This dissertation examines the antecedents to the outdoor education movement that proliferated in the first decades of the twentieth century, arguing that it stemmed from the Romanticism that emerged in the nineteenth century. Drawing on a Romantic approach to pedagogy, early outdoor educators looked to nineteenth-century literature and art as inspiration for their educational methods, curriculum and marketing. Rejecting the concepts of "rugged individualism," these outdoor educators expressed an ideal of "rugged communalism" where concepts of selflessness, community, and democracy became the lessons learned in the outdoors. The first chapter provides an overview of Puritan understanding of the wilderness and corresponding perspectives on childhood and education by drawing on the writings of John Winthrop, Cotton Mather, and Jonathan Edwards as well as John Bunyan's Pilgrim's Progress and the experience of King Philip's War. The Romantic revolution as expressed by Washington Irving, James Fenimore Cooper and others form the basis of the second chapter. Chapter three charts the transformation of American perspectives on wilderness through the visual arts and literature, specifically those writings of Ralph Waldo Emerson and Nathaniel Hawthorne combined with the work of Thomas Cole. This chapter also explores the White Mountain tourist industry as an expression of these ideals. The fourth chapter follows the changing conceptions of childhood throughout the nineteenth century with a focus on the image of the barefoot boy and street urchins. Chapter five discusses the development of a Transcendental pedagogy through the writings and educational experiments of Ralph Waldo Emerson, Bronson Alcott, Margaret Fuller, Henry David Thoreau, and Louisa May Alcott, including the impact of the Temple School and Brook Farm. The second half of the dissertation addresses specific applications of experiential outdoor pedagogy. This includes the Boston Farm School on Thompson Island, Charlesbank and the playground movement in Boston, the North Bennett Street Industrial School's outdoor programs, the relationship between the Grand Army of the Republic and the Boy Scouts of America, and the impact of Dudley Allen Sargent and Sargent Camp.

Augmented Reality (AR) is fast-growing technology that has proved itself in many applications, including manufacturing environments. Manufacturing engineers benefit in an industrial environment by harnessing this technology in the workplace to guide workers through a variety of tasks. It is no longer a question on whether it is useful, but what are the best ways of applying the technology. Currently there are no published studies on ways to use augmented reality in a Manufacturing Engineering Educational Environment (MEEE). This study examines various ways that AR can be used in an MEEE setting and assesses the value of such applications. This study examines several different ways of creating and implementing AR and assesses whether there are notable gains from the use of AR over written instructions that are commonly used to teach in university environments. One portion of this research looks at instruction created using CAD based models to animate steps and uses model tracking and overlay to tie the experience to reality. A second type of AR uses video, audio and spatial tracking to guide the user through an experience without the use of any CAD model overlay. These two methods were presented to research subjects on either a Hololens 2 or a smartphone. Results showed that both methods of AR presentation were superior to written instructions. Students were able to complete instruction with fewer interventions and rated their experiences in regards to satisfaction and attention particularly highly. It was found that although there is a large wow factor associated with using the Hololens 2, the practical application favors the integration of AR with a smartphone. Research subjects are already familiar with smartphones, so asking them to use them for AR instruction was a seamless task. The Hololens 2 is a new and exciting technology that is on a steep learning curve with glitches that hamper immediate adoption although it will undoubtably grow in use over time. Overall, the use of AR as a teaching tool was met with enthusiasm, and results indicated that it was an effective teaching tool in an MEEE.

The purpose of this study is to review material from the scientific field of psychology and where appropriate adapt it to experiential and active learning classroom experiences. The study is conducted in order to meet the Swedish curriculum for gymnasium and the courses Psychology 1 and 2. The review includes scientific material in a range of forms, such as training programs, personal- and school intervention programs, psychometrics and experimental psychology. The study suggests classroom activities on the topics:  cognitive-behavioral therapy, stress coping, positive psychology, emotional intelligence, psychometrics, cultural competency and cognitive bias. / Syftet med denna studie är att gå igenom material från det vetenskapliga fältet psykologi och där det är lämpligt anpassa det till klassrumsövningar som använder sig av upplevelsebaserat och aktivt lärande. Studien genomfördes med syftet att uppfylla den svenska läroplanen för gymnasiet och kurserna Psykologi 1 och 2. Undersökningen byggde på vetenskapligt material i olika former inkluderat träningsprogram, åtgärdsprogram för individer och skolor, psykometri och experimentell psykologi. Studien föreslår klassrumsövningar i ämnena: kognitiv beteendeterapi, stresshantering, positiv psykologi, emotionell intelligens, psykometri, kulturell kompetens och kognitiv bias.

Current research literature reveals that there are numerous benefits such as personal growth, academic success and exposure to multiple perspectives surrounding arts-based learning (Brice Heath, 2001; Cole, 2011; Cote, 2010). According to McMahon, Klopper, & Power (2015) it is important for students to "see themselves as decision makers and understand that they can influence their own learning experiences" (p. 19). Additionally, these same researchers emphasize that teachers need to "focus on the learning experience of the students and understand that the greater value of engaging in the arts resides in the students' art making process" (p. 19). Current research has concentrated predominantly on studies of student experiences at the time that they are enrolled in arts-based programs. My study is unique as I engaged participants retrospectively on their former experiences of learning in an arts-based program. More specifically, my research question asked "what are the effects of attending an arts-based secondary school program on the subsequent lives of six former students, including myself, who graduated two decades ago?" To answer this question, I used narrative inquiry and arts-based methods supported by a social constructivist theoretical framework. More specifically, I analyzed my research through the use of an online whiteboard entitled Miro, and then expressed my findings in the form of a "factional" story (Kallio, 2015) co-narrated by myself and my participants. This 'factional' story is told through fictional characters based on my research analysis, and also includes fictional elements. Though participant stories varied, key themes emerged as they grew as people through the experience, carrying with them lingering memories that continue to influence their lives today.

The purpose of this study was to explore the ways in which high school violin students transform and comprehend a teacher’s model through the framework of Kolb’s (1984) Experiential Learning Theory. Additionally, the Learning Styles Inventory (LSI) results of this study’s participants were compared to extant researchers’ LSI data. Kolb and Kolb’s Learning Styles Inventory 3.1 and a brief survey were administered to participants (N = 100) during Phase I of the study in order to gather data regarding three quantitative independent variables—learning style, gender, and grade level. A subset of participants (n = 15) representing an array of those variables participated in Phase II of the study wherein participants were shown a video recorded lesson. During that lesson, a teacher modeled an eight-measure melodic phrase for each participant whose responses to the lesson were recorded for later analysis. Qualitative student responses (applied strategy, focus during the lesson, type of response to the model, performance intensity, task complexity) and interview responses were coded and distilled into common themes and compared among independent variables from Phase I. The high school violinist participants in this study preferred reflective observation and concrete experience orientations more frequently than was the case in extant research. The only significant interaction between independent variables was found between gender and learning preference. The two most frequently applied strategies were derived from Initiating (AE/CE = 24.46%) and Creating (CE/RO = 20.44%) learning styles. Participants largely focused on musical components (77.55%)—e.g., rhythm, pitch, intonation, articulation—by performing with the bow (48.72%) concurrently with the model (57.95%). When provided with practice time, participants largely utilized low (33. 68%) or silent, reflective (24.47%) intensities. Fundamental, two-phase combinations of strategies were applied the majority of the time (57.72%) by participants. Qualitative descriptions of the variety of participant responses were included and contextualized using LSI data. I concluded, based on a synthesis of the quantitative data and qualitative observations, that participants largely prioritized immediate individual needs—such as pitch identification or previous sections of the lesson—over both teacher instruction and their own learning preferences. I also concluded that a single modeling experience often resulted in a diverse array of participant responses—which may or may not adhere to the immediate content of the lesson. As a result of this study, I suggest that music educators and researchers consider that learners potentially utilize a singular modeling experience in a variety of different ways resulting in an array of potential outcomes. It is important for teachers to be explicit and clear in their instructions surrounding a modeling task in order to better guide students towards desired outcomes. Future researchers might consider learners’ viewpoints in response to a modeled experience as a means of framing achievement, outcome, or other research topics. ELT researchers might consider building on the implications of the comparison among KLSI data and qualitative data among learners under the age of 19 with a focus on variables outside the typical factors of gender, age, educational level, educational specialization, and culture.

No description available.

During the 1920s, the Midwestern American architect Bruce Goff advanced a unique design approach that would govern his career: "Good architecture for everyone." Following the First World War, this period is considered the end of the Victorian and Edwardian era and "American innocence," and the beginning of the modern era—the 20th century. Goff challenged the predominant views of progressive modernism, the belief that science and technology were to be the "grand solution" to society's weaknesses. In contrast to his contemporaries who employed design methods of standardized building forms, mass production, and technology, which would later lead to societal alienation, Goff viewed his clients as individuals possessing a mind, a body, and a spirit living in a world together with other human beings. He believed that each person is endowed with five or more senses that "always" respond to Nature and its beauty. This dissertation will show that such an experiential and existential attitude is found in Goff's drawings, writings, lectures, and interviews and expressed in a clear commitment to the Bavingers (as clients), to their chosen site, and the architectural experiences designed for the Bavinger House. Informed by Gaston Bachelard's, poetic imagination, three journeys to and through the Bavinger House, reconstructed by generating drawings and bringing together a manifold of experiential methodologies to argue the claim that the Bavinger House is the preeminent paradigmatic example of Goff's work. The goal is to establish that Goff was indeed, a poetic architect who employed an imaginative organicism in his work. / Doctor of Philosophy / During the 1920s, the Midwestern American architect Bruce Goff advanced a unique design approach that would govern his career: "Good architecture for everyone." Following the First World War, this period is considered the end of the Victorian and Edwardian era and "American innocence," and the beginning of the modern era—the 20th century. Goff challenged the predominant views of progressive modernism, the belief that science and technology were to be the "grand solution" to society's weaknesses. In contrast to his contemporaries who employed design methods of standardized building forms, mass production, and technology, which would later lead to societal alienation, Goff viewed his clients as individuals possessing a mind, a body, and a spirit living in a world together with other human beings. He believed that each person is endowed with five or more senses that "always" respond to Nature and its beauty. This dissertation will show that such an experiential and existential attitude is found in Goff's drawings, writings, lectures, and interviews and expressed in a clear commitment to the Bavingers (as clients), to their chosen site, and the architectural experiences designed for the Bavinger House. Informed by Gaston Bachelard's, poetic imagination, three journeys to and through the Bavinger House, reconstructed by generating drawings and bringing together a manifold of experiential methodologies to argue the claim that the Bavinger House is the preeminent paradigmatic example of Goff's work. The goal is to establish that Goff was indeed, a poetic architect who employed an imaginative organicism in his work.

Mental disorders are a prevalent health issue that has an extensive amount of variability in the quantity of disorders, affected populations, and treatment. There are a multitude of approaches or therapeutic methods used by the mental health community. Although each therapy is valuable in unique ways, each therapy may not be suitable to treat every disorder or client. Traditional approaches, such as talk therapy, are effective for certain individuals, whereas some clients may not respond well to any of the traditional talk therapies. When traditional therapies are not working, a referral can be made for a therapy that might suit the client better. Equine-Assisted Psychotherapy (EAP) is an experiential psychotherapy that has done well not only in assisting typical clients, but also with clients that have had trouble in traditional modes of therapy. This is a collaboration of current works and research in EAP, along with the knowledge base of a current licensed practitioner of EAP. The purpose is to lay out the fundamentals of EAP, which offers a different modality than traditional talk therapies. By crafting a better picture of EAP, perhaps it can kindle further research in its efficacy and guide additional mental health professionals towards this type of therapy.

No description available.

No description available.