The evolution of social media platforms and other public forums in the digital realm has created an explosion of user-generated content and data as a component of the already content-saturated digital landscape. The distributed, horizontal nature of the internet as a platform makes it difficult to ascertain value and differentiate between texts of varying validity, bias, and purpose. In addition, the internet is not an inanimate interface. As Pariser (2011) argues, content aggregators, such as Google, actively filter, personalize, and therefore limit each individual's access to information, in both range and type. This has created a crisis of information valuation and control. Importantly, conventional curriculum does not furnish students with the information literacy tools necessary for them to navigate the digital landscape effectively. Information miners and developers, including news organizations, are falling victim to this fallacy as well. Lankshear and Knobel (2011) posit that empowering navigation and control in the digital landscape requires a new mindset. This research offers a context-driven approach that acknowledges this new mindset, promoting "rhetorical consciousness" (Murphy et al., 2003) within the network and providing a framework to recognize, challenge, and co-create gatekeeping roles and mechanism as they increasingly shift to the individual.

Evidence is provided to support Kierkegaard's phenomenology that only what is learned through experience is truly known. It is demonstrated that the chiropractic curriculum represents a unique area of investigation and that it is possible to define curriculum; to create a functional and integrative model which subsumes elements from the traditional, cyclical and process models; and to design an integrative, problem-based, evidence-based, experiential chiropractic curriculum. A taxonomy is proposed for curriculum design in four domains which deal respectively with a) curriculum processes which include the selection, motivation and interaction of curriculum developers, curriculum definitions and models, and an algorithm for curriculum design; b) curriculum organisation which addresses philosophical, sociological, cultural and psychological foundations, curriculum paradigms and a chiropractic conceptual framework; c) curriculum development which concerns design strategies, situational analysis, intent, content, design and organisation of learning experiences and assessment of student performance; and d) curriculum application, which includes the learning climate, quality management, management of change, self-evaluation and external accreditation / Curriculum and Instructional Studies / M. Ed. (Didactics)

La lumière naturelle est une préoccupation forte dans la conception du projet architectural. Elle a une grande influence sur le confort visuel et la qualité architecturale des espaces intérieurs. Plusieurs méthodes et outils ont été développés pour assister les architectes dans la conception des ambiances lumineuses. L’analyse de ces différentes méthodes et outils montre qu’ils sont peu adaptés à l’activité de formulation des intentions des concepteurs durant les premières phases de conception.Dans le cadre de cette thèse, notre objectif est d’améliorer ces premières phases de conception en apportant aux concepteurs une aide pour la formalisation de leurs intentions d’ambiances lumineuses. L’objectif poursuivi étant de faire de la lumière naturelle un fil conducteur dans le développement du projet architectural.L’étude de la pratique des concepteurs durant les premières phases de conception fait apparaître qu’ils font fréquemment appel à des références jouant le rôle de dispositifs heuristiques. L’analyse des caractéristiques de ces références et de leur évocation montre que les images comme formes de référence favorisent l’expression des désirs, des souhaits et des intentions du concepteur. L’assistance à l’activité de référenciation par les images serait donc une aide précieuse dans la formalisation des intentions pour la prise en compte de la lumière naturelle dans la conception de projet.Nous développons une méthode fondée sur la constitution d’une base d’images références représentatives des ambiances lumineuses et sur un environnement de manipulation et exploration particulière de cette base. Pour ce faire, nous considérons d’une part le rôle de l’image-référence comme élément actif du raisonnement visuel et d’autre part, les aspects du processus de référenciation notamment dans un mode de raisonnement analogique.Cette méthode a été implémentée dans un outil prototype dénommé « day@mbiance ». Cet outil propose une base d’images composée de photographies illustrant des espaces intérieurs en éclairage naturel. Ces dernières sont indexées à partir d’un thésaurus original dédié aux « ambiances lumineuses ». L’outil, par ailleurs, expérimente différents modes de navigation par l’image qui sont définis de manière à stimuler les différentes activités cognitives dans chacune des phases du processus de référenciation.Enfin, la méthode développée a été testée lors d’une phase expérimentale qui a validé les éléments méthodologiques développés / The natural light is a strong concern in the design of an architectural project. It has a great influence on visual comfort and architectural quality of interior spaces. Several methods and tools have been developed to assist architects in the design of bright atmospheres. Analysis of these different methods and tools showed that they are not well adapted to the designers activity during the early stages of design. In this thesis, our objective is to enhance the early stages of design by providing designers with a support for the formalization of their intentions of bright atmospheres. The aim is to make natural light a thread in the development of the architectural project. The study of the practice of designers during the early stages of design has shown that they frequently use references acting as heuristic devices. Analysis of the characteristics of these references and their evocation showed that images, as type of references, promote the expression of desires, wishes and intentions of the designer. Assistance to the activity of referring by the images would be a valuable aid in the formalization of intentions to include the natural light into the project design. We developed a method based on developping an image database of representative references of bright atmosphere and supported with a handling environment and exploration of this particular base. To achieve this, we consider, in the one hand, the role of the reference-image as the active item of visual reasoning and, on the other hand, aspects of referring process, specially, in a mode of analogical reasoning. This method has been implemented in a prototype tool called « day@mbiance ». This tool provides an image database composed of photographs of interior spaces with natural lighting. These images are indexed using an original thesaurus dedicated to « bright atmosphere ». The tool also experiments different modes of navigation through images that are defined in order to stimulate different cognitive activities in each stage of the referring process

Background: Nowadays, customers tend to take product quality and positive brand image for granted, which makes the formation of a new marketing strategy even more vital. In an age characterized by information overload and lack of time, factors such as emotional, cognitive or symbolic values become increasingly valuable in marketing. In contrast to American retail clothing stores such as Abercrombie & Fitch, who to a large extent use ambience as a strategic approach, the authors have not experienced as strong ambience strategies among Swedish retail stores. Therefore, the authors want to investigate if Swedish retailers make use of ambience as a strategic marketing approach and how the ambience is perceived by the consumers. Purpose: The purpose of this thesis is to explore if and how ambience (lighting, fragrance and music) is used as a strategic marketing approach by retailers in Sweden and how the ambience is perceived by the consumers. In addition the authors will examine if the consumers’ perception of the current ambience is reflected in their in-store behaviour (willingness to browse and willingness to buy). Method: In order to fulfil the purpose, a mixed method of explanatory and descriptive design was chosen, by collecting quantitative data in the form of a survey and qualitative data through interviews. The questionnaire consisted of 91 respondents from JC, Carlings and Dressmann. Interviews with store-managers from JC, Carlings and Dressmann were also conducted in order to reflect if and how the current ambience is used as a marketing approach. Conclusion: Swedish retail stores use the ambience merely as a means for creating a pleasant store environment. The perceived atmosphere varies for different customers. The three ambient factors, lighting, music and fragrance, differed in level of importance for the three chosen stores. One conclusion drawn from this is that the age-group plays an important role in how the ambience is perceived. The results show that there is a positive relationship between the consumers’ perception of the ambience, their feelings and in-store behaviour; within all three stores. This indicates that if the positive feelings increase in intensity, so will the consumers’ willingness to browse and their willingness to buy from the store. As a conclusion, Swedish retails should consciously use ambience as a strategic marketing approach to intentionally affect the consumers’ willingness to browse and buy. / Bakgrund: Nuförtiden, tenderar kunder att ta produktkvalitet samt en positiv butiks image för givet, vilket gör att en ny typ av marknadsföringsstrategi blir alltmer betydelsefull. I en tid som kännetecknas av alltför stort informationsflöde och brist på tid, har faktorer som emotionella, kognitiva eller symboliska värden blivit alltmer värdefulla inom marknadsföring. I motsats till amerikanska detaljhandeln för klädesbutiker, såsom Abercrombie & Fitch, som i stor utsträckning använder sig av atmosfären som ett strategiskt marknadsföringsverktyg; uppfattar författarna inte att användandet av atmosfären som marknadsföringsstrategi är lika starkt bland svenska butiker. Författarna vill därför undersöka om svenska återförsäljare använder sig av atmosfär som ett strategiskt marknadsföringsverktyg, samt hur atmosfären uppfattas av konsumenterna. Syfte: Syftet med denna uppsats är att undersöka om och hur atmosfären (ljus, doft och musik) används som ett strategiskt marknadsföringsverktyg inom svenska klädesbutiker samt hur stämningen uppfattas av konsumenterna. Därutöver kommer författarna att undersöka om konsumenternas uppfattning om den rådande atmosfären återspeglas i deras butiksbeteende (villighet att gå runt i butiken samt villighet att köpa). Metod: För att uppfylla syftet, valdes en blandad metod med en förklarande och beskrivande design, genom att samla in kvantitativ data i form av en enkät och kvalitativ data från intervjuer. Enkätundersökningen bestod av 91 svarande från JC, Carlings och Dressmann. Intervjuer med butikschefer från JC, Carlings och Dressmann har också genomförts för att undersöka om och hur atmosfären används som ett marknadsföringsverktyg. Sammanfattning: Svenska butiker använder atmosfär enbart som ett medel för att skapa en trivsam butiksmiljö. Den upplevda atmosfären varierar för olika kunder. De tre omgivande faktorerna, belysning, musik och doft, skilde sig åt i nivå av betydelse för de tre utvalda butikerna. En slutsats av detta är att åldern på kunderna spelar en viktig roll för hur stämningen uppfattas. Resultaten visar att det finns ett positivt samband mellan konsumenternas uppfattning av atmosfären, deras känslor och beteende i butiken, inom alla tre butiker. Detta indikerar att om positiva känslor ökar i intensitet, kommer även konsumenternas vilja att vistas och köpa från butiken att öka. Som en slutsats, bör svenska återförsäljare för klädesbutiker medvetet använda atmosfären som ett strategiskt marknadsföringsverktyg, för att avsiktligt påverka konsumenternas vilja att vistas i samt köpa från butiken.

Evidence is provided to support Kierkegaard's phenomenology that only what is learned through experience is truly known. It is demonstrated that the chiropractic curriculum represents a unique area of investigation and that it is possible to define curriculum; to create a functional and integrative model which subsumes elements from the traditional, cyclical and process models; and to design an integrative, problem-based, evidence-based, experiential chiropractic curriculum. A taxonomy is proposed for curriculum design in four domains which deal respectively with a) curriculum processes which include the selection, motivation and interaction of curriculum developers, curriculum definitions and models, and an algorithm for curriculum design; b) curriculum organisation which addresses philosophical, sociological, cultural and psychological foundations, curriculum paradigms and a chiropractic conceptual framework; c) curriculum development which concerns design strategies, situational analysis, intent, content, design and organisation of learning experiences and assessment of student performance; and d) curriculum application, which includes the learning climate, quality management, management of change, self-evaluation and external accreditation / Curriculum and Instructional Studies / M. Ed. (Didactics)

Made available in DSpace on 2016-12-01T19:18:33Z (GMT). No. of bitstreams: 1 jacqueline.pdf: 370260 bytes, checksum: 526652383e60c20f43396c8816484294 (MD5) Previous issue date: 2012-02-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The restaurant s servicescape can be seen as a marketing strategy that involves both aspects of environmental psychology, administration, nutrition and architecture. In order to analyze the impact of restaurant s ambience elements in the overall quality perceived by customers, this qualitative research aims to identify the elements of greater and lesser importance in the ambience for both managers and customers, through interviews in depth. In total, 10 restaurants with average ticket over R$ 51, a la carte system and located on Florianópolis, were part of the survey. Were interviewed all these restaurant s owners (10 of total) and 20 clients who frequent these kind of restaurants, at least, twice a month and spend on average R$51 per person. In addition, we collected data by personal observation in the restaurants of the research. Armed with the customers and managers view, it was possible to list the most important elements in the restaurant s environment in costumers opinion, confront to the understanding of managers and, finally, identify possible gaps in service quality. In addition, a theoretical model was proposed based on Bitner s Servicescape Model (1992), the Gaps Model of Service Quality of Parasuraman, Zeithaml and Berry (1985) and Santos Model (2006). This theoretical model constructed proposes the customization of it to various services sectors. Among the findings, it was found that the most important elements in the restaurant s servicescape, in the view of customers, are temperature, music, color and lighting. According to the customers' position about these and other elements, can be concluded that customer satisfaction with the environment involves, in particular, feelings of comfort and security. More than the beauty and architecture of the place, people value aspects which let them comfortable and safe, whether visual comfort, thermal comfort, noise comfort or food safety / O cenário de serviços de restaurantes pode ser visto como uma estratégia de marketing que envolve tanto aspectos de psicologia ambiental, como administração, nutrição e arquitetura. Com o objetivo de analisar o impacto dos elementos do cenário de serviços de restaurantes na qualidade geral percebida por clientes, esta pesquisa qualitativa propõe a identificação dos elementos de maior e menor importância no ambiente do restaurante tanto para gestores quanto para clientes, por meio de entrevistas em profundidade. Ao total, 10 restaurantes com ticket médio acima de R$ 51, de sistema a la carte e localizados em Florianópolis fizeram parte da amostra. Foram entrevistados os gestores destes restaurante e 20 clientes que frequentam, pelo menos, duas vezes por mês restaurantes desse tipo e que gastam, em média, o valor referido. Além disso, também foi realizada a coleta de dados por observação pessoal, na forma de Cliente Oculto, nos restaurantes investigados. De posse das visões de clientes e gestores, foi possível elencar os elementos mais importantes no ambiente do restaurante para os clientes, confrontar com o entendimento dos gestores e, por fim, identificar possíveis lacunas de qualidade do serviço. Além disso, um modelo teórico foi proposto com base no Modelo de Cenário de Serviços de Bitner (1992), no modelo de Lacunas de Qualidade em Serviços de Parasuraman, Zeithaml e Berry (1985) e no Modelo de Santos (2006). Esse modelo teórico construído propõe a customização para diversos setores de serviços. Entre os resultados encontrados, identificou-se que os elementos mais importantes do cenário de serviços de restaurantes, na visão dos clientes, são temperatura, música, cores e iluminação. De acordo com a posição dos clientes a respeito desses e de outros elementos, pode-se concluir que a satisfação dos clientes com o ambiente envolve, em especial, sensações de conforto e segurança. Mais que a beleza e arquitetura do local, as pessoas valorizam aspectos que lhes deixem confortáveis e seguras, seja conforto visual, térmico, sonoro ou alimentar

This study investigates if gameplay in an audio-only puzzle game differs when the player is feeling stressed or calm. This was done by conducting a test where 14 participants played an audio-only, puzzle game with two levels. One level containing stressful ambience and the other level containing calm ambience. The players were timed during the playtest and the results were analyzed. The results showed a significant decrease of played time in the level containing stressful ambience. The study has also investigated whether the participants preferred the level with the stressful ambience or the level with the calm ambience. This was done by asking the participants a series of questions. The participants' answers for these questions were analyzed by coding their answers and extracting keywords. The results showed no significant difference in player preference.

AR media or augmented reality has become increasingly prevalent in today's society, and more and more applications leverage the technology's ability to present digital 3D objects in the physical space, particularly in gaming. However, the auditory aspect, also known as audio augmented reality (AAR), has not received much attention despite its presence in various forms in our daily lives. From information systems that announce the arrival of the next train through speakers to museums that provide guided tours through buildings using headphones, AAR surrounds us almost every day. But how would a game be experienced and constructed solely using AAR? This article explores the construction of an interactive auditory gaming experience using Audio Augmented Reality (AAR). The focus is on analyzing the techniques employed to create this gaming experience entirely through AAR. Furthermore, the potential inherent in this medium as an inclusive experience for a broad audience is discussed. By exploring and analyzing the implementation of Dolby Atmos in the interactive auditory game "Ambience," this article contributes to the understanding of AAR as an innovative technology and its potential to create unique and accessible experiences for different users. / AR medier eller augmented reality är en teknik som har blivit allt vanligare förekommande i dagens samhälle och fler och fler applikationer använder sig av teknikens förmåga att framställa digitala 3D-objekt i det fysiska rummet, framför allt inom spel. Trots detta har den auditiva delen, även kallad audio augmented reality (AAR), inte fått mycket uppmärksamhet, trots att den existerar i någon form runt omkring oss nästan dagligen. Allt från informationssystem som kan berätta via högtalare när nästa tåg anländer till museer som använder hörlurar för att ge guidade turer genom byggnader. Men hur skulle en interaktivupplevelse byggas upp som endast använder sig av AAR? Denna artikel undersöker uppbyggnaden av en interaktiv audiell upplevelse med hjälp av Audio Augmented Reality (AAR). Fokus ligger på att analysera de tekniker som användes för att skapa denna upplevelse helt genom AAR. Vidare diskuteras den potentiella inneboende kraften i denna typ av medium som en inkluderande upplevelse för en bred publik. Genom att utforska och analysera implementeringen av Dolby Atmos i den interaktiva audiella upplevelsens ambiens, bidrar denna artikel till förståelsen av AAR som en nyskapande teknik och dess potential att skapa unika och tillgängliga upplevelser för olika användare.

This research investigates the instructional leadership role of the principal and its impact on learners' academic performance. A literature study investigated models of instructional leadership, characteristics of instructional leadership and instructional leadership as a managerial function. An empirical investigation used a quantitative research design to collect data from a purposefully selected sample of secondary school principals in the Vryheid region, South Africa. A questionnaire was used to gather data and statistical data analysis was conducted to calculate frequencies and test hypotheses. Findings indicated an indirect relationship between learners' academic achievement and the principals' practice of instructional leadership. Clearly formulated school goals, academic networks formed between low and high achieving schools and regular discussions between learners and teachers on their progress also contribute to improved academic performance. Finally, in-service training for principals and teachers, annual targets for academic achievement and the formation of school networks are recommended to improve practice. / Educational Studies / M.Ed. (Education Management)

Cette thèse retrace les étapes de la création d’un dispositif projectif permettant d’explorer le soi-archaïque d’un sujet adulte. Son élaboration est le fruit de plusieurs recherches antérieures auprès de diverses populations : sujets adultes ne présentant pas de pathologie reconnue, jeunes adultes psychotiques et/ou états-limites, sujets adultes paraplégiques. Le dispositif créé pour ces recherches a évolué pour devenir un outil d’exploration et de médiation utilisé depuis plusieurs années dans le cadre de mes prises en charges thérapeutiques, auprès de patients souffrants majoritairement de troubles narcissiques identitaires.Des photographies de l’espace, pour la plupart prises par le CNRS ou la NASA avec différents télescopes sont utilisées comme support projectif. Avec ces photographies, l’impact esthétique est indéniable. « Que représente pour vous l’univers ? » : L'utilisation de photographies de divers objets célestes comme support projectif pour répondre à une question latente sur la subjectivité mobilise la pensée en images et vient questionner le sentiment de soi actuel et archaïque. Ces photographies offrent une figuration de vécus originaires, métaphores cosmiques déjà remarquées dans la littérature psychanalytique (Anzieu et les signifiants formels, Aulagnier et le trou noir de la psyché…), elles favorisent une mise en scène imagée des interactions précoces.Le dispositif de l’EPSA est un « attracteur » sollicitant la projection d’un "incréé", d’une expérience en souffrance de symbolisation. La malléabilité de l’EPSA permet au sujet de la mettre en forme, raconter l’histoire de ce qu’il ne connait pas de lui et qui le hante. Le sujet projette dans l’EPSA une ambiance psychique, trace d’un soi-émergent dans un fonctionnement parfois en souffrance, où apparaissent des « processus » de transformation.L’EPSA permet d’explorer les capacités réflexives du sujet : Capacités du sujet à élaborer ou non un conflit esthétique, la gestion et l’expression de ce conflit. Capacités à « raisonner » affectivement, à être en contact avec ses émotions, à les éprouver. Se sentir, se voir, « dire » ses émotions. (Trois « degrés » de symbolisation).La maturité du soi archaïque et son expression (maturité affective du sentiment de soi) peut se définir ainsi : la tolérance et l’acceptation des affects, émotions, sentiments… provoqués par les conflits à se penser sujet. La capacité à ne pas être « débordé » affectivement sans trop d’évitement et d’inhibition. L’élaboration psychique et verbale de ces conflits (le partage et la communication avec autrui).L’EPSA permet ainsi d’observer chez l’adulte des troubles liés aux premiers stades de développement : le traitement de l’affect, les interactions précoces, les troubles dus à des déficiences dans l’accordage… L’EPSA est un outil d’exploration de certains processus importants dans la construction de la subjectivité, et permet d’affiner notre regard clinique concernant les troubles identitaires narcissiques, état-limites, pathologies de la dépendance…La passation de l’EPSA, en proposant au sujet de rapporter ses impressions, favorise un travail de mise en forme et de mise en mots. C’est un espace créatif, de trouvé/créé. Un dispositif symbolisant et de partage et rencontre. Il est un objeu, un support thérapeutique. Finalement, l’EPSA est un miroir de soi, et aussi un outil de « transformation », de symbolisation. / This thesis traces the steps of creating a projective device for exploring the self-archaic of an adult subject. Its development is the result of several former studies from various groups: adult subjects with no pathology recognized, young psychotic adults and/or borderlines, and adult paraplegic subjects. The device created for this research has evolved into an exploration and mediation tool used for many years as part of my therapeutic group of patients, mostly suffering from identity narcissistic disorders.Photographs of space, mostly taken by the CNRS or NASA with different telescopes, are used a carrier. With these photographs, the visual impact is undeniable. "What does the Universe mean to you?": The use of photographs of various celestial objects as projective medium to respond to a latent question about subjectivity, mobilizes thinking in images and comes to question the sense of self, archaic and current. The photographs offer a representation of native experiences, cosmic metaphors already presented in the psychoanalytic literature (Anzieu and formal signifiers, Aulagnier and the black hole of the psyche... These favor an imaged scene of early interactions.The EPSA device is an "attractor" seeking the projection of an "uncreated" image, an experience in default of symbolization. The EPSA malleability allows the patient to put into shape the uncreated, to tell the story of what he does not know of himself and that haunts him. The subject projects into the EPSA a psychic atmosphere, a trace of an emerging self with an operation that is sometimes problematic, in which appears "processes" of transformation.EPSA explores the reflexive capacities of the subject: the subject ability to be able to develop or not an aesthetic conflict, management and expression of conflict. It is also explores the ability to "reason" emotionally, to be in touch with his emotions, to experience them, to feel oneself, to see oneself, and "to express" his emotions (Three "degrees" of symbolization).The maturity of the archaic self and its expression (emotional maturity of the sense of self) can be defined as the tolerance and acceptance of affects, emotions, and feelings... caused by conflicts to think about oneself. In this way, the subject avoids being "overwhelmed" emotionally and inhibition. The mental and verbal elaboration of conflicts provides for sharing and communication with others.EPSA allows us to observe in adults the relationship in the early stages of development disorders: treatment of affect, early interactions, and disorders due to deficiencies in the tuning... EPSA is an exploration of an important tool in the construction of subjectivity processes, and refines our clinical look on narcissistic identity disorders, borderline condition, and disease of addiction...The EPSA device, which proposes the patient to imagine his impressions, enables the patient to put words to his thoughts. It is a creative space in which we found and create. A symbolizing device which encourages sharing and meeting. It is an "objeu", a therapeutic carrier. Finally, EPSA is a mirror of oneself, and also a tool of "transformation" of symbolization.