The paper explores how a post-cognitive approach to human perception can help the design of wearable technologies that augment sense-making. This approach relies on the notion of pure experience to understand how we can make sense of the world without interpreting it, for example through our body, as claimed by phenomenology. In order to understand how to design wearable technologies for pure experience, we first held interviews with experts from different domains, all investigating how to express and recognise pure experience. Subsequently, we had a focus group with professional dancers: given their heightened sense of bodily cognition in their experience, we wanted to verify the extent to which the experts’ practice could be claimed back into the dancers’ experience. In this paper, we will present our preliminary findings.
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Nowadays, digital tools for mathematics education are sophisticated and widely available. These tools offer important opportunities, but also come with constraints. Some tools are hard to tailor by teachers, educational designers and researchers; their functionality has to be taken for granted. Other tools offer many possible educational applications, which require didactical choices. In both cases, one may experience a tension between a teacher’s didactical goals and the tool’s affordances. From the perspective of Realistic Mathematics Education (RME), this challenge concerns both guided reinvention and didactical phenomenology. In this chapter, this dialectic relationship will be addressed through the description of two particular cases of using digital tools in Dutch mathematics education: the introduction of the graphing calculator (GC), and the evolution of the online Digital Mathematics Environment (DME). From these two case descriptions, my conclusion is that students need to develop new techniques for using digital tools; techniques that interact with conceptual understanding. For teachers, it is important to be able to tailor the digital tool to their didactical intentions. From the perspective of RME, I conclude that its match with using digital technology is not self-evident. Guided reinvention may be challenged by the rigid character of the tools, and the phenomena that form the point of departure of the learning of mathematics may change in a technology-rich classroom.
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Purpose: This paper aims to present and reflect on a phenomenological research process used to elucidate the nature of creativity and innovation in haute cuisine. Design/methodology/approach: In-depth unstructured interviews and field notes capturing subjective experiences were employed to elucidate the experiences of 18 top chefs from the UK, Spain, France, Austria and Germany with regards to creativity and innovation. Findings: The findings are twofold: first, an empirical sample finding is presented in order to contextualize the type of findings obtained; second, key methodological findings are presented explaining the process of elucidating the nature of creativity and innovation through iterative learning from the descriptions of the interviewees and the subjective experiences gathered. Research limitations/implications: The underlying phenomenological study is limited to male haute cuisine chefs in five European countries. Future research is planned including female and male chefs from other countries in order to learn whether similar empirical findings can be obtained. Practical implications: The paper presents a research process for elucidating cognitive and nebulous phenomena such as creativity and innovation to make them accessible to managers, researchers, students and policy makers. Originality/value: The findings explain the process of elucidating the nature of creativity and innovation through iterative learning from the descriptions of the interviewees and the subjective experiences gathered. Further conceptual and methodological development emerges from investigating interviewees representative of the notion of the extraordinary.
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