Vetskapen om att människans fem sinnen, syn, ljud, känsel, lukt och smak, kan påverkas genom att stimuleras på olika sätt har tagits i beaktning vid utformningen av marknadsföringsverktyget kallat sinnesmarknadsföring. Sinnesmarknadsföring beskrivs som ett framväxande paradigm inom marknadsföringsområdet. Stimulering av sinnena kan bidra till skapandet av helt nya sinnesupplevelser för kunden i den fysiska butiksmiljön. En butiksatmosfärs utformning som har sin utgångspunkt i människans fem sinnen kan påverka kundens beteende och skapa konkurrensfördelar. En stor mängd av den forskning och de studier som genomförts inom ämnet sinnesmarknadsföring undersöker hur kunden blir påverkad av olika sinnesstimuli och hur sinnesstimuli kan användas. En kunskapslucka gällande hur sinnesmarknadsföring faktiskt används i fysiska butiksmiljöer inom detaljhandelsbranschen identifierades. Syftet med den här uppsatsen är att skapa förståelse för hur mikroföretag använder sinnesmarknadsföring i den fysiska butiksmiljön. Vid insamlingen av empiriska data användes en kvalitativ metod och fem intervjuer genomfördes med butiksägare eller anställda som ansvarar för utformningen av en butiksmiljö inom detaljhandelsbranschen. Resultaten visar att flexibilitet är ett nyckelord när det kommer till mikroföretagens utformning av sinnesupplevelser i butiksmiljön. Det har även framgått att vid utformandet av butiksmiljön prioriteras i huvudsak strategier gällande tre av de fyra sinnena som undersökts i denna studie; syn, ljud och känsel. Den styrande faktorn som påverkar arbetet med sinnesupplevelserna i butiksmiljön är visionen för hur butiksatmosfären ska vara och upplevas av företagets kunder. Slutsatsen är att mikroföretag trots sin ringa storlek kan skapa och anpassa sinnesupplevelser utifrån de egna förutsättningarna och sin vision för butiksatmosfären för att differentiera sig. / The knowledge that the five human senses; sight, hearing, touch, smell, and taste, are affected in different ways by stimulation has been taken into account in the making of the marketing tool called sensory marketing. Within the marketing area, sensory marketing is described as an emerging paradigm. Stimulating the senses can lead to the creation of entirely new sensory experiences for the customer in a physical store environment. A store atmosphere based on the five human senses can affect the customer’s behavior and create competitive advantages. A large amount of the former research and studies made on sensory marketing focuses on how the customer may be affected by different sensory cues and how sensory cues can be used. A gap in knowledge has been identified regarding how sensory marketing is actually used in a physical retail store environment. The purpose of this thesis is to create a deeper level of understanding in regard to how micro-enterprises apply sensory marketing in their physical store environment. The empirical data has been collected adopting a qualitative method and five interviews have been conducted with business-owners or employees that are in charge of the environment in a retail store. Results show that flexibility is a keyword in regards to how the micro-enterprises creates the sensory experiences in the store environment. It also showed that when the store environment is created, three of the four senses studied in this thesis are prioritized; sight, hearing and touch. The determining factor that affects the creation of the sensory experiences in the store environment is the vision that states how the store atmosphere should be and be perceived by customers of the company. The conclusion is that although the micro-enterprises may be small in size they can create and adapt their sensory experiences based on their own conditions and their visions for the store atmosphere in order to differentiate themselves.

The aim of this study is two-fold, firstly to ascertain whether teachers consider that the Fonomix method (a Swedish phonological training programme with articulation) contributes to an improved pupil learning and, secondly, whether pupils who have been taught using the Fonomix method find decoding easier in their first year at school. The study’s methodology consists of qualitative interviews with teachers who have experience of the Fonomix method. The interviews were carried out at two different schools within the same municipality. The study shows that the teachers interviewed agreed that the Fonomix method benefits many of the pupils in a class. The teachers also considered that the pupils starting year one were advanced as regards their knowledge of letters and words thanks to the teaching they had received during their preschool class using the Fonomix method. This is due to the phonetic teaching being multi-sensory and varied which facilitates learning for a greater number of pupils. The Fonomix articulation method provides extensive teaching material which can easily be varied and adapted to suit the pupils and consolidate learning. / Fonomix-Munmetoden är en metod som kan användas när barn ska lära sig läsa. Metoden är multisensorisk och bygger på den fonologiska medvetenheten, det vill säga kopplingen mellan språkljud och bokstäver. Syftet med denna undersökning är att få mer kunskap om ifall lärare anser Fonomix- Munmetoden bidrar till ökat lärande hos fler elever samt om lärare anser att elever som undervisats med Fonomix i förskoleklassen knäcker avkodningen lättare i årskurs 1 än de elever som inte arbetat med Fonomix i förskoleklassen. Undersökningen är byggd på kvalitativa intervjuer med lärare som har erfarenhet av Fonomix-Munmetoden. Intervjuerna har utförts på två olika skolor i samma kommun. Undersökningen visar att de lärare som intervjuats är eniga om att Fonomix-Munmetoden är en metod som gynnar fler elever i en klass. Det visar sig även att när eleverna börjar årkurs 1 har de kommit långt i sin bokstavskunskap tack vare undervisningen med Fonomix-Munmetoden i förskoleklass. Det är tack vare att träningen med den fonetiska medvetenheten sker multisensoriskt och varierat som gör att fler elever kan tillgodogöra sig kunskaperna. Fonomix-Munmetoden har ett gediget material som lätt kan varieras och anpassas efter eleverna. Detta gör att de på olika sätt kan träna in samma bokstav och språkljud.

Teachers with or without special training encounter dyslexic students daily. As such, these teachers need to have tools for these encounters. One hundred seventy-two teachers took part anonymously in an online survey. This paper looks closely at the following: the multi-sensory approach, extra-classroom groups, the impact of motivation and how to motivate students, and the social implications of dyslexia in a classroom situation and what can be done about them. This paper also includes the so-called special stipulations, a part of the Swedish school ordinance that allows a teacher to omit criteria when grading a student under specific circumstances. The survey showed that there is a myriad of different aids being used and that there are many different views on the special stipulations, some positive and some critical. Finally, one of the most important findings shown by the study is that there is a general lack of knowledge about the impact of the opacity of English orthography. / Lärare med eller utan särskild utbildning möter elever med dyslexi dagligen, och behöver därmed verktyg för dessa bemötanden. Etthundrasjuttiotvå lärare deltog anonymt i en online undersökning. Den här uppsatsen tittar närmre på följande: det multi-sensoriska tillvägagångssättet, grupper utanför klassrummet, hur bristen på motivation påverkar elevernas inlärning och hur man kan motivera dem. Även möjliga sociala konsekvenser dyslexi kan ha i en klassrumssituation och vad man kan göra åt dem diskuteras. Till sist ingår även undantagsbestämmelsen, även känd som PYS-paragrafen. Den är en del av den svenska skolförordningen och tillåter en lärare att bortse från enstaka kursmål när det kommer till betygssättning under särskilda omständigheter. Undersökningen visade att det finns ett stort antal hjälpmedel som används, och många olika tankar om undantagsbestämmelsen, en del positiva, andra kritiska. Slutligen så visar min undersökning att det finns en brist på kunskap om den låga transparensen hos den engelska ortografins påverkan.

Bicyclist are increasingly shaping the picture of urban traffic. With regard to guided navigation through urban areas, navigation systems that are designed for this type of traffic participants do not offer a satisfying solution. Voice instructions are often perceived as annoying and far too detailed. In addition, the usage of headphones to hear these instructions reduces the hearing and localization of environmental sounds significantly. Visual information on the other hand, draws the attention too much away from the main traffic situation. This effects the ability to react to and interact with other traffic participants and the surrounding and results in a feeling of insecurity.This thesis investigates how acoustic and vibro-tactile signals can be used to provide cyclists with necessary navigation instructions while maintaining the ability to perceive ambient sounds and keep attention to the environment. In addition, the focus is placed on the experience of guided navigation with a non-visual, multi-sensory system.

Theatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting theatre with and for students with Autism Spectrum Disorder. My process has a three-pronged approach: adapting an established production using a Sensory Friendly model; adapting an arts integration facilitation in an inclusive elementary classroom; and collaboratively creating a sensory-based theatrical experience with other artists and students with cognitive disabilities. Through these experiences, I strive to uncover how developing theatre for this specific audience has challenged me to grow as an artist and activist.

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手機的導航功能是一般人習以為常的生活工具，到陌生地點的路線規劃變成越來越簡單的事，不過目前多數的服務都以地圖方式呈現，資訊陳列和互動設計皆十分視覺導向，造成以聽覺操作手機的視障者覺得難以上手且不友善。統計發現，台灣國內的視障者幾乎天天都有外出需求，卻沒有一款針對他們所設計的導航服務，導致需要外出與獨立行動的視障族群必須透過更繁瑣的準備過程才得以安心的出門。再者，搭配現有導航服務的GPS定位並不夠準確，無法提供視障者所需的近身資訊，東南西北方位與百餘單位的公尺數對明眼人來說都可能是一項挑戰，視障者更是難以消化。因此，本研究透過情境訪查、隨身觀察與專家訪談等質化研究方式，深入探索視障者需求，並了解他們與一般人於行動上的異同。藉由新興的iBeacon微定位技術提供非視覺化的線索，將曲折的旅程分割成一段一段的路線，並在設計過程中融入視障者定向訓練的所知所學，讓他們能以原有技能在街道上安心行走，提升獨立出門的安全性。 / Using mobile apps to help route finding is very common for most of us. However, the visually impaired smartphone user does not benefit from this technology. A tremendous demand for independence and mobility remains unsolved. Unlike us, the visually impaired use their smartphone by auditory sense. But those apps with touch screen are not specially designed for their usage pattern. According to our preliminary study, current navigation service always comes with bad information display and unfriendly interaction design. All of these lead to a very frustrating navigation experience. Through the qualitative research methods like contextual inquiry, shadowing, and expert interview, we’d like to explore how different they are from us on the matter of traveling, and reveal the real need of the visually impaired for mobile navigation. Based on our research finding, we want to propose a navigation app specially made for the visually impaired smartphone user. In addition to GPS base service, we provide hyper-local, meaningful multi-sensory notifications to our user through micro location technology of iBeacon. And we integrate the knowledge they learned from Orientation and Mobility training in the navigation process to create a better walking experience and encourage them to live with independency. The app itself is not only a way finding tool but also an information and experience sharing platform for the visually impaired community. Combining the power of design and technology, we can enhance their cognition to the living environment, and improved the independence & mobility for our users as well. In the end, the visual impaired users will be motivated to explore the world on their own and enjoy the colorful world.

The Mesopotamian inscriptions and collections in ancient Mesopotamia consist of different meanings extended over long time-periods and with social, political, economic and ethnic differences. Scholars in determining whether the texts are an authentic source for Mesopotamian law traditions developed different theories and each of these theories has different variations. In a literature study to obtain if the inscriptions and collections are an authentic source, the different theories and methodologies of the inscriptions and collections were mentioned and the inscriptions and collections were tested in accordance with the characteristics of the Mesopotamian law traditions. Until new interpretation of documents of daily activities and legal activities, which can prove, that these texts are an authentic source, the interpretation of the collections and inscriptions on the legal issues of ancient Mesopotamians must be applied with caution and studied together with the greater corpus of cuneiform texts. / Old Testament and Ancient Near East Studies / M.A. (Ancient Near East Studies)

Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.