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The use of an interactive mathematics software program was applied to first-year Foundations-level female students in a CLIL classroom in the United Arab Emirates, utilizing PC tablets. The learning experience was made to be enjoyable as well as meaningful, all while utilizing technology in the hopes of creating more autonomous students who would benefit from the change in pedagogy as they embarked on their tertiary learning experience. Their textbooks were integrated into an interactive program using Blackboard (Bb) to include video clips, authentic applications, and interactive applications in order to present the curriculum. Formative assessments were included throughout the process, all aimed specifically at second-language (L2) students with a minimum band of 2.5 level of English, in an attempt to give them immediate feedback on the learning process. The students‘ perspective for this particular medium of delivery shall be discussed and compared with traditional teacher-centered teaching, using the textbook, via observation data, questionnaires, and focus group data analysis. It is hoped that the data accumulated will contribute significantly to the usefulness (or lack of) technology-based instruction and best practices in mathematical interactive software development, specifically for Foundations-level L2 students in the UAE.

Research methods from both the qualitative and quantitative paradigms were used to answer the question concerning how adult readers navigate through informational text embedded in a hypermedia environment to construct meaning.

This practice-led research investigates a design framework within an artistic context for the implementation of Whole Body Interactive (WBI) performance systems that employ real-time motion capture technology. Following an Interaction Design perspective I engage in exploring the requirements for composers, dancers, musicians and performers and their expectations, within a series of transdisciplinary collaborative artistic projects. Integral to this investigation is a comprehensive review and analysis of the progression of interactivity in fine art, music, dance and performance practices, presented in this thesis. As I am particularly concerned with the seamless transfer of the tacit skills and the implicit knowledge of non-digital artists and practitioners to a WBI performance setting, my practical explorations emerged in the contexts of music improvisation - Untitled#1, contemporary dance - Untitled#2, contemporary music composition - Hiroshima, and traditional dance - Duende. Adopting a Holistic Design approach, the experience and knowledge gained from my first practical explorations led to the design and implementation of a WBI prototyping software environment called EnActor, used in tandem with the Orient wireless inertial motion capture system, developed by the Research Consortium in Speckled Computing, at the University of Edinburgh. EnActor provides a simple and effective solution to the problem of linking physical actions to rich digital media responses and can serve as a blueprint for the development of other WBI design software, since it has operated successfully as a prototype, addressing a wide range of WBI design briefs in various contexts. In this thesis I introduce the role of the WBI designer as a specialist interaction designer able to conceptualise WBI scenarios and implement complete systems that operate within various levels of body sensing and control. I also propose the development of WBI systems that are autonomous and unsupervised, and I explore various compositional concepts and mappings that are implemented as automatic, semi-automatic or manual modules and ultimately arranged into layers and to series of blocks that represent complete compositions. Following the understanding of interactivity as a property between systems, I identify the design of three basic types of WBI performance systems that differ in how a user engages with them: methodical, empirical and dialectic. Overall this research aims to facilitate designers and artists interested in the use of real-time motion capture systems in dance, music, theatre and performance art applications.

A research report subuutted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Science. Degree awarded with distinction / This report describes a dynamic Quality of Service (QoS) - based call admission protocol tor distributed multimedia over ATM networks. The protocol incorporates the innovative idea of an extended QoS. This is a composite term which takes account of not only classic QoS multimedia measures, but also of the human aspect of the interaction through human receptivity. For this scenario, different QoS negotiation strategies have been formulated and then simulated with a view towards the establishment of a protocol knowledge base. Separately, a session pricing policy has been elaborated and its effect on user behaviour and network resource allocation studied. / Andrew Chakane 2018

The experience of fictional inconsistencies in games is surprisingly common. The goal was to determine if solutions exist for this problem and if there are inherent limitations to games as a medium that make storytelling uncommonly difficult. Termed ‘ludic dysnarrativa’, this phenomenon can cause a loss of immersion in the fictional world of a game and lead to greater difficulty in intuitively understanding a game’s rules. Through close textual analysis of The Stanley Parable and other games, common trends are identified that lead a player to experience dysnarrativa. Contemporary cognitive theory is examined alongside how other media deal with fictional inconsistency to develop a model of how information (fictional and otherwise) is structured in media generally. After determining that gaps in information are largely the cause of a player feeling dysnarrativa, it is proposed that a game must encourage imaginative acts from the player to prevent these gaps being perceived. Thus a property of games, termed ‘imaginability’, was determined desirable for fictionally consistent game worlds. Many specific case studies are cited to refine a list of principles that serve as guidelines for achieving imaginability. To further refine these models and principles, multiplayer games such as Dungeons and Dragons were analysed specifically for how multiple players navigate fictional inconsistencies within them. While they operate very differently to most single-player games in terms of their fiction, multiplayer games still provide useful clarifications and principles for reducing fictional inconsistencies in all games. Negotiation between agents (designers, players, game rules) in a game is of huge value to maintaining coherent fictional worlds and social information in some multiplayer games takes on a role close to that of fictional information in single player games. Dysnarrativa can also be used to positive effect in certain cases such as comedy games, horror games or for satirical purposes.

Typescript, etc. / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: Computer Science.

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: Computer Science.