having learners self-report on their learning experience. For this purpose, we developed an easy-to-use visual tool for assessing learning of 21st Century Skills in children’s maker space activities, the Self-Evaluation Tool (SET). Particularly, we investigated the validation of the SET for the self-evaluation of learning activities in the maker space and how children evaluate their own performance in the various domains. The results show higher scores on learning goals in subjectification and lower scores for socialization. Future research will focus on a comparison of the different types of maker programs.
What is a pop-up store and how can it be used for organisational counterspacing? The pop-up can be interpreted as a fashionable and hypermodern platform focusing on the needs of a younger generation of consumers that searches for new experiences and is prone to ad hoc decision-making. From this perspective, the pop-up is a typical expression of the experience economy. But it is more. The ephemeral pop-up store, usually lasting from one day to six months, is also a spatial practice on the boundary between place as something stable/univocal and space as something transitory/polyphonic. Organizational theory has criticized the idea of a stable place and proposed the concept of spacing with a focus on the becoming of space. In this article, the pop-up store is introduced as a fashionable intervention into organizational spacing. It suggests a complementary perspective to non-representational theory and frames the pop-up as co-actor engaging everyday users in appropriating space. Drawing on Lefebvre’s notions of differential space, festival and evental moment, theory is revisited and then operationalized in two pop-up store experiments. Apart from contributing to the ongoing theoretical exploration of the spacing concept, this article aims to inspire differential pop-up practices in organisations. https://www.linkedin.com/in/overdiek12345/
This paper explores how so-called ‘Web3’ blockchain projects are materially and socially constituted. A blockchain is an append-only distributed database. The technology is being hyped as applicable for a whole range of industries, social service provisions, and as a fix for economic disparities in communities left behind by mainstream financial systems. Drawing on case studies from our ongoing research we explain how, despite being virtual, Web3 projects are dependent on clearly defined spaces of production from which they derive their speculative value. We conceptualise this relationship as Crypto/Space, where space and blockchain software are mutually constituted. We consider how Crypto/Spaces are produced in three ways: 1) how project developers are adopting a parasitic relationship with host locations to appropriate energy, infrastructure, and local resources; 2) how projects enable ‘virtual land grabs’ where developers are engaging in land acquisitions, and associated displacement of local people, with no real intention to use the land for the declared purpose; and 3) how blockchain technology and speculative finance imaginaries are inspiring new anarcho-capitalist crypto-utopian ‘Exit zones’, often in the Global South. Far from being a zero-sum virtual game world, we argue that cryptocurrency projects are parasitic, often requiring predation on poor and otherwise marginalised communities to appropriate resources, onboard new users and enable favourable regulation.
National forestry Commission (SBB) and National Park De Biesbosch. Subcontractor through NRITNational parks with large flows of visitors have to manage these flows carefully. Methods of data collection and analysis can be of help to support decision making. The case of the Biesbosch National Park is used to find innovative ways to figure flows of yachts, being the most important component of water traffic, and to create a model that allows the estimation of changes in yachting patterns resulting from policy measures. Recent policies oriented at building additional waterways, nature development areas and recreational concentrations in the park to manage the demands of recreation and nature conservation offer a good opportunity to apply this model. With a geographical information system (GIS), data obtained from aerial photographs and satellite images can be analyzed. The method of space syntax is used to determine and visualize characteristics of the network of leisure routes in the park and to evaluate impacts resulting from expected changes in the network that accompany the restructuring of waterways.
Creating and testing the first Brand Segmentation Model in Augmented Reality using Microsoft Hololens. Sanoma together with SAMR launched an online brand segmentation tool based on large scale research, The brand model uses several brand values divided over three axes. However they cannot be displayed clearly in a 2D model. The space of BSR Quality Planner can be seen as a 3-dimensional meaningful space that is defined by the terms used to typify the brands. The third axis concerns a behaviour-based dimension: from ‘quirky behaviour’ to ‘standardadjusted behaviour’ (respectful, tolerant, solidarity). ‘Virtual/augmented reality’ does make it possible to clearly display (and experience) 3D. The Academy for Digital Entertainment (ADE) of Breda University of Applied Sciences has created the BSR Quality Planner in Virtual Reality – as a hologram. It’s the world’s first segmentation model in AR. Breda University of Applied Sciences (professorship Digital Media Concepts) has deployed hologram technology in order to use and demonstrate the planning tool in 3D. The Microsoft HoloLens can be used to experience the model in 3D while the user still sees the actual surroundings (unlike VR, with AR the space in which the user is active remains visible). The HoloLens is wireless, so the user can easily walk around the hologram. The device is operated using finger gestures, eye movements or voice commands. On a computer screen, other people who are present can watch along with the user. Research showed the added value of the AR model.Partners:Sanoma MediaMarketResponse (SAMR)
The AR in Staged Entertainment project focuses on utilizing immersive technologies to strengthen performances and create resiliency in live events. In this project The Experiencelab at BUas explores this by comparing live as well as pre-recorded events that utilize Augmented Reality technology to provide an added layer to the experience of the user. Experiences will be measured among others through observational measurements using biometrics. This projects runs in the Experience lab of BUas with partners The Effenaar and 4DR Studio and is connected to the networks and goals related to Chronosphere, Digireal and Makerspace. Project is powered by Fieldlab Events (PPS / ClickNL)..
