Relevant bibliographies by topics / College theater Theater

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'College theater Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "College theater Theater"

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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Kamran, Rizwana, Mohamed Al-Eraky, Faisal Izhaar, and Khalid Mahmood Anjum. "EDUCATIONAL ENVIRONMENT;." Professional Medical Journal 25, no. 08 (August 4, 2018): 1270–76. http://dx.doi.org/10.29309/tpmj/2018.25.08.52.

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Objectives: To measure the perceptions of medical students on the learningenvironment in surgical theater of FMH College of Medicine and Dentistry, Lahore, Pakistan.Study Design: Teaching hospital-based cross-sectional study. Setting: Fatima MemorialHospital College of Medicine and Dentistry, Lahore, Pakistan. Period: January 2017 to June2017. Methods: The Mini-Surgical Theater Educational Environment Measure (mini-STEEM)(thirteen items from the STEEM inventory) was used to measure perceptions of medicalstudents on the learning environment in surgical theater. Mini-STEEM was administered tomedical students of fourth and final year during their rotation in surgical theater at FMH Collegeof Medicine and Dentistry. Social Sciences (SPSS) Version 20 was used for non-parametricstatistical analysis. Results: Questionnaire was filled by all 134 students, with a response rate of100%. The mini-STEEM was shown to be a reliable tool to measure overall learning environmentin the surgical theater of FMH College of Medicine and Dentistry. The overall mini-STEEM meanscore was 37.66 which was below the midpoint score (39). Students’ ratings were low for twosubscales, namely: ‘Atmosphere’ and ‘Operating experience. Discrimination subscale showedhigh ratings as no significant differences of perceptions were found between male and femaleparticipants. Conclusion: The medical undergraduates perceived the educational environmentwithin the surgical theater of FMH College of Medicine and Dentistry below satisfactory. Resultsof the study implied that the environment required multiple measures for improvement in thesurgical theater to promote surgical education in undergraduate medical students.
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Puchner, Martin. "Theater, Philosophy, Pedagogy." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 423–29. http://dx.doi.org/10.1632/pmla.2016.131.2.423.

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On my first day as an undergraduate at the university of konstanz, i attended a lecture i had been particularly looking forward to: an introduction to philosophy. The professor, Jürgen Mittelstraß, began by declaring that he hoped very few of us would become professional philosophers—ideally, none. Philosophy was a kind of training that should be carried into other endeavors, not pursued as an end in itself. I got really mad. After the lecture I marched into his office and declared that I was going to be the exception. He smiled and kindly took me under his wing for the rest of my studies. But somehow, after majoring in analytic philosophy in college, I began to gravitate toward literature and theater, probably because I had been doing a lot of extracurricular theater along the way. When, twenty years later, I wrote to tell him what had become of me, he revealed that he had once contemplated a career in theater himself.
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Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.

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Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.
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Meiting, Zeng, Zhao Daoliang, Yang Haiming, and Yang Li. "Study on theater evacuation based on buildingEXODUS." E3S Web of Conferences 198 (2020): 03008. http://dx.doi.org/10.1051/e3sconf/202019803008.

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In assembly occupancies with serried seats distribution, such as cinemas and theaters, the evacuation bottleneck is not only limited to the exit but also in the narrow corridors formed by a large number of seats. These narrow corridors are also an important factor that why people cannot evacuate quickly. This paper observes the evacuation situation of a college theater at the end of movies, and uses BuildingEXODUS to study the influence of seat jumping and corridors’ width altering on evacuation. Studies shows that when the number reaches 20%-60% of the capacity, seat jumping situation during evacuation can improve evacuation efficiency. While the number exceeds 60% or less than 20% of the capacity, the total evacuation time will not change significantly. If the total width of the hallway remains unchanged and the width of each hallway is changed, the exit may reach the state of congestion in advance, which aggravates the congestion at the exit and also has a certain impact on the seat jumping to escape.
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Yelderman, Logan A., Monica K. Miller, Shelby Forsythe, and Lorie Sicafuse. "Understanding Crime Control Theater." Criminal Justice Review 43, no. 2 (June 6, 2017): 147–73. http://dx.doi.org/10.1177/0734016817710695.

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Policies such as America’s Missing: Broadcast Emergency Response Alerts, safe haven laws, Megan’s law, and three-strikes laws have provided the public with a feeling of safety and security. However, research has provided evidence that disputes their effectiveness. These types of laws and policies have become known as “crime control theater” (CCT) because they appear to be effective, serve the public’s best interests, and provide a crime control purpose but are largely ineffective and have unintended negative consequences. Using self-affirmation and emotion theory, this study examines potential explanations as to why individuals might support CCT policies. It also investigates whether support differs based on relevant characteristics (e.g., gender, sample type, and preexisting beliefs about policy effectiveness). Results suggest that females and Amazon Mechanical Turk (MTurk) workers tend to support CCT policies more than males and college students. Further, the relationship between gender and support was mediated by anticipatory guilt, and this effect was stronger for individuals who did not believe in the effectiveness of the policy. Results suggest that individuals who believe the policy is effective will support it more than those who do not, regardless of their anticipated guilt. In contrast, those who doubt the policy only support it if they anticipate feeling guilty; this effect is stronger for women. Results can help explain why people support policies that are largely ineffective and suggest that relevance to the issue can help explain why some groups are more supportive than others.
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Yeager, Jenna. "Theater Engagement and Self-Concept in College Undergraduates." Journal of Occupational Science 13, no. 2-3 (July 2006): 198–208. http://dx.doi.org/10.1080/14427591.2006.9726516.

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Bloom, Leslie Rebecca, Danielle Cooperstock, Gianna Chacon, Jane Whitford, Molly Bernard, Amanda Marquez, Erin McGuire, Brendan Paradies, and Sydney Laport. "The Myth of the American Dream." International Review of Qualitative Research 11, no. 1 (February 2018): 95–115. http://dx.doi.org/10.1525/irqr.2018.11.1.95.

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This article presents the script of “The Myth of the American Dream,” a readers theater researched, written, and presented by students in a women's and gender studies class called “Women, Social Class, and Social Policy.” The script illustrates six diverse respondents’ perspectives on how family backgrounds, intersectional identities, and high school experiences influenced college access and experiences, student debt, and current circumstances. The script poses the question: Does higher education, especially for students raised in low incomes, help achieve the American Dream? The article concludes with a reflection on this readers theater and why Bloom includes readers theater projects in her undergraduate classes.
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Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.

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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign language teaching and learning by offering examples where drama is used with other taught languages, such as French, German, Spanish, Italian, Portuguese, but also Romanian, Russian and Japanese. The book stems from the recent fertile pedagogical research carried out by Appiah, De Lauretis, Pavis, Pireddu and De Marinis – just to mention a few – which considers theatre both as a cultural product and as a constituent of a teaching philosophy on intercultural learning. For the editors, “Theatre is the literary genre which most actively engages the cultural learner and maximises his/her ability to appropriate what is other” (2). The contributors to this volume are educators who have been working ...
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Anufrieva, Natalya I., and Ekaterina V. Bulkina. "Specifics of Formation of Professional Skills of Musical Theater Artists in College." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.

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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.
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Dissertations / Theses on the topic "College theater Theater"

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Kelleher, Meghan. "Audition Technique: A Survival Guide (For College Undergraduate Students)." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/212.

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Many great actors don’t work and many mediocre actors do. Why? The perfect monologue and great song isn’t enough to get you hired. Sadly, students are not prepared and equipped with the necessary skill set to take control of their careers. In this economic climate, the ability to audition could not be more imperative. In this thesis, readers will be introduced to the basics of audition technique as developed for Theatre majors at Virginia Commonwealth University as a precursor to their senior year. It will guide them through the first stage of their career. Furthermore, there are unspoken rules, etiquette, and untapped opportunities of which many young actors are simply unaware when auditioning. Through the exploration of auditioning as a technique and not just a means to an end, students will find confidence, understanding, and the tools to prepare them to be successful in gaining employment in the theatre.
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Cole, Jonathan Charles. "Collegiate directing : liberatory pedagogy and practice /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3153780.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 253-255). Also available for download via the World Wide Web; free to University of Oregon users.
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Fleming-DeBerger, Rachelle. "Guidelines and Criteria to Assess Singing and Music Training in Baccalaureate Music Theater Programs." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/688.

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Within the last twenty years there have been a growing number of prospective students interested in pursuing musical theater (MT) training in colleges and universities throughout the United States. To meet this demand, the number of schools offering baccalaureate MT degrees has also grown. However, information on how to assess the music and singing training of undergraduate MT programs is not easily accessible to prospective undergraduate students. This is likely due to the fact that colleges and universities have only begun offering degrees in MT since 1970. Research-based information in this area is primarily found in peer-reviewed journals or by attending workshops presented by a few pedagogues specializing in MT vocal methods and techniques. The purpose of this essay is to develop criteria for assessing the singing and music training in MT baccalaureate degree programs that would be useful for prospective MT students, based on the current literature.
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O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.

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The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.
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Sander, Lydia Grace. "Conversations and Collaborations: The Impact of Interdisciplinary Arts in Pre-College Piano Pedagogy." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619184539734014.

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Bingham, Katy. "Theatre arts [electronic resource] : a core content area in secondary education /." Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Bingham_KMIT2010.pdf.

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Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.

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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.
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Mallett-Koch, Rosemary Ann. "How to direct a comedy with high school thespians." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/866.

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Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.

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Molnar, Lee Marc. "Guide to Opera Stage Management for the Aspiring Theatrical Stage Manager." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428349593.

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Books on the topic "College theater Theater"

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Lee, Charlotte I. Theater: Preparation and performance. Glenview, Ill: Scott, Foresman, 1987.

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José, Marcos. Gruta, a flecha do teatro cabocão. Manaus: UFAM, 1993.

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Theatre management and production in America: Commercial, stock, resident, college, community, and presenting organizations. New York: Drama Book Publishers, 1990.

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Bakara, Esa Ema Ābu. Anuśīlana, ujāna yātrāra 30 bachara. Rajshahi: Anuśīlana Nāṭyadala, 2009.

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Bakara, Esa Ema Ābu. Anuśīlana, ujāna yātrāra 30 bachara. Rajshahi: Anuśīlana Nāṭyadala, 2009.

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Randall, Charles H. Hisses, boos & cheers, or, A practical guide to the planning, producing, and performing of melodrama. Woodstock, Ill. (P.O. Box 109, Woodstock 60098): Dramatic Pub. Co., 1986.

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Randall, Charles H. Hisses, boos & cheers, or, A practical guide to the planning, producing, and performing of melodrama. Woodstock, Ill. (P.O. Box 109, Woodstock 60098): Dramatic Pub. Co., 1986.

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Skórzyńska, Izabela. Teatry poznańskich studentów, 1953-1989: Konteksty, historie, interpretacje. Poznań: Wydawn. Poznańskie, 2002.

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Muños, Alfredo Cerda. El teatro universitario en Guadalajara entre 1960 y 1990. Pozuelo de Alarcón, Madrid: Mirada Malva, 2010.

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Guzmán, Mario Cánepa. Historia de los teatros universitarios. Santiago: Ediciones Mauro, 1995.

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Book chapters on the topic "College theater Theater"

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Vuelta García, Salomé. "El teatro del Siglo de Oro en el fondo Orsi de la Biblioteca Estense de Módena." In Studi e saggi, 399–420. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.24.

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This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.
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Gillespie, Patti P., and Kenneth M. Cameron. "The Teaching of Acting in American Colleges and Universities, 1920–1960." In Teaching Theatre Today, 51–63. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9780230100862_4.

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Medford, Gail S. "Deconstructing the Dominant: Educational Theatre in Historically Black Colleges and Universities as Critical Pedagogy Sites." In Teaching Theatre Today, 175–93. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9780230100862_11.

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Greeley, Lynne. "All Things to All People: The Teaching of Introduction to Theatre in American Universities and Colleges." In Teaching Theatre Today, 125–44. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9780230100862_8.

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Itzin, Catherine. "Albert Hunt and the Bradford College of Art Theatre Group." In Stages in the Revolution, 64–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-8.

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Filippi, Bruna. "23. The Orator’s Performance: Gesture, Word, and Image in Theatre at the Collegio Romano." In The Jesuits II, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy, 512–29. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442681552-031.

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Wilner, Alex, and Casey Babb. "New Technologies and Deterrence: Artificial Intelligence and Adversarial Behaviour." In NL ARMS, 401–17. The Hague: T.M.C. Asser Press, 2020. http://dx.doi.org/10.1007/978-94-6265-419-8_21.

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AbstractOffering a critical synthesis of extant insights into technological developments in AI and their potential ramifications for international relations and deterrence postures, this chapter argues that AI risks influencing military deterrence and coercion in unique ways: it may alter cost-benefit calculations by removing the fog of war, by superficially imposing rationality on political decisions, and by diminishing the human cost of military engagement. It may recalibrate the balance between offensive and defensive measures, tipping the scales in favour of pre-emption, and undermine existing assumptions imbedded in both conventional and nuclear deterrence. AI might altogether remove human emotions and eliminate other biological limitations from the practice of coercion. It may provide users the ability to collect, synthesize, and act upon real-time intelligence from several disparate sources, augmenting the certainty and severity of punishment strategies, both in theatre and online, compressing the distance between intelligence, political decisions, and coercive action. As a result, AI may quicken the overall pace of action across all domains of coercion, in conflict, crisis, and war, and within the related subfields of national security, counterterrorism, counter-crime, and counter-espionage.
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Marsh, David. "Poggio and Alberti Revisited." In Atti, 89–102. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-6453-968-3.08.

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The careers of the Curial secretaries Poggio Bracciolini (1380-1459) and Leon Battista Alberti (1404-1472) reveal many parallels. In 1437-1438 the Este court of Ferrara, where Eugenius IV convoked a church council, provided a focal point for their friendship. It was to the Ferrarese canon Francesco Marescalchi that Poggio dedicated Book 1 of his Latin epistles (1436), and Alberti his Hundred Apologues (1437). Both men were inspired to critiques of contemporary society by the Greek satirist Lucian, and both indulged in composing brief witticisms that expose human vice: Poggio in his Facetiae (Jests) and Alberti in his Apologi (Fables) and Vita (Autobiography). From Lucian, they also learned to dramatize human foibles on the imagined stage of the theatrum mundi, or theater of the world: Poggio in his dialogues, and Alberti in both the Intercenales and Momus. Despite such literary affinities, their approach to ethical questions differed, especially concerning the validity of allegory, which Poggio rejected but Alberti embraced. As a tribute to his colleague, Alberti dedicated Book 4 of his Intercenales to Poggio; he prefaced the work with an ironic Aesopic fable that asserts the superiority of recondite scientific research over commonplace humanistic studies. Eventually, Alberti’s status as an outsider in Florence was reflected in the deterioration in his relations with Poggio. The rift was widened in 1441, when Alberti organized the Italian poetic competition called the Certame Coronario that was held in the Florence cathedral on October 22. Poggio was a member of the jury that, to Alberti’s chagrin, refused to declare a winner.
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Golden, Eve. "1." In Jayne Mansfield, 1–2. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813180953.003.0001.

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The birth (on April 19, 1933), coddled childhood and first marriage of Vera Jane Palmer, later to become Jayne Mansfield. The birth of her first child, Jayne Marie (on November 8, 1950), her college days and early theater work, leading to a change of name and hair color, and a move to Hollywood, in 1954.
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"Higher Ground Project." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 720–30. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0104.

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The power of community is at the center of a series of musical plays created by the Higher Ground Project, which is composed of students at Southeast Kentucky Community and Technical College and residents of Harlan County, Kentucky, and is spearheaded by Robert Gipe, director of the college’s Appalachian Program. The plays begin with oral histories gathered by Appalachian studies students and other Harlan County community members as part of grants awarded by the Rockefeller Foundation and the Appalachian Regional Commission; from these interviews, Higher Ground participants create musical theater. Playwright Jo Carson worked with the project for its first play....
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Conference papers on the topic "College theater Theater"

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Verma, A., D. Thakkar, G. Fox, and A. Milan. "G202(P) From amazon prime to theatre prime: the last mile delivery." In Royal College of Paediatrics and Child Health, Abstracts of the RCPCH Conference and exhibition, 13–15 May 2019, ICC, Birmingham, Paediatrics: pathways to a brighter future. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2019. http://dx.doi.org/10.1136/archdischild-2019-rcpch.197.

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McCrone, Luke. "Transitional space: learning in the spaces in-between." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.14.

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There is increasing evidence, particularly in STEMM education, that traditional didactic transmission lecturing is less effective than more active, student-centred learning (Freeman et al., 2014). This mounting evidence has resulted in institution-wide curriculum review, pedagogic transformation and ongoing space refurbishments at Imperial College London, a research-intensive institution that provides the context for this work. Although active learning is proven to improve cognitive outcomes by supporting ‘students to do meaningful learning activities and think about what they are doing’ (Prince, 2004, p.223), its examination remains largely linked to instructional contexts, with neglect for the self-directed, non-timetabled learning spaces that support a rich learning experience. This instructional emphasis is evident from the capital that Imperial College London, among other institutions, continue to invest into ongoing classroom refurbishments to support curriculum review and innovation. However, it could be argued that these changes to physical infrastructure do not accurately reflect and address the growing self-directed workload that students now contend with. Furthermore, as capital spending on maintaining and modernising university buildings in the UK approaches £3 billion annually (Temple, 2018), these refurbishments are increasingly time- and money-intensive, placing a financial strain on institutions. The assumption that students successfully transition between passive and active learning, between directed and self-directed learning and between formal, timetabled and informal, non-timetabled spaces has meant transitional space being overlooked. By seeking to better understand student engagement with these transitional spaces as physical, curricular and cognitive spatial phenomena, this study is generating evidence for the educational importance of transitional space and using this to better understand active learning. By redesigning underutilised ancillary spaces adjacent to formal lecture spaces at lower cost than lecture theatre refurbishments, students can better self-direct active learning at moments of transition into and out of formal, timetabled spaces.
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Rapo, Mark, Chong Whang, and Philemon Chan. "Blast Event Recognition Method for Multisensor Data." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88936.

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Due to the great concern that blast overpressure can cause mild traumatic brain injury (mTBI), there is strong interest in putting sensors on warfighters to collect theater data for correlation with medical outcomes. One approach is to mount multiple pressure sensors on the warfighter to measure the blast overpressure environment. An event recognition algorithm that is based on the sensor data recordings is needed to reconstruct the incident blast wave that impacts the warfighter. Blast impingement pressure on an object is highly dependent on the angle of incidence at the point of impact; shadowing and recirculating flow effects can complicate the sensor data pattern. Using computational fluid dynamics (CFD) simulation, the present work demonstrates that for a warfighter in an upright posture in an open blast environment, a three-sensor event recognition algorithm can be developed to reconstruct the incident blast wave (generally characterized as a Friedlander wave). Three-dimensional Navier-Stokes’ based CFD simulations were performed to predict pressure recordings at the three sensor locations for a range of horizontal blast waves impacting the warfighter at all angles of incidence. The predicted peak pressures and durations were recorded and stored in a lookup table. Using an inverse problem approach, it was found that based on the three-sensor data recorded for each event, an algorithm exists for reconstructing the blast incident wave. The established event recognition algorithm is limited to warfighters with upright posture in open blast. Work is being continued to generalize and extend the method to include complex blasts involving multiple reflections and other posture orientations.
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