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- Genre: Interactive multimedia
- Genre: Biographies
- Creators: Arizona State University
Description
Achievement of many long-term goals requires sustained practice over long durations. Examples include goals related to areas of high personal and societal benefit, such as physical fitness, which requires a practice of frequent exercise; self-education, which requires a practice of frequent study; or personal productivity, which requires a practice of performing work. Maintaining these practices can be difficult, because even though obvious benefits come with achieving these goals, an individual's willpower may not always be sufficient to sustain the required effort. This dissertation advocates addressing this problem by designing novel interfaces that provide people with new practices that are fun and enjoyable, thereby reducing the need for users to draw upon willpower when pursuing these long-term goals. To draw volitional usage, these practice-oriented interfaces can integrate key characteristics of existing activities, such as music-making and other hobbies, that are already known to draw voluntary participation over long durations. This dissertation makes several key contributions to provide designers with the necessary tools to create practice-oriented interfaces. First, it consolidates and synthesizes key ideas from fields such as activity theory, self-determination theory, HCI design, and serious leisure. It also provides a new conceptual framework consisting of heuristics for designing systems that draw new users, plus heuristics for making systems that will continue drawing usage from existing users over time. These heuristics serve as a collection of useful ideas to consider when analyzing or designing systems, and this dissertation postulates that if designers build these characteristics into their products, the resulting systems will draw more volitional usage. To demonstrate the framework's usefulness as an analytical tool, it is applied as a set of analytical lenses upon three previously-existing experiential media systems. To demonstrate its usefulness as a design tool, the framework is used as a guide in the development of an experiential media system called pdMusic. This system is installed at public events for user studies, and the study results provide qualitative support for many framework heuristics. Lastly, this dissertation makes recommendations to scholars and designers on potential future ways to examine the topic of volitional usage.
ContributorsWallis, Isaac (Author) / Ingalls, Todd (Thesis advisor) / Coleman, Grisha (Committee member) / Sundaram, Hari (Committee member) / Arizona State University (Publisher)
Created2013
Description
As the application of interactive media systems expands to address broader problems in health, education and creative practice, they fall within a higher dimensional space for which it is inherently more complex to design. In response to this need an emerging area of interactive system design, referred to as experiential media systems, applies hybrid knowledge synthesized across multiple disciplines to address challenges relevant to daily experience. Interactive neurorehabilitation (INR) aims to enhance functional movement therapy by integrating detailed motion capture with interactive feedback in a manner that facilitates engagement and sensorimotor learning for those who have suffered neurologic injury. While INR shows great promise to advance the current state of therapies, a cohesive media design methodology for INR is missing due to the present lack of substantial evidence within the field. Using an experiential media based approach to draw knowledge from external disciplines, this dissertation proposes a compositional framework for authoring visual media for INR systems across contexts and applications within upper extremity stroke rehabilitation. The compositional framework is applied across systems for supervised training, unsupervised training, and assisted reflection, which reflect the collective work of the Adaptive Mixed Reality Rehabilitation (AMRR) Team at Arizona State University, of which the author is a member. Formal structures and a methodology for applying them are described in detail for the visual media environments designed by the author. Data collected from studies conducted by the AMRR team to evaluate these systems in both supervised and unsupervised training contexts is also discussed in terms of the extent to which the application of the compositional framework is supported and which aspects require further investigation. The potential broader implications of the proposed compositional framework and methodology are the dissemination of interdisciplinary information to accelerate the informed development of INR applications and to demonstrate the potential benefit of generalizing integrative approaches, merging arts and science based knowledge, for other complex problems related to embodied learning.
ContributorsLehrer, Nicole (Author) / Rikakis, Thanassis (Committee member) / Olson, Loren (Committee member) / Wolf, Steven L. (Committee member) / Turaga, Pavan (Committee member) / Arizona State University (Publisher)
Created2014
Description
Stroke is a leading cause of disability with varying effects across stroke survivors necessitating comprehensive approaches to rehabilitation. Interactive neurorehabilitation (INR) systems represent promising technological solutions that can provide an array of sensing, feedback and analysis tools which hold the potential to maximize clinical therapy as well as extend therapy to the home. Currently, there are a variety of approaches to INR design, which coupled with minimal large-scale clinical data, has led to a lack of cohesion in INR design. INR design presents an inherently complex space as these systems have multiple users including stroke survivors, therapists and designers, each with their own user experience needs. This dissertation proposes that comprehensive INR design, which can address this complex user space, requires and benefits from the application of interdisciplinary research that spans motor learning and interactive learning. A methodology for integrated and iterative design approaches to INR task experience, assessment, hardware, software and interactive training protocol design is proposed within the comprehensive example of design and implementation of a mixed reality rehabilitation system for minimally supervised environments. This system was tested with eight stroke survivors who showed promising results in both functional and movement quality improvement. The results of testing the system with stroke survivors as well as observing user experiences will be presented along with suggested improvements to the proposed design methodology. This integrative design methodology is proposed to have benefit for not only comprehensive INR design but also complex interactive system design in general.
ContributorsBaran, Michael (Author) / Rikakis, Thanassis (Thesis advisor) / Olson, Loren (Thesis advisor) / Wolf, Steven L. (Committee member) / Ingalls, Todd (Committee member) / Arizona State University (Publisher)
Created2014
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
The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy, and historical scripts based upon real relations and conditions. Of the genre of Neo-Expressionism without a disciplined schooling in art, Jean-Michel is categorized as 'primitive' in style and form, labeled the "first black artist." Beyond the art world's possessive confines and according to post-colonial aesthetics, Jean-Michel articulates the existence of a learning self. With a pedagogical lens, a process of becoming an "artist" deepened Basquiat's expressions of self in relation to a “white” art world, which typically restricted the artist to specific categories and definitional parameters.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
ContributorsDiffie, Dillon (Author) / Lauderdale, Pat (Thesis advisor) / Vicenti Carpio, Myla (Committee member) / Swadener, Beth Blue (Committee member) / Arizona State University (Publisher)
Created2017
Description
Guitar Hero III and similar games potentially offer a vehicle for improvement of musical rhythmic accuracy with training delivered in both visual and auditory formats and by use of its novel guitar-shaped interface; however, some theories regarding multimedia learning suggest sound is a possible source of extraneous cognitive load while playing so players may score higher with sound turned off. Also, existing studies have shown that differences in the physical format of interfaces affect learning outcomes. This study sought to determine whether (a) the game’s audio content affects rhythmic accuracy, and (b) the type of game controller used affects learning of rhythmic accuracy. One hundred participants were randomly assigned in approximately equal numbers (ns = 25) to the four cells of a 2x2 between-subjects design. The first variable was the audio content of the game with two levels: on or off. The second variable was the type of game controller: the standard guitar-style controller or tablet interface. Participants across all conditions completed a pre- and post-test with a system that required them to tap along with repeated rhythmic patterns on an electronic drum pad. Statistical evidence showed better outcomes with a tablet controller with respect to input time error, reduction of extra notes played, and reduction of missed notes; however, the guitar-style controller produced superior outcomes in terms of avoiding missed notes and was associated with higher satisfaction by participants. When audio was present better outcomes were achieved at multiple factor-levels of reduction of missed responses, but superior outcomes in input time error were seen without audio. There was no evidence to suggest an interaction between controller type and the presence or absence of audio.
ContributorsThomas, James William (Author) / Zuiker, Steven J (Thesis advisor) / Atkinson, Robert (Thesis advisor) / Savenye, Wilhelmina C (Committee member) / Arizona State University (Publisher)
Created2017
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description
The current study investigated how multimedia pacing (learner-control versus system-paced) and presentation styles (visual-only versus audio/visual) impact learning physics concept material, mental effort, and self-efficacy. This 2X2 factorial study randomly assigned participants into one of four conditions that manipulated presentation style (visual-only versus audio/visual) and pacing of the content (system-paced versus learning-controlled). Participant's learning was measured by recording their retention of information and ability to transfer information. Measures of perceived difficulty (mental effort) and perceived ability (self-efficacy) were also obtained. No significant effects were observed in this study which doesn’t support the existence of either the modality or reverse modality effect at least in these noisier online learning environments. In addition, the hypothesis that their effects could be an artifact of experimental design could not be proven as the learner control condition did not yield any significant results.
ContributorsKrause, Tyler (Author) / Craig, Scotty D. (Thesis advisor) / Gray, Robert (Committee member) / Branaghan, Russell (Committee member) / Arizona State University (Publisher)
Created2018
Description
How fast is evolution? In this dissertation I document a profound change that occurred around the middle of the 20th century in the way that ecologists conceptualized the temporal and spatial scales of adaptive evolution, through the lens of British plant ecologist Anthony David Bradshaw (1926–2008). In the early 1960s, one prominent ecologist distinguished what he called “ecological time”—around ten generations—from “evolutionary time”— around half of a million years. For most ecologists working in the first half of the 20th century, evolution by natural selection was indeed a slow and plodding process, tangible in its products but not in its processes, and inconsequential for explaining most ecological phenomena. During the 1960s, however, many ecologists began to see evolution as potentially rapid and observable. Natural selection moved from the distant past—a remote explanans for both extant biological diversity and paleontological phenomena—to a measurable, quantifiable mechanism molding populations in real time.
The idea that adaptive evolution could be rapid and highly localized was a significant enabling condition for the emergence of ecological genetics in the second half of the 20th century. Most of what historians know about that conceptual shift and the rise of ecological genetics centers on the work of Oxford zoologist E. B. Ford and his students on polymorphism in Lepidotera, especially industrial melanism in Biston betularia. I argue that ecological genetics in Britain was not the brainchild of an infamous patriarch (Ford), but rather the outgrowth of a long tradition of pastureland research at plant breeding stations in Scotland and Wales, part of a discipline known as “genecology” or “experimental taxonomy.” Bradshaw’s investigative activities between 1948 and 1968 were an outgrowth of the specific brand of plant genecology practiced at the Welsh and Scottish Plant Breeding stations. Bradshaw generated evidence that plant populations with negligible reproductive isolation—separated by just a few meters—could diverge and adapt to contrasting environmental conditions in just a few generations. In Bradshaw’s research one can observe the crystallization of a new concept of rapid adaptive evolution, and the methodological and conceptual transformation of genecology into ecological genetics.
The idea that adaptive evolution could be rapid and highly localized was a significant enabling condition for the emergence of ecological genetics in the second half of the 20th century. Most of what historians know about that conceptual shift and the rise of ecological genetics centers on the work of Oxford zoologist E. B. Ford and his students on polymorphism in Lepidotera, especially industrial melanism in Biston betularia. I argue that ecological genetics in Britain was not the brainchild of an infamous patriarch (Ford), but rather the outgrowth of a long tradition of pastureland research at plant breeding stations in Scotland and Wales, part of a discipline known as “genecology” or “experimental taxonomy.” Bradshaw’s investigative activities between 1948 and 1968 were an outgrowth of the specific brand of plant genecology practiced at the Welsh and Scottish Plant Breeding stations. Bradshaw generated evidence that plant populations with negligible reproductive isolation—separated by just a few meters—could diverge and adapt to contrasting environmental conditions in just a few generations. In Bradshaw’s research one can observe the crystallization of a new concept of rapid adaptive evolution, and the methodological and conceptual transformation of genecology into ecological genetics.
ContributorsPeirson, Bruce Richard Erick (Author) / Laubichler, Manfred D (Thesis advisor) / Maienschein, Jane (Thesis advisor) / Creath, Richard (Committee member) / Collins, James (Committee member) / Arizona State University (Publisher)
Created2015
Description
The purpose of this study was to investigate the impacts of three types of instructional presentation methods on learning, efficiency, cognitive load, and learner attitude. A total of 67 employees of a large southwestern university working in the field of research administration were randomly assigned to one of three conditions. Each condition presented instructional materials using a different method, namely dynamic integrated, dynamic non-integrated, or non-dynamic non-integrated. Participants completed a short survey, pre-test, cognitive load questions, learner attitude questions, and a post-test during their experience. The results reveal that users of the dynamic integrated condition treatment showed significant improvement in both learning and efficiency. The dynamic non-integrated participants had a faster mean time to complete an assigned task, however, they also had significantly lower average test scores. There were no other significant findings in terms of cognitive load or learner attitude. Limitations, implications and future studies are discussed.
ContributorsBrown, Andrew (Author) / Nelson, Brian (Thesis advisor) / Savenye, Wilhelmina (Committee member) / Atkinson, Robert (Committee member) / Arizona State University (Publisher)
Created2016