Journal & Book Publications

These settings facilitated interactive presentations, enabling participants to receive feedback from virtual audiences. Findings indicate that while some learners reported a reduction in perceived anxiety and enhancements in presentation skills over time, those with pronounced in-person FLA experienced similar levels of anxiety in VR contexts, suggesting a need for further investigation into these findings. Challenges were noted in preparation, fluency, and anxiety management, although VR also showed potential benefits for rehearsal, confidence building, and refining content delivery. The study emphasizes the importance of avatar customization and audience interaction within VR environments, and highlights the necessity for more refined audience simulations to increase realism. Tailored strategies for addressing FLA are important for maximizing the effectiveness of VR in language learning. This research contributes to the broader discourse on innovative educational approaches, advocating for further exploration into how VR can enhance language learning and alleviate anxiety. Overall, the research underscores VR's promising potential in refining presentation techniques and reducing FLA, paving the way for future investigations into its applications in language education.

Citation:
Carlisle, Damaris, et al. ''Harnessing Virtual Reality: Tackling Foreign Language Anxiety and Elevating Public Speaking Skills.'' Proceedings of 10th Asian Conference on Education & International Development 2024, Tokyo, Japan 03/2024, The International Academic Forum, 2024, pp. 531-544,  doi: https://doi.org/10.22492/issn.2189-101X.2024.43.

Key initiatives include technology integration through Collaborative Online International Learning (COIL) projects, hybrid teaching methods and more recently, the exploration of generative AI as a collaborative tool. LASALLE emphasises more than just technical skills, focusing on critical thinking, emotional intelligence, and self-expression through experiential learning. Faculty development ensures academic staff are central to this evolution, with ongoing initiatives that encourage educators to be experimental in their teaching approaches. Staff are supported in embracing creative risk-taking, continually exploring new technologies and pedagogies to enhance student engagement and learning outcomes. COIL promotes cross-cultural learning, while LASALLE also explores the role of AI in arts education. By combining technology and creativity, LASALLE prepares students for the future of arts education. This forward-thinking approach positions LASALLE as a leader in arts education, preparing students for the evolving digital landscape.

Citation:
Carlisle, Damaris, and Wolfgang Muench. “LASALLE College of the Arts, University of the Arts Singapore: Merging Digital and Physical Arts Education”. A Trends and Foresight Report on Cyber-Physical Learning.'' N. Sockalingam, and Pey, K.L. eds., Singapore University of Technology and Design, 2024, pp. 78-82.

This article explains these three fingering styles and provides examples and a pedagogical guide for their study.

Citation:
Celi, Diego. ''Navigating Chord Changes in Jazz Guitar with Three Different Fingering Approaches: Vertical, Horizontal, and Diagonal.'' Jazz Education in Research and Practice , vol. 5, no. 1, 2024, pp. 160-170, doi: DOI 10.2979/jazzeducrese.5.1.12.

Despite Eliot’s urging against the remediation of his work into other media, Dixon supports transmediality to touch a new, wider, and younger audience, especially since the poem has taken on a new resonance in light of the anxiety triggered by the Covid-19 pandemic and the climate crisis. Sequences from the film are examined in relation to different historical and cultural issues, the use of London- and Southeast-Asia-based shooting locations, as well as how award-winning composer Joyce Beetuan Koh’s combination of musique concrète and synthesised sounds enabled an amplification of psychological, and theatrical aspects of the poem. This feeds into the author's broader desire to both contemporise and enlarge the meanings of the poem through a synthesis of sounds, narratives and visual effects

Citation:
Dixon, Steve. “Ontological Conundrums: Translating ‘The Waste Land’ into a film”. Arts of War and Peace. LARCA: Université Paris Cité, 2024. https://artswarandpeace.univ-paris-diderot.fr/2023/12/15/ontological-conundrums-translating-the-waste-land-into-a-film/

Combining videoconference and chromakey technologies with virtual scenography, the performers are freed from Zoom-style walled boxes and are able to physically interact, including (virtually) hugging, kissing or fighting one another. The theatrical tradition of ‘breaking the fourth wall’ to address the audience reaches another level, with the actors seemingly breaking a fifth wall, of space and time. Eight UK theatre and dance companies undertook residencies to develop new online performance works and to test and develop approaches using a range of software and hardware systems. The research findings are analysed from technological and artistic, as well as phenomenological perspectives, including considering issues of telepresence intimacy, empathy, proxemics, third-person perspectives, and the uncanny. Case studies draw on the verbatim reflections of participants, offering insights into the unique joys but equally the challenges of working on a telepresence stage. The chapter argues and demonstrates how the project not only had a profound effect on the resident companies, but is of lasting value and impact for the creative industries. The use of immersive virtual scenographies proved a significant spur to creativity, taking theatre troupes into whole new realms, and creating sequences and illusions that would be impossible in live theatre. The experiments herald new ways of working and performance delivery modalities that will long outlive the pandemic.

Citation:
Dixon, Steve, and Paul Sermon. ''Breaking the Fifth Wall: Creating Theatre on a Telepresence Stage.'' Adaptation and Resilience in the Performing Arts: The Pandemic and Beyond, edited by Pascale Aebischer, and Rachael Nicholas, Manchester, Manchester University Press, 2024, pp. 65-89, doi: https://doi.org/10.7765/9781526172426.00011.

Yet such views fail to explain strategy sensegiving in contexts where audiences of strategy presentations are ignorant or skeptical towards strategy concepts and ideas. We examine sensegiving under such conditions by analyzing a manager introducing a new strategy in a creative agency which expressed skepticism towards the concepts and practice of strategizing. Using data from video recordings of a sequence of internal strategy presentations, we identify three strategies designed to overcome prejudice towards strategic thinking while at the same time encouraging its use: winning the right to lead, finding resonance, and enrolling the audience into the strategy. We further find how these three sensegiving strategies are supported by carefully crafted visuals to either emphasize or de-emphasize aspects of the strategy and its supporting rationale. Our findings extend the literature on the practice of strategy by illustrating how the visual supports sensegiving efforts to guide a firm's interpretation of a proposed new strategic direction.

Citation:
van den Broek, Antonius, and Jonathan Gander. ''When strategy is a dirty word: The role of visuals in sensegiving to a skeptical audience.'' Long Range Planning, vol. 57, no. 1, 2024, pp. 1-22, doi: https://doi.org/10.1016/j.lrp.2023.102411.

They do it by (1) leveraging their collection’s assets, (2) integrating into the urban tourism economies, and even (3) monetizing their brands via franchising. The first section demonstrates how museum collections could be employed as economic resources that generate high profits. The following part illustrates the integration of commercial practices of museums into urban creative and tourism economies which bring visitors to the door and ensure sustainable self-earned income. Finally, the chapter explores museum franchising as an effective strategy employed by museums to monetize their cultural assets, such as their brand value. Drawing on this three-dimensional framework, the chapter conceptualizes and illustrates income-generating activities of museums turning them into more autonomous economic actors. Finally, the chapter reveals that contemporary museums in certain cases even converge with for-profit businesses, going far beyond corporate sponsorship to create hybrid forms of museum corporations.

Citation:
Grincheva, Natalia. ''Museum Funding: Moving up the Creative Economy Scale.'' Financial Management in Museums, edited by Yuha Jung, et al., London, Routledge, 2024, pp. 33-50, doi: https://doi.org/10.4324/9781003308003.

These four dedicated case studies provide focused, exploratory sites for critical investigation of digital heritage aggregators from the perspective of their geopolitical motivations and interests, the economic and cultural agendas of involved stakeholders, as well as their foreign policy strategies and objectives. The Element employs an interdisciplinary approach and combines critical heritage studies with the study of digital politics and communications. Drawing from empirical case study analysis, it investigates how political imperatives manifest in the development of digital heritage platforms to serve different actors in a highly saturated global information space, ranging from national governments to transnational corporations.

Citation:
Grincheva, Natalia, and Elisabeth Stainforth. Geopolitics of Digital Heritage. Cambridge, Cambridge University Press, 2024, doi: https://doi.org/10.1017/9781009182072.