One of the extant questions about augmented reality (AR) is how (in)effective it is for the teaching and learning in various formal, nonformal, and informal contexts. The research literature shows mixed findings, which are often highly context-based (and not generalizable). There are some non-trivial costs to the design/development/deployment of AR for teaching and learning. For the users, there is cognitive load on the working memory [(1) extraneous/poor design, (2) intrinsic/inherent difficulty in topic, and (3) germane/forming schemas]. For teachers, there are additional knowledge, skills, and abilities / attitudes (KSAs) that need to be brought to bear.
Fashioning Text (and Image) Prompts for the CrAIyon Art-Making Generative AIShalin Hai-Jew
CrAIyon (formerly DALL-E after Salvador “Dali”) is a web-facing art-making generative AI tool online (https://www.craiyon.com/) that enables the uses of text (and image) prompts for the creation of watermarked, lightweight visuals. Counterintuitively, the rough visuals are much more usable for recombinations and remixes and recreations into usable digital visuals for various digital learning objects. The textual prompts are not particularly intuitive because of how the generative AI program was trained on mass-scale visuals). There is an art and occasional indirection to working prompts after each try, with the resulting nine-image proof sheets that CrAIyon outputs. The tool can be used iteratively for different outputs.
The tool sometimes turns out serendipitous surprises, including an occasional work so refined that it can be used / shared almost unedited. One challenge in using CrAIyon comes from their request for credit (for all non-subscribers to their service). Another comes from the visual watermarking (orange crayon at the bottom right of the image). However, this tool is quite useful for practical applications if one is willing to engage deep digital image editing (Adobe Photoshop, Adobe Illustrator).
Creating Seeding Visuals to Prompt Art-Making Generative AIsShalin Hai-Jew
Art-making generative AIs have come to the fore. A basic work pipeline typically involves starting with text prompts -> generated images. That image may be used to seed further iterations. Deep Dream Generator (DDG) enables the application of “modifiers” of various types (artist styles, visual adjectives, others) to be applied in addition to the text prompt.
Another approach involves beginning with a “seeding image,” a born-digital or digitized (born-analog) visual on which AI-generated art may be based for a multi-channel and multi-modal prompt. This slideshow provides some observations of how to think about seeding images, particularly in terms of how the DDG handles them, with its “algorithmic pareidolia” (“Deep Dream,” Wikipedia, July 3, 2023).
Human art-making is often about throwing mass-scale conversations. Artists are thought to help bridge humanity into the future. Whether generative AI art enables this or not is still not clear.
Human-Machine Collaboration: Using art-making AI (CrAIyon) as cited work, o...Shalin Hai-Jew
It is early days for generative art AIs. What are some ways to use these to complement one's work while staying legal (legal-ish)?
Correction: .webp is a raster format
Exploring the Deep Dream Generator (an Art-Making Generative AI) Shalin Hai-Jew
The Deep Dream Generator was created by Google engineer Alexander Mordvintsev in 2014. It has a public facing instance at https://deepdreamgenerator.com/, which enables people to use text prompts and image prompts (individually or in combination) to inspire the art-generating generative AI to output images. This work highlights some process-based walk-throughs of the tool, some practical uses, some lightweight art learning, some aspects of the online social community on this platform, and other insights. Some works by the AI prompted by the presenter may be seen here: https://deepdreamgenerator.com/u/sjjalinn.
(This is the first draft of a slideshow that will be used in a conference later in the year.)
Co-Creating Common Art with AI Tools in Adobe Photoshop 2022Shalin Hai-Jew
Artificial intelligence (AI) has been applied to various methods for digital image creation and editing in Adobe Photoshop 2022. “Inartful” common art and digital photos can be re-imagined using such “neural filters” as style transfer, landscape mixer, color transfer, harmonization, Depth Blur, colorization, and others. The filters can be additive or reductive, or both (of various elements). This session offers walk-throughs of these various Neural Filter features in Adobe Photoshop 2022 (using AI Adobe Sensei). Come explore the “imagination” in a digital image editing software.
Cognitive elements of an effective UI/UX designShabnamShahfar
In this session we will talk about some of the design principals based on psychology and the cognitive science. We will look at the human perception and its implications for an interactive and effective visual design. You will learn some of the recent findings of cognitive science research that can help in creating a better UI/UX design for your mobile and web applications.
Fashioning Text (and Image) Prompts for the CrAIyon Art-Making Generative AIShalin Hai-Jew
CrAIyon (formerly DALL-E after Salvador “Dali”) is a web-facing art-making generative AI tool online (https://www.craiyon.com/) that enables the uses of text (and image) prompts for the creation of watermarked, lightweight visuals. Counterintuitively, the rough visuals are much more usable for recombinations and remixes and recreations into usable digital visuals for various digital learning objects. The textual prompts are not particularly intuitive because of how the generative AI program was trained on mass-scale visuals). There is an art and occasional indirection to working prompts after each try, with the resulting nine-image proof sheets that CrAIyon outputs. The tool can be used iteratively for different outputs.
The tool sometimes turns out serendipitous surprises, including an occasional work so refined that it can be used / shared almost unedited. One challenge in using CrAIyon comes from their request for credit (for all non-subscribers to their service). Another comes from the visual watermarking (orange crayon at the bottom right of the image). However, this tool is quite useful for practical applications if one is willing to engage deep digital image editing (Adobe Photoshop, Adobe Illustrator).
Creating Seeding Visuals to Prompt Art-Making Generative AIsShalin Hai-Jew
Art-making generative AIs have come to the fore. A basic work pipeline typically involves starting with text prompts -> generated images. That image may be used to seed further iterations. Deep Dream Generator (DDG) enables the application of “modifiers” of various types (artist styles, visual adjectives, others) to be applied in addition to the text prompt.
Another approach involves beginning with a “seeding image,” a born-digital or digitized (born-analog) visual on which AI-generated art may be based for a multi-channel and multi-modal prompt. This slideshow provides some observations of how to think about seeding images, particularly in terms of how the DDG handles them, with its “algorithmic pareidolia” (“Deep Dream,” Wikipedia, July 3, 2023).
Human art-making is often about throwing mass-scale conversations. Artists are thought to help bridge humanity into the future. Whether generative AI art enables this or not is still not clear.
Human-Machine Collaboration: Using art-making AI (CrAIyon) as cited work, o...Shalin Hai-Jew
It is early days for generative art AIs. What are some ways to use these to complement one's work while staying legal (legal-ish)?
Correction: .webp is a raster format
Exploring the Deep Dream Generator (an Art-Making Generative AI) Shalin Hai-Jew
The Deep Dream Generator was created by Google engineer Alexander Mordvintsev in 2014. It has a public facing instance at https://deepdreamgenerator.com/, which enables people to use text prompts and image prompts (individually or in combination) to inspire the art-generating generative AI to output images. This work highlights some process-based walk-throughs of the tool, some practical uses, some lightweight art learning, some aspects of the online social community on this platform, and other insights. Some works by the AI prompted by the presenter may be seen here: https://deepdreamgenerator.com/u/sjjalinn.
(This is the first draft of a slideshow that will be used in a conference later in the year.)
Co-Creating Common Art with AI Tools in Adobe Photoshop 2022Shalin Hai-Jew
Artificial intelligence (AI) has been applied to various methods for digital image creation and editing in Adobe Photoshop 2022. “Inartful” common art and digital photos can be re-imagined using such “neural filters” as style transfer, landscape mixer, color transfer, harmonization, Depth Blur, colorization, and others. The filters can be additive or reductive, or both (of various elements). This session offers walk-throughs of these various Neural Filter features in Adobe Photoshop 2022 (using AI Adobe Sensei). Come explore the “imagination” in a digital image editing software.
Cognitive elements of an effective UI/UX designShabnamShahfar
In this session we will talk about some of the design principals based on psychology and the cognitive science. We will look at the human perception and its implications for an interactive and effective visual design. You will learn some of the recent findings of cognitive science research that can help in creating a better UI/UX design for your mobile and web applications.
An Introduction to the World of User ResearchMethods
What is user? Why do we do it? How do we do it? User Research Consultants, Dr Jennifer Klatt and Ben Smith from Methods Digital (https://methodsdigital.co.uk/) have kindly put together this slide deck to take you through the basics.
IDEO U's Storytelling for Influence course content mapped to the design think...Ren Chang Soo
Supplementary material developed to onboard teaching team members who have a strong grounding in the design thinking process, and for learners who are curious how the course content relates to the design thinking process
The A to Z of Adobe Illustrator – design & illustrationFanus van Straten
The Adobe Illustrator toolbar is jam-packed with useful tools you may have used a million times or that may be entirely unfamiliar to you. Add to that the numerous panels and effects, and this program can create most any type of artwork. This A–Z list breaks down every tool in the Illustrator toolbar, with a link to a quick tip.
UI Design Principles : 20 Essential Rules for User Interface DesignMoodLabs
This essential primer distills the critical principles of User Interface (UI) design to 20 fundamental rules. Created by Josh Porter (Director of UX at HubSpot), this guide is a must-have for UX / UI professionals.
These principles are equally valuable to those looking to understand User Experience and User Interface best practices in a quick, well-written and comprehensive deck.
Examples:
01 - Clarity is job #1
02 - Interfaces exist to enable interaction
03 - Conserve attention at all costs
04 - Keep users in control
05 - Direct Manipulation is best
These and the rest of the 20 principles offer basic rules supported by reasoning that is intuitive, makes sense and builds on the information in preceding slides.
The Cliff Notes Bible of delivering great, effective & powerful UI experiences.
How GenAI will (not) change your business?Marlon Dumas
Not all new technology waves are the same. Some waves are vertical (3D printing, digital twins, blockchain) while others are horizontal (the PC in the 80s, the Web in the 90s). GenAI is a horizontal wave. The question is not if GenAI will impact my business, but what will be the scope of this impact. In this talk, we will go through a journey of collisions: GenAI colliding with customer service, clerical work, information search, content production, IT development, product design, and other knowledge work. A common thread to understand the impact of GenAI is to distinguish between descriptive use cases (search, summarize, expand, transcribe & translate) versus creative use.
Kate Williamson and Cait Vlastakis Smith — UX Designers at Centerline Digital — explore the differences between UX and UI.
Good UX is the manifestation of deeply understanding people.
Learn more at: http://www.centerline.net
Graphic Design is a visual problem solving using text & graphical elements to create something that gets the viewer
attention and communicates in an easy effective manner.
An Introduction to the World of User ResearchMethods
What is user? Why do we do it? How do we do it? User Research Consultants, Dr Jennifer Klatt and Ben Smith from Methods Digital (https://methodsdigital.co.uk/) have kindly put together this slide deck to take you through the basics.
IDEO U's Storytelling for Influence course content mapped to the design think...Ren Chang Soo
Supplementary material developed to onboard teaching team members who have a strong grounding in the design thinking process, and for learners who are curious how the course content relates to the design thinking process
The A to Z of Adobe Illustrator – design & illustrationFanus van Straten
The Adobe Illustrator toolbar is jam-packed with useful tools you may have used a million times or that may be entirely unfamiliar to you. Add to that the numerous panels and effects, and this program can create most any type of artwork. This A–Z list breaks down every tool in the Illustrator toolbar, with a link to a quick tip.
UI Design Principles : 20 Essential Rules for User Interface DesignMoodLabs
This essential primer distills the critical principles of User Interface (UI) design to 20 fundamental rules. Created by Josh Porter (Director of UX at HubSpot), this guide is a must-have for UX / UI professionals.
These principles are equally valuable to those looking to understand User Experience and User Interface best practices in a quick, well-written and comprehensive deck.
Examples:
01 - Clarity is job #1
02 - Interfaces exist to enable interaction
03 - Conserve attention at all costs
04 - Keep users in control
05 - Direct Manipulation is best
These and the rest of the 20 principles offer basic rules supported by reasoning that is intuitive, makes sense and builds on the information in preceding slides.
The Cliff Notes Bible of delivering great, effective & powerful UI experiences.
How GenAI will (not) change your business?Marlon Dumas
Not all new technology waves are the same. Some waves are vertical (3D printing, digital twins, blockchain) while others are horizontal (the PC in the 80s, the Web in the 90s). GenAI is a horizontal wave. The question is not if GenAI will impact my business, but what will be the scope of this impact. In this talk, we will go through a journey of collisions: GenAI colliding with customer service, clerical work, information search, content production, IT development, product design, and other knowledge work. A common thread to understand the impact of GenAI is to distinguish between descriptive use cases (search, summarize, expand, transcribe & translate) versus creative use.
Kate Williamson and Cait Vlastakis Smith — UX Designers at Centerline Digital — explore the differences between UX and UI.
Good UX is the manifestation of deeply understanding people.
Learn more at: http://www.centerline.net
Graphic Design is a visual problem solving using text & graphical elements to create something that gets the viewer
attention and communicates in an easy effective manner.
Online Learning Design for Diversity and Inclusion Shalin Hai-Jew
Social inclusion and respect for diversity are some of the most important democratic values that inform learning design. The educational research literature offers methods for how to design teaching and learning for people in all (many of?) their complex dimensions:
demographics;
cultures [including worldviews, beliefs, values, practices, and others];
languages;
learning preferences;
differing perceptions and information processing, and others,
… so that all are included and supported and welcomed. Widely known approaches include accessibility mitigations, universal design practices, multi-cultural adaptations, and others. This presentation provides a light overview of suggested practices and how these are applied to practical instructional designs of online learning with modern technological enablements.
UT-Austin Guest Lecture, ""Patterns and Outcomes of Youth Engagement in Colla...Rebecca Reynolds
Reports results of a program of game design learning in which information resource uses by students to solve programming challenges are explored. Students in MS and HS take a game design class daily, for credit and a grade for a full year and use a learning management system stocked with information resources to support their programming and game design. Results highlight types of inquiry they conduct, which strategies were more and less successful, and how their resource uses appear to connect to their learning outcomes. The results are discussed in relation to the overall landscape of educational technologies, considering the issue of structure.
Learners self-directing their learning in MOOCs #Ectel2019Inge de Waard
Informal learning in MOOCs is under-investigated. In this presentation we share how adult learners self-direct their learning when engaging in FutureLearn MOOCs. Five areas influence self-directed learning: individual characteristics, technical and media elements, individual & social learning, structuring learning and context. This study also identified two inhibitors or enablers of learning: intrinsic motivation and personal learning goals, where these two factors increase or decrease the dynamics in the five areas of SDL.
The learning styles revelation - research from cognitive scienceJolly Holden
As the learning style debate continues, recent research casts doubt of their efficacy in predicting learning outcomes. This presentation presents the evidence based upon research, as well as introducing the cognitive information procession model and its implications for designing multimedia instruction.
Similar to Some Ways to Conduct SoTL Research in Augmented Reality (AR) for Teaching and Learning (20)
Long nonfiction chapters are not in-style and may never have been. Where average chapter lengths of nonfiction book chapters are about 4,000 – 7,000 words in length, some may be several times that max range number. The explanation is that there is some irreducible complexity that that chapter addresses that cannot be addressed in shorter form. This slideshow explores some methods for writing longer chapters while still maintaining coherence, focus, and reader interest…and while using some technological tools to write and edit more efficiently.
Overcoming Reluctance to Pursuing Grant Funds in AcademiaShalin Hai-Jew
Starting as an organization’s new grant writer can be a challenge, especially in a case where there has been a time lapse since the last one left. People get out of the habit of pursuing grant funds. This slideshow addresses some of the reasons for such reluctance and proposes some ways to mitigate these.
Writing grants is one common way that those in institutions of higher education may acquire some funds—small and big, one-off and continuing—to conduct research, hire faculty and researchers and learners and others, update equipment, update or build up new buildings, and achieve other work. This slideshow explores some aspects of the work of grant writing in the present moment in higher education.
Contrasting My Beginner Folk Art vs. Machine Co-Created Folk Art with an Art-...Shalin Hai-Jew
The SARS-CoV-2 pandemic inspired several years of experimentation with common or folk art, involving mixed media, alcohol ink painting, and other explorations. Then, with the emergence of art-making generative AIs, there were further experiments, particularly with one that enables generation of visuals from scanned art and photos, text prompts, style overlays, and text-based visual modifiers. While both types of artmaking are emotionally satisfying and helpful for stress management, there are some contrasting differences. This exploratory slideshow explores some of these differences in order to partially shed light on the informal usage of an art-making generative AI (artificial intelligence).
Common Neophyte Academic Book Manuscript Reviewer MistakesShalin Hai-Jew
The work of academic book reviewing, as a volunteer (most often), is a common academic practice. The presenter has served as a neophyte one for some years before settling into this invited volunteer work for several decades. There have been lessons learned over time about avoidable mistakes…from both experience and observation.
Augmented Reality in Multi-Dimensionality: Design for Space, Motion, Multiple...Shalin Hai-Jew
Augmented reality (AR)—the use of digital overlays over physical space—manifests in a wide range of spaces (indoor, outdoor; virtual) and ways (in real space (with unaided human vision); in head gear; in smart glasses; on mobile devices, and others). There are various authoring technologies that enable the making of AR experiences for various users. This work uses a particular tool (Adobe Aero®) to explore ways to build AR for multiple dimensions, including the fourth dimension (motion, changes over time).
Based on the respective purposes of the AR experience, some basic heuristics are captured for
space design (1),
motion design (2),
multiple perception design (sight, smell, taste, sound, touch) (3),
and virtual- and tangible- interactivity (4).
Augmented Reality for Learning and AccessibilityShalin Hai-Jew
Recently, the presenter conducted a systematic review of the academic literature and an environmental scan to learn how to set up an augmented reality (AR) shop at an institution of higher education. The ambition was to not only set up AR in an accessible and legal way but also be able to test for potential +/- effects of AR on teaching and learning. The research did not go past the review stage, because of a lack of funding, but some insights about accessibility in AR were acquired.
(The visuals are from Deep Dream Generator and CrAIyon.)
Engaging Pixabay as an open-source contributor to hone digital image editing,...Shalin Hai-Jew
This slideshow describes the author's early experiences with creating two accounts on Pixabay in order to advance digital editing skills in multimedia. The two accounts are located at https://pixabay.com/users/sjjalinn-28605710/ and https://pixabay.com/users/wavegenerics-29440244/ ...
This work explores four main spaces where researchers publish about educational technology: academic-commercial, open-access, open-source, and self-publishing.
Getting Started with Augmented Reality (AR) in Online Teaching and Learning i...Shalin Hai-Jew
University creative shops are exploring whether they can get into the game of producing AR-enhanced experiences: campus tours, interactive gaming, virtual laboratories, exploratory art spaces, simulations, design labs, online / offline / blended teaching and learning modules, and other AR applications.
This work offers a basic environmental scan of the AR space for online teaching and learning, and it includes pedagogical design leads from the current research, technological knowhow, hands-on design / development / deployment of learning objects, and online teaching and learning methods.
Co-Creating Common Art with the CrAIyon AIShalin Hai-Jew
This slideshow contains a variety of images created using the CrAIyon AI...based on seeding terms. This work asks questions about common art in an age of AI.
This is the revised intro to Adobe Animate set of notes used in a training in late June 2022. The Word version is downloadable from www.k-state.edu/ID/AdobeAnimateHandout.docx, with the motion available from the animated .gifs.
"Drift" is the latest in the alcohol ink drip playing series. After reaching the first learning plateau a year and a half in, I am finding second wind. This is all still fun.
100% “Tier 0” in a Year? Supporting Graduate Students’ ETDRs w/ DocumentationShalin Hai-Jew
Video: https://vimeo.com/716175153
What I.T. challenge involves novel research, data, sensitive information, and global reputations? Complex Microsoft Word templates? LaTeX templates? Evolving technologies? Dozens of source citation methods? Local domain-based conventions? Professorial quirks? Multiple web-facing databases? Hard deadlines that can be costly if missed?
Electronic theses, dissertations, and reports, better known as ETDRs!
This presentation describes a real-world context in which a core staff retirement (and the role’s non-replacement) resulted in the need for fast learning of the ETDR space and an effort to enable graduate student work with thorough documentation, updated templates, and web conferences, in the backdrop of the pandemic. The solution here is only partial, and the challenge is still being worked, but some objective progress may be seen.
Mapping Narrative Structures w/ Computational Text Analysis (LIWC-22)Shalin Hai-Jew
A classic narrative (storytelling) structure begins at a start point, builds tension, reaches a point of climax, and then achieves resolution. This structure is found in many texts, written and spoken. LIWC-22 (pronounced “luke”) enables a computational analysis of various texts for various indicators of narrative structure, specifically, staging, plot progression, and cognitive (psychological) tensions. Come see how this tool is applied to various texts and how the resulting information may be used for research and analysis.
This slideshow "Teardrop" is the latest in the alcohol ink drip playing series started in Jan. 2021 as a relief from the pressures of the pandemic. This work is likely the last in the series. I plan to keep on experimenting with common art.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Some Ways to Conduct SoTL Research in Augmented Reality (AR) for Teaching and Learning
1. Some Ways to Conduct
SoTL Research in
Augmented Reality (AR) for
Teaching and Learning
Shalin Hai-Jew
Kansas State University
2. Presentation
• One of the extant questions about augmented reality (AR) is how
(in)effective it is for the teaching and learning in various formal,
nonformal, and informal contexts. The research literature shows
mixed findings, which are often highly context-based (and not
generalizable). There are some non-trivial costs to the
design/development/deployment of AR for teaching and learning.
For the users, there is cognitive load on the working memory [(1)
extraneous/poor design, (2) intrinsic/inherent difficulty in topic, and
(3) germane/forming schemas]. For teachers, there are additional
knowledge, skills, and abilities / attitudes (KSAs) that need to be
brought to bear.
2
3. Presentation(cont.)
• This work explores some basic research approaches that may be
applied for the Scholarship of Teaching and Learning (SoTL) research
to assess the efficacy of AR applied to teaching and learning. The
work is not comprehensive and offers a way to get started.
3
5. About Augmented Reality
• “Augmented Reality” (AR) refers to the overlay of 2d and 3d and 4d
objects over a physical space. This may involve head-mounted
displays (HMDs), mobile devices, projectors, and others.
• 2d exists on the x and y axes. 3d exists on the x, y, and z axes. 4d involves
motion and / or changes over time, in either 2d or 3d.
• AR is not only visual. It may include sound, live data streams, tastes,
and smells. It may include interactivity.
• AR is not only for singleton experiences. It may be social and
collaborative, with the presence of others in real space and in virtual
space (such as through telepresence).
5
6. AR in Teaching and Learning
• In concept, AR is thought to be beneficial in the following ways:
• It enables depictions of imaginary worlds that might be inaccessible to the
physical senses otherwise.
• It enables the experiencing and re-experiencing of experiences that may be
risky and / or expensive and / or impossible to provide otherwise.
• It enables virtual interactivity with (virtual and physical) objects and with
people.
• It enables geographical location-based experiences.
• It enables full-sensory immersion and engagement.
• It enables collaboration and intercommunications.
• It enables creativity, design, and innovations.
6
7. AR in Teaching and Learning(cont.)
• AR may enhance human memory.
• AR may serve as distributed cognition (with digital and smart physical devices
taking on some cognitive load for the learner).
7
11. Scholarship of Teaching and Learning (SoTL)
• The Scholarship of Teaching and Learning (SoTL) refers to “action
research” applied to what goes on in formal, nonformal, and informal
learning contexts. The focus is on benefitting teaching and learning
practices.
11
12. Scholarship of Teaching and Learning (SoTL)
(cont.)
• A research team describes SoTL the following way (with a variety of
requirements):
• “the systematic study of teaching and learning, using established or validated
criteria of scholarship, to understand how teaching (beliefs, behaviours,
attitudes, and values) can maximize learning, and / or develop a more
accurate understanding of learning, resulting in products that are publicly
shared for critique and use by an appropriate community” (Potter & Kustra,
2011, p. 2).
12
13. Scholarship of Teaching and Learning (SoTL)
(cont.)
Another source asks four questions:
1. What is there to know? (scholarship of discovery)
2. What does it mean? (scholarship of integration)
3. How could it be useful? (scholarship of application)
4. How to build students’ understanding of it? (scholarship of
teaching) (Hoessler, Britnell, & Stockley, Summer 2010, p. 82)
Students are clear stakeholders in the SoTL process along with teaching
practitioners, researchers, administrators, and others.
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15. Known Standards
• Instructional design
• (for teaching and learning, for controlling against negative learning and
misapprehensions, for low extraneous cognitive load, and others)
• Accessibility
• Intellectual property protections (copyright, and others)
• Privacy protections (legal releases for “the talent”)
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16. Some General Educational Research
Approaches for Assessing AR
Teaching and Learning (with SoTL)
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17. Assessing AR using SoTL: General Educational
Research Approaches
• Spatial Usage via Mapping (qualitative, quantitative, mixed methods)
• Educational Artifacts (qualitative, content analysis)
• User Experience (qualitative, quantitative, mixed methods)
• Instructor Experience (qualitative, quantitative, mixed methods)
• Experimental Research (quantitative)
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19. Spatial Usage via Mapping and Observational
Notetaking
• Spatial mapping involves the observations of how the physical space
(interior, exterior) is used in an AR learning experience (tour,
exploration, simulation, gameplay, collaboration, co-design, design,
and others).
• Observational notetaking involves observations of how the learners
engage in various stations…and / or with others, and so on. What is
said? What is done?
• Data are collected and coded.
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21. Educational Artifacts
• What is the quality of the (recorded) discussions?
• What is the quality of the collaborative work?
• What is the quality of the individual work?
• What is the performance on the assessments?
• What is the quality of the created or innovated objects?
• What is the quality of the shared ideas?
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22. Post-AR Experience Performance
• How long does the learning continue after the experience?
• Is there long-term learning? Is it accurate?
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24. User Experience
• Interviews (singular or group)
• Focus group (group)
• Surveys (individuals and groups)
• Others
• The AR experience, interest
level, pacing
• The cognitive load
• The clarity of the learning
• The ability to communicate with
others
• What sorts of technical
challenges
• The sense of learning support
• Others
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26. Instructor Experience
• Interviews (singular or group)
• Focus group (group)
• Surveys (individuals and groups)
• Others
• Effectiveness of approach for
teaching and learning
• Ability to teach with originality
and insight
• Ability to identify learner needs
(and to meet their needs), incl.
those on both ends of a normal
curve and the big middle
• Flexibility of the learning objects
• Others
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27. Instructor Experience(cont.)
• Ability to coordinate across technologies
• Ability to provide effective feedback
• Formative assessment; summative assessments
• Alternate teaching and learning to the AR
• And others
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28. Limits to Self-Reportage
• There are limits to self-reportage.
• There are subjectivities and biases.
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30. A Classic Experimental – Control Group
Approach
Pre-test Post-test
Control group
Experimental group
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31. Seating the Research Participants
• Were the two groups assigned in randomized ways?
• Were there sufficient numbers of participants in the research study to
ensure power in the statistics?
• Were human subjects research standards applied?
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32. Gold Standard
• What is the empirical difference between the average pre-test and
post-test scores?
• Can the null hypothesis be rejected?
• Were the findings statistically significant (with a p-value of < .05? < .01?)
• What is the empirical difference between the performances of the
control and experimental groups of learners?
• What is the control group experience vs. the experimental group experience?
How are the respective experiences controlled for, so that the essential
comparison is between the two learning experiences?
• What pre- and post-test instruments were used, and how were they
validated?
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34. Critical Questions
• What sorts of teaching and learning benefit from augmented reality
builds?
• What are some optimized ways to build augmented reality
experiences for teaching and learning?
• With prototypes? With learner participatory inputs on designs?
• What style elements matter in such AR experiences? Design tones?
Color palettes? Digital scripted agents?
• What sorts of post-learning study and practice resources would be helpful?
• What are ways to assess whether to go with AR or with some other
approaches? Other media?
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35. Critical Questions(cont.)
• When does the benefit outweigh the cost for using augmented reality
for teaching and learning? What are some straightforward ways to
calculate the cost-benefit trade-off?
• How much of the design should come from people and how much
from generative AI and computer programs and pre-mades and stock
imagery and set color palettes and others? Why?
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36. Open-Source Sharing?
• How transferable is the AR experience? The digital artifacts?
• How usable are such AR objects by others? How heritable are they?
• Who are the stakeholders to these resources?
• What sort of training will those who acquire such resources need in
order to best use them? Why?
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38. References
• Hoessler, C., Britnell, J., & Stockley, D. (2010). Assessing the impact of
educational development through the lens of the scholarship of
teaching and learning. New Directions for Teaching and Learning,
2010(122), 81-89.
• Potter, M.K., & Kustra, E. D.H. (2011). The relationship between
scholarly teaching and SoTL: Models, distinctions, and clarifications.
International Journal for the Scholarship of Teaching and Learning,
5(1), 1 – 18.
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40. Conclusion and Contact
• Dr. Shalin Hai-Jew
• Instructional Design
• ITS
• Kansas State University
• 785-532-5262
• shalin@ksu.edu
• The visuals in this slideshow were created using the Deep Dream
Generator.
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