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Few organisations exhibit the importance of physicality in leadership as explicitly as the symphony orchestra. While usually attributed to the direction of the conductor my own experience suggests that leading in orchestral performance is grounded in physical relations between individuals and among instrumental groups across the orchestra as much as in the interaction between musicians and maestro. In order to further interrogate this experience while enhancing our understanding of onstage relations among orchestral musicians, I recently undertook research that employed an autoethnographic methodology underpinned by the phenomenology of Merleau-Ponty (2002, 2004) and the sense-making ideas of Weick (1995, 2001a). Using this method while drawing on ideas such as kinaesthetic empathy (Pallaro, 1995; Parviainen, 2002), the picture presented in what follows is one of leadership embedded in physical interaction among colleagues.

This interaction is, I suggest, based on sense-making and sense-giving activity that occurs in a ‘kinaesthetic loop’ that draws on and is generated by auditory, visual and gestural information given and received by individual musicians. This activity in turn mediates the acoustic space between musicians and thus, ultimately, determines how leadership and coordination in the orchestra are constituted. Rather than being disembodied products of dictatorial direction dispensed through the orchestra’s hierarchy, orchestral performance and leadership emerge in this more nuanced account as co-creative processes in which all the musicians on stage share responsibility.

Multisensory stimulation is integral to experiential consumption. However, a gap persists between recognition of the importance of multisensory stimulation and the research techniques used to study the effects of such stimulation on consumption experiences. This article draws on sensory anthropology to narrow the gap.

Sensory anthropology has the potential to help consumer researchers understand multisensory stimulation and its effect on consumption experiences. To highlight this potential, ethnographic fieldwork is reported for two related experiential settings: yacht racing and adventure racing.

It is shown how consumer researchers can apply concepts and data collection techniques from sensory anthropology to derive powerful insights into consumption experiences. A set of guidelines and examples is derived from the embodied concepts associated with sensory anthropology, namely, kinaesthetic schema, bodily mimesis, the mindful body and local biology. These concepts are used to comprehend how consumers experience sensations phenomenologically, understand them culturally and re-enact them socially.

By acknowledging and engaging the senses, researchers can acquire embodied information that would not be evident from the conventional interview, survey or experimental data. Sensory anthropology adds to what is known from psychological, social and cultural sources to enable organisations to differentiate their offerings by means of the senses and sensory expressions, not only in yacht and adventure racing but potentially in many other experiential settings, such as travel, shopping, entertainment and immersive gaming.

This article offers distinct and original methodological insights for consumer researchers by focusing on concepts and data collection techniques that assist the study of experiential consumption from an embodied and corporeal perspective.

This study aims to evaluate factors influencing undergraduate students’ acceptance of a computer-aided learning resource using the Phantom Omni haptic stylus to enable rotation, touch and kinaesthetic feedback and display of names of three-dimensional (3D) human anatomical structures on a visual display.

The software was developed using the software development life cycle, and was tested by students enrolled in various bachelor degrees at three stages of development within the technology acceptance model, action research and design research methodology frameworks, using mixed methods of quantitative and qualitative analysis.

The learning system was generally well-accepted, with usefulness (72 ± 18, mean ± standard deviation, 0-100 visual analogue scale) rated higher (p < 0.001) than ease of use (57 ± 22). Ease of use ratings declined across the three versions as modules were added and complexity increased. Students with prior experience with 3D interfaces had higher intention to use the system, and scored higher on identification of anatomical structures. Students with greater kinaesthetic learning preferences tended to rate the system higher. Haptic feedback was considered the best aspect of the system, but students wanted higher spatial resolution and lower response times.

Previous research relating to haptic devices in medical and health sciences has largely focused on advanced trainees learning surgical or procedural skills. The present research suggests that incorporating haptic feedback into virtual anatomical models may provide useful multisensory information in learning anatomy at the undergraduate level.

Operation Vulcan is a survey of the state of the art in training for manual, craft or physical skills. This is the traditional area of training expertise: companies and countries usually take this aspect of training to a fairly advanced stage before they consider extending their in‐company training activities into other fields such as management training and clerical training. Even today in Britain, this is the only form of training in which some companies engage. When small companies assemble together in group training schemes it is usually for the purpose of pooling their efforts in craft training. Historically craft training precedes technological and technician training by several decades. Here we have, then, the traditional training area. But it is important from another point of view: it is also the biggest training area in the sense that more people are trained in manual and physical skills than in other aspects. These facts make it all the more remarkable that the training revolution in physical skills has yet to happen. We have seen a revolution taking place in management training and, to a less extent, in commercial and clerical training, but in the sphere of physical skills things tend to jog along just as they ever did. We have, it is true, seen ‘Sitting Next to Nellie’ giving way to off‐the‐job training workshops; we have the module system which enables the individual to build up his own unique personal repertoire of skills designed to meet his own needs. We have skills analysis, but this is only vaguely‐comprehended and only partially‐digested. In no way, at present, is skills analysis seen as one of the indispensable fundamentals on which skill training should be built. A great deal of existing training in this field relies on getting yourself a good syllabus and then using this as the basis for instructing by telling and demonstrating. It is almost as though the sheer ponderous dead‐weight of tradition linked with the huge scale of the problem has absorbed whatever electric shocks could be administered by the technical innovators and the reformers. And yet, all the components of a comprehensive, rational and analytical system of skill training exist at this moment. Operation Vulcan is an attempt to collect the scattered and random elements and assemble them in some co‐ordinated form.

Reports on project work in six further education colleges in central England, supported by funding from the Further Educational Development Agency as part of its inclusive learning initiative. The project team investigated a range of materials for student analysis of learning styles, carried out a trial of chosen materials with class groups across a range of vocational subjects, and evaluated the usefulness of the materials to both students and lecturers. The outcomes of the project are analysed and set within the context of current developments in post‐16 education. A follow‐up study at one of the colleges is presented, and the implications of the project as a whole for college management are considered.

This paper reviews the current status of devices for use as exoskeletons for assisting or constraining human movements. Applications include teleoperation and force augmentation to allow people to operate more easily or more efficiently in a variety of situations, including military and emergency service applications.

The purpose of this paper is to provide an overview of a Learning Programme designed around the animation film-making process, contextualising abstract concepts to address the cognitive limitations of children with foetal alcohol spectrum disorders (FASD).

Animation production is tactile, multimodal and multisensory which allows for wide application alongside traditional learning tools, targeting multiple learning pathways with its visual, auditory and kinaesthetic approach. Individuals with FASD require information to be explained in a concrete way to enable them to process and understand. Most information can be drawn, providing a visual to assist the individual, but we must also consider abstract concepts which require further explanation or a series of drawings to display the concepts development. Animation, however, allows us the opportunity to make abstract concepts concrete, contextualising the concept in a visualisation of the child’s story, narrated with their voice and designed to represent their world, in a film produced entirely by them, therefore allowing opportunity for a therapeutic approach to learning through storytelling. This learning tool is designed to be implemented in a specifically designed therapeutic learning environment to enhance the benefits of participation from both educational and therapeutic perspectives.

A review of relevant literature highlights a significant connection between animation, the learning needs of those with FASD and the need for a therapeutic learning environment. This is a proof of concept study, demonstrating the value and potential of animation film making in this new area of practical application. The study closely considers the learning environment from a therapeutic perspective and aims not only to develop a learning tool but to also define the optimum therapeutic learning environment. The study is therefore untested at this stage.

Phase 2 of this ongoing research study seeks to explore additional benefits of participation and engagement with the process in an educational and therapeutic context. Considerations of the therapeutic learning environment will be further explored to determine the optimum setting to support the ongoing learning of this pedagogically bereft (Carpenter, 2011) population. Phase 2 also aims to clarify therapeutic benefits as additional outcomes of participation in this programme.

The proposed learning tool and therapeutic learning environment outlined in this paper is an original contribution to knowledge and if found to be successful, could offer significant opportunities for a therapeutic approach to education for this population and others.

Aims to understand a group learning style so that teachers can best adapt their teaching style and materials to suit the students. Defines learning styles and briefly covers previous findings in this area. Looks at different types of thinking before covering how to assess learning styles using a questionnaire. Provides some implications for educators and looks at the design of assignments which can be tailored in different ways depending upon the findings.

This study aims to propose a novel concept of choreography as a way of understanding co-creation of value and thus develops the spatial analytical dimensions of co-creation theorising.

This conceptual paper contemplates the meanings and possibilities of leveraging the theoretical underpinnings of value co-creation, from the viewpoint of value-in-experience.

The concept of choreography opens up a way to read knowledge as movement. It enables a way to elaborate on both the phenomenological and non-representational aspects of co-creation processes. Conceptualising co-creation through such a lens, where knowing is seen as an on-going, spatio-temporal and affective process formed in movement, posits opportunities to further understand the value co-creation practices of experiences. Choreography gives access to the kinaesthetic and affective nature of knowing gained in and through different spatio-temporal contexts and can, in turn, be mobilised in others.

Only a few studies have conceptualised co-creation in relation to a spatio-temporal phenomenon. Notably, this study connects co-creation with mobilities and thus constructs a novel view of knowledge and value creation.

This paper aims to demonstrate how higher education in Finland can benefit from using methods such as Web 2.0 technologies.

The paper describes how different types of learners (auditory, visual, kinaesthetic) benefit from being exposed to new methods and tools in the tuition process (traditional teaching settings). The strengths and weaknesses of these alternative teaching methods and tools are assessed. The paper is based on a case study – a pilot project – where the Prezi presentation tool and Twitter were tested and used in a university teaching setting. Findings – The results of the study show that both students and faculty found the utilization of Prezi and Twitter in teaching improved the learning and teaching experience.

In Finland, the use of Prezi and Twitter in the classroom is not common. The results of this study should help encourage other teachers in Finland to implement new methods and tools in the tuition process.