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Description
Geoscience educators commonly teach geology by projecting a photograph in front of the class. Geologic photographs often contain animals, people, and inanimate objects that help convey the scale of features in the photograph. Although scale items seem innocuous to instructors and other experts, the presence of such items is distracting and has a profound effect on student learning behavior. To evaluate how students visually interact with distracting scale items in photographs and to determine if cueing or signaling is an effective means to direct students to pertinent information, students were eye tracked while looking at geologically-rich photographs. Eye-tracking data revealed that learners primarily looked at the center of an image, focused on faces of both humans and animals if they were present, and repeatedly returned to looking at the scale item (distractor) for the duration an image was displayed. The presence of a distractor caused learners to look at less of an image than when a distractor was not present. Learners who received signaling tended to look at the distractor less, look at the geology more, and surveyed more of the photograph than learners who did not receive signaling. The San Antonio area in the southern part of the Baja California Peninsula is host to hydrothermal gold deposits. A field study, including drill-core analysis and detailed geologic mapping, was conducted to determine the types of mineralization present, the types of structures present, and the relationship between the two. This investigation revealed that two phases of mineralization have occurred in the area; the first is hydrothermal deposition of gold associated with sulfide deposits and the second is oxidation of sulfides to hematite, goethite, and jarosite. Mineralization varies as a function of depth, whereas sulfides occurring at depth, while minerals indicative of oxidation are limited to shallow depths. A structural analysis revealed that the oldest structures in the study area include low-grade to medium-grade metamorphic foliation and ductile mylonitic shear zones overprinted by brittle-ductile mylonitic fabrics, which were later overprinted by brittle deformation. Both primary and secondary mineralization in the area is restricted to the later brittle features. Alteration-bearing structures have an average NNW strike consistent with northeast-southwest-directed extension, whereas unaltered structures have an average NNE strike consistent with more recent northwest-southeast-directed extension.
ContributorsCoyan, Joshua (Author) / Reynolds, Stephen (Thesis advisor) / Arrowsmith, Ramon (Committee member) / Chi, Michelene (Committee member) / Piburn, Michael (Committee member) / Semken, Steven (Committee member) / Arizona State University (Publisher)
Created2011
Description
An array of north-striking, left-stepping, active normal faults is situated along the southwestern margin of the Gulf of California. This normal fault system is the marginal fault system of the oblique-divergent plate boundary within the Gulf of California. To better understand the role of upper-crustal processes during development of an obliquely rifted plate margin, gravity surveys were conducted across the normal-fault-bounded basins within the gulf-margin array and, along with optically stimulated luminescence dating of offset surfaces, fault-slip rates were estimated and fault patterns across basins were assessed, providing insight into sedimentary basin evolution. Additionally, detailed geologic and geomorphic maps were constructed along two faults within the system, leading to a more complete understanding of the role of individual normal faults within a larger array. These faults slip at a low rate (0.1-1 mm/yr) and have relatively shallow hanging wall basins (~500-3000 m). Overall, the gulf-margin faults accommodate protracted, distributed deformation at a low rate and provide a minor contribution to overall rifting. Integrating figures with text can lead to greater science learning than when either medium is presented alone. Textbooks, composed of text and graphics, are a primary source of content in most geology classes. It is essential to understand how students approach learning from text and figures in textbook-style learning materials and how the arrangement of the text and figures influences their learning approach. Introductory geology students were eye tracked while learning from textbook-style materials composed of text and graphics. Eye fixation data showed that students spent less time examining the figure than the text, but the students who more frequently examined the figure tended to improve more from the pretest to the posttest. In general, students tended to examine the figure at natural breaks in the reading. Textbook-style materials should, therefore, be formatted to include a number of natural breaks so that learners can pause to inspect the figure without the risk of losing their place in the reading and to provide a chance to process the material in small chunks. Multimedia instructional materials should be designed to support the cognitive processes of the learner.
ContributorsBusch, Melanie M. D (Author) / Arrowsmith, Ramon (Thesis advisor) / Reynolds, Stephen (Thesis advisor) / Chi, Michelene (Committee member) / Semken, Steven (Committee member) / Tyburczy, James (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this study was to investigate the impacts of visual cues and different types of self-explanation prompts on learning, cognitive load and intrinsic motivation, as well as the potential interaction between the two factors in a multimedia environment that was designed to deliver a computer-based lesson about the human cardiovascular system. A total of 126 college students were randomly assigned in equal numbers (N = 21) to one of the six experimental conditions in a 2 X 3 factorial design with visual cueing (visual cues vs. no cues) and type of self-explanation prompts (prediction prompts vs. reflection prompts vs. no prompts) as the between-subjects factors. They completed a pretest, subjective cognitive load questions, intrinsic motivation questions, and a posttest during the course of the experience. A subsample (49 out of 126) of the participants' eye movements were tracked by an eye tracker. The results revealed that (a) participants presented with visually cued animations had significantly higher learning outcome scores than their peers who viewed uncued animations; and (b) cognitive load and intrinsic motivation had different impacts on learning in multimedia due to the moderation effect of visual cueing. There were no other significant findings in terms of learning outcomes, cognitive load, intrinsic motivation, and eye movements. Limitations, implications and future directions are discussed within the framework of cognitive load theory, cognitive theory of multimedia learning and cognitive-affective theory of learning with media.
ContributorsLin, Lijia (Author) / Atkinson, Robert (Thesis advisor) / Nelson, Brian (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2011
Description
Node-link diagrams are widely used to visualize the relational structure of real world datasets. As identical data can be visualized in infinite ways by simply changing the spatial arrangement of the nodes, one of the important research topics of the graph drawing community is to visualize the data in the way that can facilitate people's comprehension. The last three decades have witnessed the growth of algorithms for automatic visualization. However, despite the popularity of node-link diagrams and the enthusiasm in improving computational efficiency, little is known about how people read these graphs and what factors (layout, size, density, etc.) have impact on their effectiveness (the usability aspect of the graph, e.g., are they easy to understand?). This thesis is comprehensive research to investigate the factors that affect people's understanding of node-link diagrams using eye-tracking methods. Three experiments were conducted, including 1) a pilot study with 22 participants to explore the layout and size effect; 2) an eye tracking experiment with 43 participants to investigate the layout, size and density effect on people's graph comprehension using abstract node-link diagram and generic tasks; and 3) an eye tracking experiment with the same participants to investigate the same effects using a real visualization analytic application. Results showed that participants' spatial reasoning ability had significant impact on people's graph reading performance. Layout, size, and density were all found to be significant effects under different task circumstances. The applicability of the eye tracking methods on visualization evaluation has been confirmed by providing detailed evidence that demonstrates the cognitive process of participants' graph reading behavior.
ContributorsLiu, Qing (Author) / McKenna, Anna (Thesis advisor) / Jennifer, Jennifer (Committee member) / Cooke, Nancy J. (Committee member) / Arizona State University (Publisher)
Created2015
Description
Previous research has shown that training visual attention can improve golf putting performance. A technique called the Quiet Eye focuses on increasing a player’s length of fixation between the ball and the hole. When putting, the final fixation is made on the ball before executing the stroke leaving players to rely on their memory of the hole’s distance and location. The present study aimed to test the effectiveness of Quiet Eye training for final fixation on the hole. Twelve Arizona State University (ASU) students with minimal golf experience putted while wearing eye tracking glasses under the following conditions: from three feet with final fixation on the ball, from six feet with final fixation on the ball, from three feet with final fixation on the hole and from six feet with final fixation on the hole. Participant’s performance was measured before training, following quiet eye training, and under simulated pressure conditions. Putting performance was not significantly affected by final fixation for all conditions. The number of total putts made was significantly greater when putting from three feet for all conditions. Future research should test the effects of this training with expert golfers whose processes are more automatic compared to novices and can afford to look at the hole while putting.
ContributorsGomez, Dennis (Author) / Gray, Robert (Thesis advisor) / Branaghan, Russell (Committee member) / Mara, Andrew F (Committee member) / Arizona State University (Publisher)
Created2019
Description
Social gaze-following consists of both reflexive and volitional control mechanisms of saccades, similar to those evaluated in the antisaccade task. This similarity makes gaze-following an ideal medium for studying attention in a social context. The present study seeks to utilize reflexive gaze-following to develop a social paradigm for measuring attention control. Two gaze-following variations of the antisaccade task are evaluated. In version one, participants are cued with still images of a social partner looking either left or right. In version two, participants are cued with videos of a social partner shifting their gaze to the left or right. As with the traditional antisaccade task, participants are required to look in the opposite direction of the target stimuli (i.e., gaze cues). Performance on the new gaze-following antisaccade tasks is compared to the traditional antisaccade task as well as the highly related ability of working memory.
ContributorsYonehiro, Jade Noelani Lee (Author) / Duran, Nicholas D (Thesis advisor) / Burleson, Mary H (Committee member) / Horne, Zachary (Committee member) / Arizona State University (Publisher)
Created2018
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Pandora is a play exploring our relationship with gendered technology through the lens of artificial intelligence. Can women be subjective under patriarchy? Do robots who look like women have subjectivity? Hoping to create a better version of ourselves, The Engineer must navigate the loss of her creation, and Pandora must navigate their new world. The original premiere run was March 27-28, 2018, original cast: Caitlin Andelora, Rikki Tremblay, and Michael Tristano Jr.
ContributorsToye, Abigail Elizabeth (Author) / Linde, Jennifer (Thesis director) / Abele, Kelsey (Committee member) / Department of Information Systems (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05