To study and understand the importance of Internet of Things-driven citizen science (IoT-CS) combined with data satisficing, we set up and undertook a citizen science experiment for air quality (AQ) in four Pakistan cities using twenty-one volunteers. We used quantitative methods to analyse the AQ data. Three research questions (RQ) were posed as follows: Which factors affect CS IoT-CS AQ data quality (RQ1)? How can we make science more inclusive by dealing with the lack of scientists, training and high-quality equipment (RQ2)? Can a lack of calibrated data readings be overcome to yield otherwise useful results for IoT-CS AQ data analysis (RQ3)? To address RQ1, an analysis of related work revealed that multiple causal factors exist. Good practice guidelines were adopted to promote higher data quality in CS studies. Additionally, we also proposed a classification of CS instruments to help better understand the data quality challenges. To answer RQ2, user engagement workshops were undertaken as an effective method to make CS more inclusive and also to train users to operate IoT-CS AQ devices more understandably. To address RQ3, it was proposed that a more feasible objective is that citizens leverage data satisficing such that AQ measurements can detect relevant local variations. Additionally, we proposed several recommendations. Our top recommendations are that: a deep (citizen) science approach should be fostered to support a more inclusive, knowledgeable application of science en masse for the greater good; It may not be useful or feasible to cross-check measurements from cheaper versus more expensive calibrated instrument sensors in situ. Hence, data satisficing may be more feasible; additional cross-checks that go beyond checking if co-located low-cost and calibrated AQ measurements correlate under equivalent conditions should be leveraged.
COVID-19 has accelerated the uptake of blended learning approaches all over the world. The need to restrict human interaction to reduce the possibility of infection has led to a full lockdown of all educational institutions. Blended learning is a new teaching style combining traditional and modern learning models, where the digital methods of teaching students do not completely replace the ways in which the traditional teachers used to interact with and teach the students. However, there are several challenges associated with the understanding of blended learning models and their implementation in an educational institution. With the development of these blended learning models, there have also been several challenges associated with the different ways of accepting the learning models and using them in combination. This is why this paper proposes a design for a system of blended learning activities that would provide students with a total learning model, which has not replaced the traditional learning models but has successfully utilized digital technologies and blended them with traditional learning. Therefore, they can be used along with the old way of teaching a student, evaluating how the student is performing and also how the staff are performing as teachers. This paper focuses on the development of this model for students in New Zealand.
Fog computing architecture is referred to the architecture that is distributed over the geographical area. This architectural arrangement mainly focuses on physical and logical network elements, and software for the purpose of implementing proper network. Fog computing architecture allows the users to have a flexible communication and also ensures that the storage services are maintained efficiently for the purpose of managing the data. However, it has been observed that in the field of education fog computing architecture has gained huge importance due to its real time application feature. The main objective of the survey is to develop a systematic literature review for the technology of fog computing in the education IoT system. The survey will also focus on evaluating the essential factors that has a crucial role in the fields of education as well as investigating the limitation and findings associated with the fog computing technologies in educational systems from the perspective of privacy, security, and agility.
I am prone to bumbling, to miss-stepping. In my efforts to stay present in the living, fluctuating, tremulous moment-to-moment-ness of the therapeutic/educational encounter, I am sometimes not very fleet of foot. I have learned, once I have stumbled, to engage in a staggering recovery dance of rather vulnerable-making honesty. My slog to become humanly available and embrace ‘vulnerability with purpose’ by stepping intentionally into these ‘rupture and repair’ moments continues to be slow and nettlesome. I have explored this tangled tango in my work as therapist but a recent teaching experience tripped me over the threshold into travelogue-ing about this phenomenon within my role as educator of therapists. Here I contemplate the question: What of the wounded-educator – what happens when an educator reveals their own vulnerability as part of the educational encounter? In this quest, I privilege creative ways of coming-to-know by blending arts therapeutic processes with arts-based research plus autoethnography – a mash-up I call abr + a. This allows me to use story-telling, solo and bricolaged poetic writing, collage and dialogue to make sens/e of vulnerability by engaging my five physical senses to evoke an implicit sixth soul- or felt-sense thereby offering a new life-forward ‘sens’ of direction.
In this arts-based living inquiry, I attempt to make-sense of my orientation towards poiesis and presense as an a/r/t/s-based practitioner – where I disrupt the word ‘a/r/t/s’ to illuminate my roles as artist / researcher / therapist and teacher / and supervisor. I indwell with several personal hauntings that feel relevant and use story-telling, arts-making, poetic writing and conversations with relevant authors to read the bones that scaffold my practice of poietic presense.
This piece of arts-based writing explores my personal transition from Arts Therapy student to Arts Therapy lecturer. Further, the roles and relationships between student and lecturer are explored and related to the Māori concept of ako, the idea of reciprocal learning and teaching. This exploration is held by the tenet that the arts process is integral to the teaching environment at Whitecliffe College, with the argument being that trusting in the poietic process supports and facilitates embodied knowledge. The piece further provides a contemplation of students’ experiences of their individual maelstrom (their deep journeys into themselves), the roles of the lecturers as those who help hold those journeys, and the learning gems that can be found along the way.
Nature connected arts therapy (NCAT) is still a relatively new field in education. This article is a first exploration of teaching nature connected arts therapy in a post graduate diploma course in New Zealand. Included are examples of the outdoor teaching sessions at Whitecliffe. This is paired with student voices and art work describing the student’s experiences of interacting with nature and natural art materials during the sessions. The overarching theme of teaching NCAT in this setting is the widening of the concept of communitas to include nature. Furthermore NCAT provides the students with means of self-care which they can access during and outside of the programmeme.
This article traces the collaborative creation of a final gift–a symbolic weighted quilt–recently given by a cohort of third year trainee arts therapists to their faculty and fellow students. The article uses poetry and narrative to present and explore the process of this group of emerging arts therapists being woven together via their experiences of creativity, uncertainty and trust during their time on the Master of Arts in Arts Therapy program. It notes the interconnectivity between the singular and shared identities found during this journey, and explores the precious, expansive, and universal nature of the arts therapy experience and profession. This creative collaboration is a representation of the experience of student arts therapists who, having been soaked in the heavy liquids of creative encounters and felted together as a community, are now on the cusp of taking this deep fluid identity and experience out into the wider community.
Over the past ten years, the profession of arts therapy has come a long way in South East Asia. As the first and truly only international professional association in the Asia-Pacific region, the Australian and New Zealand Arts Therapy Association (ANZATA) is now firmly positioned as a professional community which contributes effectively towards the development of the arts therapies. In all countries where arts therapy has evolved, there have been significant challenges inherent in establishing and developing a credible professional identity. Such identity and recognition applies not only to how we view ourselves but also, importantly, to how we are viewed by the public, by other professions and by governments. A healthily developing professional association is a vital component of any emerging profession, and grows in tandem with a dynamic and developing practice, with rigorous standards of training within solid theoretical frameworks, with an adherence to ethical guidelines, and with an evolving research culture. As arts therapy gains momentum across the globe, specifically within this geographical area, the profession is coming of age – providing exciting opportunities for interdisciplinary collaborations where differences and diversity are acknowledged, embraced and integrated. The link that connects us all is the healing power of the creative process and the recognition of its vital importance to our lives and wellbeing.
In this collection of creative vignettes, two immigrants – one Chinese and one African – explore difficult experiences caused by migration. The tale began several years previous to this when Ingrid Wang, an arts therapy student, grappled to express how moving from China to New Zealand has silenced her sense of self. Deborah Green, then a lecturer in the early stage of her academic career, witnessed Ingrid’s struggles and responded by drawing on her own experience of emigrating from South Africa to New Zealand. This story then moves to the present as both Ingrid and Deborah reconnect when Deborah begins supervising Ingrid’s Master’s research project and the core motif of stitching is woven throughout this arts-based conversation. Using Skype, telephone, email and snail-mail, they stitch together the geographical distances between the two cities in which they live – Ingrid in Auckland on the North Island and Deborah in Christchurch on the South Island. Through art-making and creative writing, they stitch together the metaphorical distances that manifest themselves in various ways through migration, language and cultural differences.
This research demonstrates that cooperative inquiry (CI) offers authentic opportunities for academics to transform their teaching, paving the way for additional collaborative practices in higher education across a range of disciplines. Using data from cycles of action and reflection, a multidisciplinary group of seven tertiary teachers committed to monthly meetings over a period of 18 months. This collaborative process enabled expansion of personal, professional, and institutional boundaries in terms of how learning can occur through transformed and transformative teaching approaches. Our commitment led to innovative teaching practices that emerged from our CI process. Challenges of this approach and possible ways to overcome them are addressed. This research led primarily to transformation of self and enhanced academic relationships. It also provides insights regarding the potential to transform tertiary learning institutions and contribute to the development of academics who are inspired to be more appreciative of and engaged with their students.
This article considers the effectiveness of digital storytelling as a form of communication design in addressing stigma and discrimination associated with being human immunodeficiency virus (HIV) positive. The Altered Lives digital storytelling project was a collaboration between a group of New Zealand women who live with HIV and a team of artists, including communication designers and an oral historian/writer. The final DVD was shown to a series of focus groups, consisting of young people aged 15-20 years who may or may not be sexually active; social service and health care professionals who work with people who need to be tested for HIV, aged from 25 to 73 years; and women aged between 22 and 38 years who have been affected by sexual violence, all of whom are currently being tested for HIV as part of their recovery/treatment. Findings suggest that collaboration of this nature has potential to raise and challenge the stigma attached to having an HIV diagnosis whereas at the same time acts as an educational tool across different segments of the community.
This article explores the notion of management as an acoustic phenomenon and approaches this through examining musical performance, especially how symphony orchestra musicians develop musicianship, achieve ensemble, and work together in relationship with the conductor. We explore these ideas under the rubric of “managing musically” and offer as a comparison Captain Holly Graf being relieved of her position commanding the U.S.S. Cowpens. Managing musically implies becoming sensitized to gestural nuances within the environment and among team members.
This article discusses the theoretical and social contexts of a community art project that took place at a public housing estate located in Melbourne, Australia. The art intervention was aimed at increasing the residents’ health and well-being through the empowerment of their own cultural creations. Three sculptures in the form of giant babushka dolls were collaboratively designed to counter the negative effects of being eradicated from the dominant view of what constitutes culture. By placing art therapy practices within a human rights discourse, the project exemplifies how collaborative art making can act as a transitional space that mediates between marginalized communities and the wider community in which they are located.
This small research project investigated whether it was feasible and beneficial to use voice recognition software to transcribe tape recordings of multiple voices. Two methods of use were trialed and it rapidly became clear that the ‘listen and repeat’ method was the leading contender. Through an iterative process, we developed guidelines to increase the usefulness of the software for research purposes, the main points of which are incorporated in this report. Our results suggest that voice recognition software has many advantages, and few disadvantages. It is of particular use for researchers for whom prolonged keyboard work is difficult or unsafe and for researchers with slow typing speeds, but any researcher may find it advantageous.
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