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 Panayiotis Zaphiris
Andri Ioannou (Eds.)

Learning and Collaboration

LNCS 10295

Technologies
Novel Learning Ecosystems
4th International Conference, LCT 2017
Held as Part of HCI International 2017
Vancouver, BC, Canada, July 9–14, 2017, Proceedings, Part I

123
Lecture Notes in Computer Science 10295
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More information about this series at http://www.springer.com/series/7409
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•

Learning and Collaboration

Technologies
Novel Learning Ecosystems
4th International Conference, LCT 2017
Held as Part of HCI International 2017
Vancouver, BC, Canada, July 9–14, 2017
Proceedings, Part I

123
Editors
Panayiotis Zaphiris Andri Ioannou
Cyprus University of Technology Cyprus University of Technology
Limassol Limassol
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 Foreword

The 19th International Conference on Human–Computer Interaction, HCI International

2017, was held in Vancouver, Canada, during July 9–14, 2017. The event incorporated
the 15 conferences/thematic areas listed on the following page.
A total of 4,340 individuals from academia, research institutes, industry, and gov-
ernmental agencies from 70 countries submitted contributions, and 1,228 papers have
been included in the proceedings. These papers address the latest research and
development efforts and highlight the human aspects of design and use of computing
systems. The papers thoroughly cover the entire field of human–computer interaction,
addressing major advances in knowledge and effective use of computers in a variety of
application areas. The volumes constituting the full set of the conference proceedings
are listed on the following pages.
I would like to thank the program board chairs and the members of the program
boards of all thematic areas and affiliated conferences for their contribution to the
highest scientific quality and the overall success of the HCI International 2017
conference.
This conference would not have been possible without the continuous and unwa-
vering support and advice of the founder, Conference General Chair Emeritus and
Conference Scientific Advisor Prof. Gavriel Salvendy. For his outstanding efforts,
I would like to express my appreciation to the communications chair and editor of HCI
International News, Dr. Abbas Moallem.

April 2017 Constantine Stephanidis

 HCI International 2017 Thematic Areas
and Affiliated Conferences

Thematic areas:
• Human–Computer Interaction (HCI 2017)
• Human Interface and the Management of Information (HIMI 2017)
Affiliated conferences:
• 17th International Conference on Engineering Psychology and Cognitive Ergo-
nomics (EPCE 2017)
• 11th International Conference on Universal Access in Human–Computer Interac-
tion (UAHCI 2017)
• 9th International Conference on Virtual, Augmented and Mixed Reality (VAMR
2017)
• 9th International Conference on Cross-Cultural Design (CCD 2017)
• 9th International Conference on Social Computing and Social Media (SCSM 2017)
• 11th International Conference on Augmented Cognition (AC 2017)
• 8th International Conference on Digital Human Modeling and Applications in
Health, Safety, Ergonomics and Risk Management (DHM 2017)
• 6th International Conference on Design, User Experience and Usability (DUXU
2017)
• 5th International Conference on Distributed, Ambient and Pervasive Interactions
(DAPI 2017)
• 5th International Conference on Human Aspects of Information Security, Privacy
and Trust (HAS 2017)
• 4th International Conference on HCI in Business, Government and Organizations
(HCIBGO 2017)
• 4th International Conference on Learning and Collaboration Technologies (LCT
2017)
• Third International Conference on Human Aspects of IT for the Aged Population
(ITAP 2017)
 Conference Proceedings Volumes Full List

1. LNCS 10271, Human–Computer Interaction: User Interface Design, Development

and Multimodality (Part I), edited by Masaaki Kurosu
2. LNCS 10272 Human–Computer Interaction: Interaction Contexts (Part II), edited
by Masaaki Kurosu
3. LNCS 10273, Human Interface and the Management of Information: Information,
Knowledge and Interaction Design (Part I), edited by Sakae Yamamoto
4. LNCS 10274, Human Interface and the Management of Information: Supporting
Learning, Decision-Making and Collaboration (Part II), edited by Sakae
Yamamoto
5. LNAI 10275, Engineering Psychology and Cognitive Ergonomics: Performance,
Emotion and Situation Awareness (Part I), edited by Don Harris
6. LNAI 10276, Engineering Psychology and Cognitive Ergonomics: Cognition and
Design (Part II), edited by Don Harris
7. LNCS 10277, Universal Access in Human–Computer Interaction: Design and
Development Approaches and Methods (Part I), edited by Margherita Antona and
Constantine Stephanidis
8. LNCS 10278, Universal Access in Human–Computer Interaction: Designing
Novel Interactions (Part II), edited by Margherita Antona and Constantine
Stephanidis
9. LNCS 10279, Universal Access in Human–Computer Interaction: Human and
Technological Environments (Part III), edited by Margherita Antona and Con-
stantine Stephanidis
10. LNCS 10280, Virtual, Augmented and Mixed Reality, edited by Stephanie Lackey
and Jessie Y.C. Chen
11. LNCS 10281, Cross-Cultural Design, edited by Pei-Luen Patrick Rau
12. LNCS 10282, Social Computing and Social Media: Human Behavior (Part I),
edited by Gabriele Meiselwitz
13. LNCS 10283, Social Computing and Social Media: Applications and Analytics
(Part II), edited by Gabriele Meiselwitz
14. LNAI 10284, Augmented Cognition: Neurocognition and Machine Learning
(Part I), edited by Dylan D. Schmorrow and Cali M. Fidopiastis
15. LNAI 10285, Augmented Cognition: Enhancing Cognition and Behavior in
Complex Human Environments (Part II), edited by Dylan D. Schmorrow and
Cali M. Fidopiastis
16. LNCS 10286, Digital Human Modeling and Applications in Health, Safety,
Ergonomics and Risk Management: Ergonomics and Design (Part I), edited by
Vincent G. Duffy
17. LNCS 10287, Digital Human Modeling and Applications in Health, Safety,
Ergonomics and Risk Management: Health and Safety (Part II), edited by
Vincent G. Duffy
18. LNCS 10288, Design, User Experience, and Usability: Theory, Methodology and
Management (Part I), edited by Aaron Marcus and Wentao Wang
X Conference Proceedings Volumes Full List

19. LNCS 10289, Design, User Experience, and Usability: Designing Pleasurable
Experiences (Part II), edited by Aaron Marcus and Wentao Wang
20. LNCS 10290, Design, User Experience, and Usability: Understanding Users and
Contexts (Part III), edited by Aaron Marcus and Wentao Wang
21. LNCS 10291, Distributed, Ambient and Pervasive Interactions, edited by Norbert
Streitz and Panos Markopoulos
22. LNCS 10292, Human Aspects of Information Security, Privacy and Trust, edited
by Theo Tryfonas
23. LNCS 10293, HCI in Business, Government and Organizations: Interacting with
Information Systems (Part I), edited by Fiona Fui-Hoon Nah and Chuan-Hoo Tan
24. LNCS 10294, HCI in Business, Government and Organizations: Supporting
Business (Part II), edited by Fiona Fui-Hoon Nah and Chuan-Hoo Tan
25. LNCS 10295, Learning and Collaboration Technologies: Novel Learning
Ecosystems (Part I), edited by Panayiotis Zaphiris and Andri Ioannou
26. LNCS 10296, Learning and Collaboration Technologies: Technology in Education
(Part II), edited by Panayiotis Zaphiris and Andri Ioannou
27. LNCS 10297, Human Aspects of IT for the Aged Population: Aging, Design and
User Experience (Part I), edited by Jia Zhou and Gavriel Salvendy
28. LNCS 10298, Human Aspects of IT for the Aged Population: Applications, Ser-
vices and Contexts (Part II), edited by Jia Zhou and Gavriel Salvendy
29. CCIS 713, HCI International 2017 Posters Proceedings (Part I), edited by
Constantine Stephanidis
30. CCIS 714, HCI International 2017 Posters Proceedings (Part II), edited by
Constantine Stephanidis
 Learning and Collaboration Technologies

Program Board Chair(s): Panayiotis Zaphiris and Andri Ioannou, Cyprus

• Ruthi Aladjem, Israel • Evangelos Kapros, Ireland

• Mike Brayshaw, UK
• Jitender Kumar Chhabra, India
• Anastasios A. Economides, Greece
• Maka Eradze, Estonia
• Mikhail Fominykh, Norway
• David Fonseca, Spain
• Francisco J. García Peñalvo, Spain
• Tomaž Klobučar, Slovenia
• Efi Nisiforou, Cyprus
• Antigoni Parmaxi, Cyprus
• Marcos Roman Gonzalez, Spain
• Telmo Zarraonandia, Spain
• Maria Zenios, Cyprus

The full list with the Program Board Chairs and the members of the Program Boards of
all thematic areas and affiliated conferences is available online at:
http://www.hci.international/board-members-2017.php
 HCI International 2018

The 20th International Conference on Human–Computer Interaction, HCI International

2018, will be held jointly with the affiliated conferences in Las Vegas, NV, USA, at
Caesars Palace, July 15–20, 2018. It will cover a broad spectrum of themes related to
human–computer interaction, including theoretical issues, methods, tools, processes,
and case studies in HCI design, as well as novel interaction techniques, interfaces, and
applications. The proceedings will be published by Springer. More information is
available on the conference website: http://2018.hci.international/.

General Chair
Prof. Constantine Stephanidis
University of Crete and ICS-FORTH
Heraklion, Crete, Greece
E-mail: general_chair@hcii2018.org

http://2018.hci.international/
 Contents – Part I

Multimodal and Natural Interaction for Learning

Immersive Visualization Technologies to Facilitate Multidisciplinary

Design Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Jorge D. Camba, José Luis Soler, and Manuel Contero

Peacemaking Affordances of Shareable Interfaces: A Provocative Essay

on Using Technology for Social Change . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Andri Ioannou and Chrystalla Antoniou

Acoustic Filter: New Virtual Reality Audio Format Pretends to Enhance

Immersive Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Josep Llorca, Ernesto Redondo, Francesc Valls, David Fonseca,
and Sergi Villagrasa

Gesture Deviation in Interactive Communication – A Cross Cultural Study

of Indian Case Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Ravi Mokashi Punekar and Sarath Paliyath

Brain Tagging: A BCI and HCI Tagging System to Evaluate

the Learning Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Yang Ting Shen, Pei Wen Lu, and Xin Mao Chen

Analytical Steps for the Validation of a Natural User Interface . . . . . . . . . . . 55

Madlen Wuttke, Sabine Völkel, Peter Ohler, and Nicholas H. Müller

Monitoring Cognitive Workload in Online Videos Learning Through

an EEG-Based Brain-Computer Interface . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Yun Zhou, Tao Xu, Yanping Cai, Xiaojun Wu, and Bei Dong

Learning and Teaching Ecosystems

Lessons Learned from Evaluating an Authoring Tool

for Learning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
André Luiz de Brandão Damasceno, Carlos de Salles Soares Neto,
and Simone Diniz Junqueira Barbosa

ECoLab: A Cooperative System to Improve Training Processes . . . . . . . . . . 90

Ángel Fidalgo-Blanco, María Luisa Sein-Echaluce,
and Francisco J. García-Peñalvo
XVI Contents – Part I

A Metamodel Proposal for Developing Learning Ecosystems . . . . . . . . . . . . 100

Alicia García-Holgado and Francisco José García-Peñalvo

Needs Analysis as a Cornerstone in Formation of ICT Competence

in Language Teachers Through Specially Tailored In-service
Training Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Nadezhda Kabanova and Marina Kogan

Design Considerations for Competency Functionality Within

a Learning Ecosystem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Irina Kondratova, Heather Molyneaux, and Helene Fournier

Integrated Learning Environment for Blended Oriented Course: 3-Year

Feedback on a Skill-Oriented Hybrid Strategy . . . . . . . . . . . . . . . . . . . . . . 137
Walter Nuninger

The Development of a Mediation Artifact for Representing Teaching

Practices: A Study Connecting the Areas of Design and Learning Design . . . 158
Patrícia B. Scherer Bassani, Igor Escalante Casenote,
Eduardo Guilherme Albrecht, and Diego Mergener

On the Potential of Using Virtual Reality for Teacher Education . . . . . . . . . . 173

Kalliopi-Evangelia Stavroulia and Andreas Lanitis

e-Learning, Social Media and MOOCs

Exploring the Impact of Social Learning Networks in M-Learning:

A Case Study in a University Environment . . . . . . . . . . . . . . . . . . . . . . . . 189
Fisnik Dalipi, Florim Idrizi, and Arianit Kurti

Improving Concepts of E-Learning by Using ERP Systems

for an Interactive Knowledge Diffusion . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
David Heim, Marcus Fischer, and Axel Winkelmann

Using Phenomenography to Understand Cultural Values in Facebook . . . . . . 216

Leantros Kyriakoullis and Panayiotis Zaphiris

Exploring the Determinants Affecting the Adoption of Social Web

Applications Used in Massive Online Open Courses . . . . . . . . . . . . . . . . . . 237
Tihomir Orehovački and Snježana Babić

E-safety in Web 2.0 Learning Environments: A Research Synthesis

and Implications for Researchers and Practitioners. . . . . . . . . . . . . . . . . . . . 249
Antigoni Parmaxi, Kostantinos Papadamou, Michael Sirivianos,
and Makis Stamatelatos
 Contents – Part I XVII

Pedagogical Voice in an E-Learning System: Content Expert Versus

Content Novice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Lincoln Sedlacek, Victor Kostyuk, Matthew Labrum, Kevin Mulqueeny,
Georgina Petronella, and Maisie Wiltshire-Gordon

Adaptive and Cooperative Model of Knowledge Management in MOOCs . . . 273

María Luisa Sein-Echaluce, Ángel Fidalgo-Blanco,
and Francisco J. García-Peñalvo

The Quality of MOOCs: How to Improve the Design of Open Education

and Online Courses for Learners? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Christian M. Stracke

E-Learning Supported Martial-Arts-Training . . . . . . . . . . . . . . . . . . . . . . . . 294

Armin Vahidi and Nicholas H. Müller

Beyond the Classroom

Security Beyond Secrecy: Practical Strategies to Address Emerging

Cybersecurity Paradoxes Through Professional and Stakeholder Education
and Co-management Architectures Designed to Cultivate
Community-Situated, Non-technical Structures of Group Synthetic
Intelligence (aka “Neighborhood Watch”). . . . . . . . . . . . . . . . . . . . . . . . . . 305
Scott L. David and Barbara Endicott-Popovsky

Learning Together with CSCL Tools in the Classroom . . . . . . . . . . . . . . . . 324

Reuma De-Groot

Outdoor Studying System Using Bluetooth Low Energy Beacon—To Feel

Cultural Sites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Yuko Hiramatsu, Fumihiro Sato, Atsushi Ito, Hiroyuki Hatano, Mie Sato,
Yu Watanabe, and Akira Sasaki

Measuring Usability of the Mobile Learning App for the Children . . . . . . . . 353
Zahid Hussain, Wolfgang Slany, Wajid H. Rizvi, Adeel Riaz,
and Umair Ramzan

An Analysis of the Note-Taking Function of the Audience

Response System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Toshikazu Iitaka

Measuring User Engagement in Mobile Classroom Response System:

A Case Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Tek Yong Lim, Chia Ying Khor, and Yin Bee Oon

Higher Education Disruption Through IoT and Big Data:

A Conceptual Approach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Fernando Moreira, Maria João Ferreira, and Abílio Cardoso
XVIII Contents – Part I

Connectivist, Context-Aware Communication Channels - Peer Finding

Algorithm for Distributed Learning Networks . . . . . . . . . . . . . . . . . . . . . . . 406
Ingolf Waßmann and Ebram Sherif

Games and Gamification for Learning

CodeAdventure: An Adventure Game for Computer Science Education . . . . . 423

Panayiotis Andreou, George Nicou, Irene Polycarpou,
Panagiotis Germanakos, and Nearchos Paspallis

Using Mental Models to Design for Learning: Lessons

from Game Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Aleshia Hayes

Strategic Design: Breaking Mental Models Initiates Learning

in Video Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Jay Dee Johns III

Gamifying the Eating Experience: An Interactive Companion for Children’s

Nutrition Education and Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Erin Lew, Jevrin Alviando, EunSook Kwon, and Jorge D. Camba

Gamification Methods in Higher Education . . . . . . . . . . . . . . . . . . . . . . . . 474

Lila A. Loos and Martha E. Crosby

Subliminal Learning. What Do Games Teach Us? . . . . . . . . . . . . . . . . . . . . 487

Vicente A. Quesada Mora, Francisco J. Gallego-Durán,
Rafael Molina-Carmona, and Faraón Llorens-Largo

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

 Contents – Part II

STEM Education

Using Augmented Reality Interactive System to Support Digital

Electronics Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Poonpong Boonbrahm, Charlee Kaewrat, and Salin Boonbrahm

An AI System for Coaching Novice Programmers. . . . . . . . . . . . . . . . . . . . 12

Gilbert Cruz, Jacob Jones, Meagan Morrow, Andres Gonzalez,
and Bruce Gooch

Affective Walkthroughs and Heuristics: Evaluating

Minecraft Hour of Code. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Reza GhasemAghaei, Ali Arya, and Robert Biddle

Fairy Houses: A Creative Engineering Experience. . . . . . . . . . . . . . . . . . . . 41

Andres Gonzalez, Robert Fowler, Harrison Froeschke,
Sabra Leong, and Bruce Gooch

Make World, A Collaborative Platform to Develop Computational

Thinking and STEAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Mariluz Guenaga, Iratxe Mentxaka, Pablo Garaizar,
Andoni Eguiluz, Sergi Villagrasa, and Isidro Navarro

Manipulation of Mathematical Expressions in Collaborative Environments . . . 60

Marco Pollanen, Sohee Kang, and Bruce Cater

Designing Tools that Allows Children in the Early Childhood

to Program Robots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Kryscia Ramírez-Benavides, Gustavo López, and Luis A. Guerrero

Decision-Making for Interactive Systems: A Case Study for Teaching

and Learning in Bioinformatics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Vanessa Stangherlin Machado, Walter Ritzel Paixão-Cortes,
Osmar Norberto de Souza, and Márcia de Borba Campos

Preschool Learning with a Fingertip: Concept of a Tablet-Based Training

Program to Support Emergent Literacy and Mathematical Skills . . . . . . . . . . 110
Sabine Völkel, Madlen Wuttke, and Peter Ohler
XX Contents – Part II

Diversity in Learning

Augmentative and Alternative Communication in the Literacy Teaching

for Deaf Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Sandra Cano, César A. Collazos, Leandro Flórez Aristizábal,
and Fernando Moreira

Girls in Robot Class_Smart Textiles Interactive Tool-Kits to Enhance

the Participatory of Women in Technology. . . . . . . . . . . . . . . . . . . . . . . . . 134
Aqua Chuan-Yu Chen and Yu-Cheng Lin

A Model for Collaboration in Virtual Worlds Bringing Together Cultures

in Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Elaine Hoter

Different Students – Different Ways: Challenges of Integrating

Non-traditional Students in Higher Education and How Electronic
Learning Can Support Inclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Verena Jahn, Linda Heise, André Schneider, and Susanne Günther

“Beyond EFL Writing Anxiety”: Tapping into the Individual Emotionality

of Proficient EFL Writers Through Semi-structured Analysis
and Wearable Sensing Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Luciana Lew and Tiffany Y. Tang

Training Socially Responsible Engineers by Developing Accessible

Video Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Rafael Molina-Carmona, Rosana Satorre-Cuerda,
Carlos Villagrá-Arnedo, and Patricia Compañ-Rosique

The Use of a New Visual Language as a Supporting Resource

for People with Intellectual Disabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Francisco Rodríguez-Sedano, Miguel A. Conde-González,
Camino Fernández-Llamas, and Gonzalo Esteban-Costales

“Thinking in Pictures?” Performance of Chinese Children with Autism

on Math Learning Through Eye-Tracking Technology . . . . . . . . . . . . . . . . . 215
Pinata Winoto, Tiffany Y. Tang, Zeqian Huang, and Piao Chen

Learning Analytics

Dashboard for Actionable Feedback on Learning Skills: Scalability

and Usefulness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Tom Broos, Laurie Peeters, Katrien Verbert, Carolien Van Soom,
Greet Langie, and Tinne De Laet
 Contents – Part II XXI

Can We Apply Learning Analytics Tools in Challenge Based

Learning Contexts? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Miguel Á. Conde, Francisco J. García-Peñalvo, Ángel Fidalgo-Blanco,
and María Luisa Sein-Echaluce

Learning Analytics and Spelling Acquisition

in German – Proof of Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Markus Ebner, Konstanze Edtstadler, and Martin Ebner

Data Analysis of Coaching and Advising in Undergraduate Students.

An Analytic Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
David Fonseca, José Antonio Montero, Mariluz Guenaga,
and Iratxe Mentxaka

Learning Analytics and Its Paternalistic Influences . . . . . . . . . . . . . . . . . . . 281

Kyle M.L. Jones

Development of a Dashboard for Learning Analytics in Higher Education . . . 293

Philipp Leitner and Martin Ebner

Mixing and Matching Learning Design and Learning Analytics . . . . . . . . . . 302

Quan Nguyen, Bart Rienties, and Lisette Toetenel

Improving the Learning and Collaboration Experience

Attitudes Towards Mobile Devices in Estonian Basic Education:

Using the Framework of the UTAUT Model . . . . . . . . . . . . . . . . . . . . . . . 319
Liina Adov, Olev Must, and Margus Pedaste

A Guidance and Evaluation Approach for mHealth

Education Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Tareq Aljaber and Neil Gordon

Collaborative Hybrid Agent Provision of Learner Needs Using Ontology

Based Semantic Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Mike Brayshaw, Julius Nganji, and Neil Gordon

Improving Success/Completion Ratio in Large Surveys:

A Proposal Based on Usability and Engagement . . . . . . . . . . . . . . . . . . . . . 352
Juan Cruz-Benito, Roberto Therón, Francisco J. García-Peñalvo,
José Carlos Sánchez-Prieto, Andrea Vázquez-Ingelmo,
Martín Martín-González, and Jorge M. Martínez

Interaction Design Principles in WYRED Platform . . . . . . . . . . . . . . . . . . . 371

Francisco J. García-Peñalvo and Jorge Durán-Escudero
XXII Contents – Part II

Personal and Shared Perspectives on Knowledge Maps

in Learning Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Anna Goy, Giovanna Petrone, and Claudia Picardi

Designing a Peer Feedback Mobile Application as a Professional

Development Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Evangelos Kapros, Mirjam Neelen, and Eddie Walsh

The Influence of Trust on User Interactions in e-Transaction Platforms:

The Context of a Developing Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Godfrey O. Kingsley, Sónia Sousa, and Abiodun Ogunyemi

Integration of Estonian Higher Education Information Technology Students

and Its Effect on Graduation-Related Self-efficacy. . . . . . . . . . . . . . . . . . . . 435
Külli Kori, Margus Pedaste, and Olev Must

discuss: Embedding Dialog-Based Discussions into Websites . . . . . . . . . . . . 449

Christian Meter, Tobias Krauthoff, and Martin Mauve

Design and Development of Intelligent Learning Companion

for Primary School Students Based on the Tour of Well-Known
Scenic Spots in Beijing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Yujun Wang, Haotian Ma, Chengyu Li, and Feng-Kuang Chiang

The Evaluation on the Usability of Digital Storytelling Teaching System

in Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Pei-Fen Wu, Hui-Jiun Hu, Feng-Chu Wu, and Kuang-Yi Fan

Nellodee 2.0: A Quantified Self Reading App for Tracking

Reading Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Sanghyun Yoo, Jonatan Lemos, and Ed Finn

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Multimodal and Natural Interaction for
Learning
 Immersive Visualization Technologies to Facilitate
Multidisciplinary Design Education

Jorge D. Camba1 ✉ , José Luis Soler2, and Manuel Contero2

( )

1
Gerald D. Hines College of Architecture and Design, University of Houston,
4200 Elgin Street, Houston, TX 77204-4000, USA
jdorribo@uh.edu
2
Instituto de Investigación e Innovación en Bioingeniería (I3B), Universitat Politècnica de
Valéncia, Camino de Vera s/n, 46022 Valencia, Spain
{josodo,mcontero}@upv.es

Abstract. This paper reports on an integrated project-based course for undergrad‐

uate students in industrial design, architecture, and interior architecture, where
emerging technologies are used to develop 3D visualization experiences for projects
that effectively combine elements from the three design disciplines. The course
emphasizes design as a multidisciplinary activity that can benefit from skills that span
traditional departmental boundaries. The curriculum moves through the different
types of mixed reality technologies such as virtual and augmented reality, and
explores how these tools can be combined to harness the design potential across
disciplines and create compelling and engaging outcomes. The course follows a
student-centered collaborative approach where projects are completed as a team with
members from different majors. Student to student collaboration is actively encour‐
aged in an effort to promote dialogue and community and foster creative thinking. The
proposed initiative provides an integrative and unifying experience for students and
their design concepts and project outcomes, as well as an opportunity for expanding
their creative portfolios.

Keywords: Multidisciplinary education · Design disciplines · Mixed reality · 3D

visualization

1 Introduction

Modern approaches to design pedagogy are largely influenced by constructivist theories,

which emphasize the importance of interpreting and contextualizing educational
contents to provide effective learning experiences [1, 2]. In constructivism, it is essential
that the educational material is not only lectured but learners have the opportunity to
experience it in their own context and reflect on those experiences [1].
To facilitate phases of individual construction and contextualization, design pedagogy
generally takes the form of collaborative project-oriented learning where a studio-centered
environment encourages teamwork, cooperation, hands-on activities, and the creative explo‐
ration of ideas [3, 4]. Design studio instruction is based on the premise that creative design
is learned through the act of doing and making, or “leaning-by-doing” [5]. A design studio

© Springer International Publishing AG 2017

P. Zaphiris and A. Ioannou (Eds.): LCT 2017, Part I, LNCS 10295, pp. 3–11, 2017.
DOI: 10.1007/978-3-319-58509-3_1
4 J.D. Camba et al.

is expected to promote a culture where students work side by side to share and benefit from
exposure to a variety of ideas from peers and instructors [6, 7].
However, the unique characteristics and requirements of each individual design
discipline often make it difficult to deliver an integrated curriculum that promotes truly
multidisciplinary work. For example, a project that involves the design of a new line of
urban bicycles may be exciting to industrial design students but would likely be of little
to no interest to students majoring in architecture. Similarly, designing the interior space
of an office building or a hotel lobby would likely be exciting to interior architecture
students, but unstimulating to most industrial designers.
In this paper, we describe a new multidisciplinary course that is currently being
offered to students of industrial design, architecture, and interior architecture at the
University of Houston. The curriculum uses emerging visualization technologies as a
catalyst for the creation of collaborative projects and the development of integrated
outcomes. In this regard, this paper was written as a way of distributing the results of
our initiative to the design education community.

2 Educational Needs and Multidisciplinary Programs

Researchers across various disciplines have stressed the importance of cross-discipli‐

nary education. This kind of education aims to supplement traditional domain-specific
knowledge skills with the development of “boundary-crossing” skills such as the ability
to synthesize knowledge from different disciplines and being able to change perspectives
based on specific aspects of a problem [8].
According to Berezin [9], the proper balance between specialized technical training
and a general social human knowledge is essential to avoid fragmented knowledge in
poorly interacting specialties [9]. Similarly, authors Borrego and Newswander [10] state
that “researchers from other disciplines ‘see’ things differently, but by understanding
the underlying differences and how these can expand possibilities for research, would-
be collaborators can learn lessons invaluable to cooperation, communication, and ulti‐
mate understanding [10].” Evidence suggests that cross-disciplinarity facilitates
comprehensive understanding [8, 11]
Cross-disciplinary collaborations can take the form of either multidisciplinary or
interdisciplinary approaches. In a multidisciplinary approach, collaborators work
together on a problem and each collaborator brings his or her own expertise to the team
[12, 13] and split apart after the common work is completed. In contrast, in interdisci‐
plinary collaborations, researchers from different disciplines work in a more integrated
manner by combining their knowledge from their own disciplines to work toward a
common goal [10, 12, 13]. As stated by Borrego [10], “at the end of a truly interdisci‐
plinary collaboration, each collaborator is changed by the experience.”
The differences between multidisciplinary and interdisciplinary approaches are illus‐
trated in Fig. 1.
We are familiar with efforts at a number of universities (from faculty to departmental
to college to university levels) to promote cross-disciplinary education. For example,
successful collaborations between engineering, humanities, and applied sciences have
 Immersive Visualization Technologies 5

Fig. 1. Difference between multidisciplinary and interdisciplinary collaborations (adapted from

[13]).

been reported [14] as well as initiatives that combine design and communication [15],
or engineering, business, and art [16]. A pilot interdisciplinary course on climate solu‐
tions was also reported which involved faculty from seven different disciplines including
engineering, political science, philosophy, meteorology and foreign languages [17].
Researchers agree that support from the academic institution is a key factor to the
successful implementation of interdisciplinary courses [10].
The integration of various disciplines into a cross-disciplinary curriculum is gener‐
ally implemented as project-based team courses (particularly if the disciplines are
closely related), which emphasize teamwork as the focus for learning. Some examples
include partnerships among architecture, engineering, and construction [18] as well as
civil, mechanical and electrical engineering [19]. Cross-disciplinary project-based
education is also common among first-year engineering programs as a strategy to
improve retention and attract new students into engineering [20, 21]. In some cases,
students work closely with sponsors and external companies that support the course.
Some major obstacles to successfully implementing cross-disciplinary education
were identified by Ackerson [22]. These obstacles include (1) fragmentation of disci‐
plinary information, (2) inability to digest the extensive volume of existing information,
and (3) a lack of access to relevant information [22].
The multidisciplinary course presented in this paper was designed to address the first
obstacle (i.e., fragmentation of disciplinary information) by facilitating an environment
where students can work in teams toward a common goal while naturally dividing tasks
based on students‘individual interests, backgrounds, and majors.

3 Emerging Visualization Technologies

For the purposes of this paper, the concept of “emerging visualization technologies”
refers to advanced 3D visualization tools that can be used to present and experience
design information, concepts, and outcomes in an immersive manner. These technolo‐
gies include the various types of augmented reality technology (e.g., direct, indirect,
marker-based, projection-based, etc.), virtual reality, and holographic visualization.
Augmented Reality (AR) is a visualization technology that combines real-time three-
dimensional computer-generated imagery and real-life footage to create an enhanced
6 J.D. Camba et al.

representation of reality [23]. Augmented reality allows users to experience a modified

version of the real world by blending virtual images and real views of the environment.
It can be experienced in a variety of ways such as via computer screens and portable
devices (indirect visualization), or using projection based techniques and special head‐
sets (direct visualization).
Virtual Reality typically involves immersion. In a virtual reality environment, the
user is immersed in a space that is entirely computer-generated (i.e. the real world is
entirely replaced by a virtual world) [24]. There are many ways to experience virtual
reality worlds. The most popular methods involve the use of specialized Head Mounted
Displays (HMD) such as the Oculus Rift® [25] or the HTC Vive® [26].
Holographic visualization is a type of direct mixed (augmented) reality experience
popularized by Microsoft and their recent Head Mounted Display, the Hololens® [27].
This technology offers a more integrated view of reality, as real spaces can be mapped
in 3D, making virtual content “aware” of the real environment. According to Microsoft,
holographic visualization allows users to “visualize and work with digital content as
part of the real world” and “feel present in the environment by enabling them to move
naturally, interact, and explore in three dimensions [27].”
Visualization technologies have always been at the heart of the design disciplines.
In addition to CAD software, immersive technologies have been used to develop and
visualize design concepts [28–30]; visualize construction processes and scheduling [31];
or analyze engineering and construction equipment [32, 33]. Research has shown that
immersive technologies in design studios can increase the awareness of the designer and
facilitate the selective reinterpretation and immediate evaluation of a particular design
instance [34].
From an educational standpoint, however, immersive visualization technologies
have generally been used merely as tools to complement or facilitate other tasks, but not
necessarily as the focus of the course. In fact, these types of courses are often very
technical and offered only to computer science students as a complement to a computer
graphics course [35, 36]. Burdea identified some of the problems regarding the teaching
of these technologies, particularly virtual reality [37].
Nevertheless, a number of educational initiatives on virtual reality courses have been
reported, including some multidisciplinary ones. For example, an educational frame‐
work for developing VR applications was described by Miyata et al. [38]. Using this
framework, graduate students worked in teams to develop a number of visualization
experiences, mostly games. Authors Zimmerman and Eber [39] described an interdis‐
ciplinary course with students from computer science and art. Similarly, a practical
course on virtual reality designed for engineering students from different fields (e.g.,
mechanical engineering, electrical, etc.) was also reported [40].
In this paper, we describe a pilot course for design majors where immersive visual‐
ization technologies are studied from a non-technical standpoint. The course examines
how these technologies can benefit designers, particularly in terms of the presentation
and delivery of visual content.
 Immersive Visualization Technologies 7

4 Approach

As part of an initiative supported by the College of Architecture and Design at the

University of Houston to offer courses that are interdisciplinary among the degree
programs within the College (Interior Architecture, Industrial Design, and Architecture),
a pilot course on emerging visualization technologies was offered in the Spring 2017
semester. The goal of this initiative is aimed at providing new cross-disiplinary areas of
inquiry to students in the context of the following four approaches: (1) Human Factors,
(2) Materials/Systems, (3) History/Theory, and (4) Entrepreneurial Processes.
Although the new course is organized around a student-centered project-based collabo‐
rative curriculum, it is not offered as a traditional design studio but as a regular lecture/lab
course. Upperclass undergraduates and graduate students from all three majors were eligible
to enroll. The course is divided into four major learning blocks, each of which covering a
relevant emerging topic on visualization technology:
• Fundamentals of 3D and stereoscopy
• Augmented Reality (Direct and Indirect)
• Virtual Reality
• Holographic Visualization
The course emphasizes (1) 3D visualization, presentation, and visual communication as
fundamental skills that are common across different specialties; (2) the integrative and
versatile nature of visualization technologies; and (3) their inherent applicability to different
design fields. Through a combination of lectures and project-based exercises, students
investigate emerging topics in 3D visualization, including the limitations, areas of applica‐
tion, and contexts of use. Students investigate how immersive 3D visualizations can enrich
the delivery of design information; enhance presentations and simulations in their respec‐
tive fields, and impact user perception, cognition, and engagement. The general schedule of
topics of the course is described in Table 1.

Table 1. Schedule of topics

Week Learning block Topic Project
1 3D fundamentals Introduction Project 1
2 Stereoscopic 3D
3 360 Video
4 Augmented reality (AR) Augmented reality Project 2
5 AR indirect view
6 AR direct view
7 Projection mapping
8 Virtual reality (VR) Virtual reality Project 3
9 Designing immersive environments
10 User experience in VR environments
11 Holographic visualization Introduction to holograms Project 4
12 Interactivity
13 Interactivity
14 Spatial mapping
8 J.D. Camba et al.

Given the design background of the students enrolled in the course, topics and specific
technolgies were discussed almost entirely from an “authoring” or content-creation point of
view, emphasizing user experience. Emphasis was also put on the visual quality of the
deliverables. No programming, software development, or computer graphics concepts were
discussed beyond basic interactions and interface design.
A team project was assigned for each major topic. Teams were comprised of no less than
three students. Attempts were made to diversify all teams so at least one member of each
team would be from a different design discipline. Projects involved the creation of an inter‐
active visualization experience that combined elements of all three majors. The experience
would be designed for the specific technology being discussed in class at the time the
project was assigned. As an example, for the virtual reality learning block, an architecture
student may create an immersive visualization of a building where all the details can be
experienced at true scale. Similarly, an interior architecture student may build on the
previous work by modeling a particular interior space within the previous building, whereas
an industrial design student could do the same for a particular piece of furniture for that
interior space. All three concepts are integrated in a seamless manner to provide a compre‐
hensive visualization of a particular design space.
In addition, for each major learning block (described above), students were required to
reflect back on their respective fields, describe how the technology can be applied and used
effectively, and be encouraged to use their 3D models and designs (including those
completed in previous courses and studios) to create additional experiences that are rele‐
vant to their specific area or interest.
The final deliverables for each project required a poster session, an oral presentation, a
final report, and a demonstration of the experience. Project topics were discussed between
the faculty and each individual team and reflected the interests of the students: immersive
visualization of living spaces, public spaces and community development, furniture design
and applications, customization of interior spaces and its impact on user perception, exami‐
nation of immersive technologies as a tool to evaluate user preferences, urban farming, and
visualization of large urban areas.
Student to student collaboration was actively encouraged in an effort to promote dialogue
and community, foster creativity and unconventional thinking, and expand students’
perspectives. The proposed initiative provides not only a multidisciplinary course for
students, but also an integrative and unifying experience for their design concepts and
project outcomes as well as an opportunity for expanding their creative portfolios.

5 Discussion

The development and affordability of innovative immersive 3D visualization technologies

are opening new doors to design exploration, documentation, and presentation. Further‐
more, visualization technology is increasingly influencing the design process itself, partic‐
ularly during initial concept phases. As designers, being able to show the audience a virtual
version of a future product or environment can foster reliability and consensus, reduce
uncertainty, and help make decisions throughout refinement and planning processes.
 Immersive Visualization Technologies 9

Using visualization technologies, layers of digital information can be combined with

traditional media and physical spaces to create truly unique and immersive experiences
that go far beyond classic presentation boards and computer screens. As a practical
hands-on exploration of emerging technologies for design visualization and presenta‐
tion, we developed a new course where students learn to deliver three-dimensional
experiences that merge the physical with the virtual and allow audiences to interact with
the content.
The multidisciplinary experience of the course is founded on (1) 3D visualization as
a fundamental component of design that is common to all disciplines; (2) the integrative
and versatile nature of visualization technologies; and (3) their immediate applicability
to different design fields. In this regard, new visualization technologies have the potential
to drastically change the way design is experienced, shared, and presented.
A dedicated course that explores state of the art tools and visualization technologies
was designed to prepare students with the means to provide richer and more engaging
experiences to diverse audiences. The proposed course is intended to have a significant
impact on the nature of the presentation deliverables that students submit to their studio
courses and theses. In addition, the integrated curriculum offers students from Industrial
Design, Architecture, and Interior Architecture (both at the undergraduate and graduate
levels) a path toward experiencing state of the art visualization technology and applying
it to their respective fields.
The difficulties encountered with the multidisciplinary format of this pilot course
involve mostly administrative challenges. In some cases, however, the challenge is not
a result of the multidisciplinary aspect of the course, but one involving teamwork. For
example, working and managing small groups can often be difficult for both faculty and
students, especially when one or more students are not fully engaged in the project.
In addition, faculty and students agreed that the lack of particular resources dedicated
to the teams was unfortunate, as all specialized equipment had to be shared among
multiple teams. The fact that the Head Mounted Displays such as the Oculus Rift and
the Microsoft Hololens are costly and require powerful computers to run was a major
obstacle for students. There were consistent complaints from the students that they could
not test their experiences adequately because they did not have easy and exclusive access
to the technology outside class meetings. They suggested that even a small budget to
purchase more equipment could have been helpful. An alternative option was proposed
where each team would complete each project at a different time during the semester to
reduce scheduling conflicts for a specific device. This option would naturally add
complexity in terms of course management, as more content would have to be delivered
at the beginning of the semester in order to accommodate all projects.
There are several implications of our pilot experience. First, students benefit from
exposure to a diversity of design backgrounds from their colleagues and opportunities
to share their areas of expertise within their groups. Second, student also benefit from
explicit instruction on cross-disciplinary teamwork, dynamics, and problem solving.
Third, student get different perspectives on design by interacting with other students and
being exposed to how other disciplines approach the design process itself. Finally,
students benefit from the resulting project outcomes, which provide an integrated piece
for their creative design portfolios. In the near future, we would like to examine how
10 J.D. Camba et al.

this course influences the quality and delivery of design information in other courses.
We plan to collaborate with other faculty to track these students and determine whether
the use of immersive technologies has a significant impact on their future presentations.

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 TO ROAST A HAUNCH OF MUTTON.[79]

79. We recommend Liebig’s directions for roasting (page 171), to be applied

here, and for the joints which follow.

This joint should be well kept, and when the larder-

accommodations of a house not are good, the butcher should be
requested to hang it the proper time. Roast it carefully at a large
sound fire, and let it remain at a considerable distance for at least a
couple of hours; then draw it nearer, but never sufficiently so to burn
or injure the fat. Keep it constantly basted; flour it soon after it is laid
to the fire, instead of frothing it, as this latter mode is not generally
relished, though fashion is in its favour. In from three and a half to
four hours, the haunch will be done, and it will require something
less of time when not kept back at first, as we have advised. Serve it
with a good Espagnole, or with plain mutton-gravy and currant-jelly.
This joint, when the meat is of very fine quality, may be dressed and
served exactly like venison.
3-1/2 to 4 hours. 5 hours or more by the slow method.
 ROAST SADDLE OF MUTTON.

This is an excellent joint, though not considered a very economical

one. It is usual for the butcher to raise the skin from it before it is
sent in, and to skewer it on again, that in the roasting the juices of
the meat may be better preserved, and the fat prevented from taking
too much colour, as this should be but delicately browned. In less
than half an hour before the mutton is done, remove the skin, and
flour the joint lightly after having basted it well. Our own great
objection to frothed meat would lead us to recommend that the skin
should be taken off half an hour earlier, and that the joint should be
kept at sufficient distance from the fire to prevent the possibility of
the fat being burned; and that something more of time should be
allowed for the roasting. With constant basting, great care, and good
management, the cook may always ensure the proper appearance of
this, or of any other joint (except, perhaps, of a haunch of venison)
without having recourse to papering or pasting, or even to replacing
the skin; but when unremitted attention cannot be given to this one
part of the dinner, it is advisable to take all precautions that can
secure it from being spoiled.
2-1/2 to 2-3/4 hours. More if very large.
 TO ROAST A LEG OF MUTTON.

In a cool and airy larder a leg of mutton will hang many days with
advantage, if the kernel be taken out, and the flap wiped very dry
when it is first brought in; and it is never tender when freshly killed: in
warm weather it should be well dredged with pepper to preserve it
from the flies. If washed before it is put upon the spit, it should be
wiped as dry as possible afterwards, and well floured soon after it is
laid to the fire. When the excellence of the joint is more regarded
than the expense of fuel, it should be roasted by what we have
denominated the slow method; that is to say, it should be kept at a
considerable distance from the fire, and remain at it four hours
instead of two: it may be drawn nearer for the last twenty or thirty
minutes to give it colour. The gravy will flow from it in great
abundance when it is cut, and the meat will be very superior to that
roasted in the usual way. When this plan is not pursued, the mutton
should still be kept quite a foot from the fire until it is heated through,
and never brought sufficiently near to scorch or to harden any part. It
should be constantly basted with its own fat, for if this be neglected,
all other precautions will fail to ensure a good roast; and after it is
dished a little fine salt should be sprinkled lightly on it, and a
spoonful or two of boiling water ladled over. This is the most
palatable mode of serving it, but it may be frothed when it is
preferred so, though we would rather recommend that the flour
should be dredged on in the first instance, as it then prevents the
juices of the meat from escaping, and forms a savoury coating to it;
while the raw taste which it so often retains with mere frothing is to
many eaters especially objectionable.
Leg of mutton, 7 to 8 lbs.: slow method 4 hours, common method
1-3/4 to 2 hours.
Obs.—Many common cooks injure their roasts exceedingly by
pouring abundance of hot water over them, “to make gravy” as they
call it. This should never be done. The use of any portion may,
perhaps, be rationally objected to; but when the joint is not carefully
cooked it is sometimes very dry without it. A few spoonsful of
Liebeg’s extract of meat will supply excellent gravy for this, or for any
other dish of roasted meat.
 BRAISED LEG OF MUTTON.

Take out the bone as far as the first joint by the directions of the
following receipt; roll some large strips of bacon in a seasoning of
mixed spice, and of savoury herbs minced extremely fine or dried
and reduced to powder, and with these lard the inside of the boned
portion of the joint; or fill the cavity with forcemeat highly seasoned
with eschalot or garlic. Sew up the meat, and place it in a braising-
pan or ham-kettle nearly of its size, with slices of bacon under and
over it, two or three onions, four or five carrots, two bay leaves, a
large bunch of savoury herbs, a few bones, or bits of undressed
mutton or veal, and about three quarters of a pint of gravy. Stew the
meat as softly as possible from four to five hours, and keep live
embers on the pan (or, as this mode of cooking is not general in
England, set the mutton, if it can be done conveniently, into a
moderately-heated oven, after having luted the edges of the vessel
in which it is arranged with a bit of coarse paste); lift it out, strain the
gravy, reduce it quickly to glaze, and brush the meat with it; or
merely strain, free it from fat, and pour it over the mutton. White
beans (haricots blancs), boiled tender and well drained, or a mild
ragout of garlic or eschalots, may be laid in the dish under it. The
joint can be braised equally well without any part of it being boned.
3 to 5 hours.
 LEG OF MUTTON BONED AND FORCED.

Select for this dish a joint of South Down or of any other delicate-
sized mutton, which has been kept sufficiently long to render it very
tender. Lay it on a clean cloth spread upon a table, and turn the
underside upwards. With a sharp-edged boning-knife cut through the
middle of the skin, from the knuckle to the first joint, and raise it from
the flesh on the side along which the bone runs, until the knife is just
above it, then cut through the flesh down to the bone; work the knife
round it in every part till you reach the socket; next remove the flat
bone from the large end of the joint, and pass the knife freely round
the remaining one, as it is not needful to take it out clear of the meat;
when you again reach the middle joint, loosen the skin round it with
great care, and the two bones can then be drawn out without being
divided. This being done, fill the cavities with the forcemeat, No. 1.
(Chapter VIII.), adding to it a somewhat high seasoning of eschalot,
garlic, or onion; or cut out with the bone, nearly a pound of the inside
of the mutton, chop it fine with six ounces of delicate striped bacon,
and mix with it thoroughly three quarters of an ounce of parsley, and
half as much of thyme and winter savoury, all minced extremely
small; a half teaspoonful of pepper (or a third as much of cayenne);
the same of mace, salt, and nutmeg, and either the grated rind of a
small lemon, or four eschalots finely shred. When the lower part of
the leg is filled, sew the skin neatly together where it has been cut
open, and tie the knuckle round tightly, to prevent the escape of the
gravy. Replace the flat bone at the large end, and with a long needle
and twine, draw the edges of the meat together over it. If it can be
done conveniently, it is better to roast the mutton thus prepared in a
cradle spit or upon a bottle-jack, with the knuckle downwards. Place
it at first far from the fire, and keep it constantly basted. It will require
nearly or quite three hours’ roasting. Remove the twine before it is
served, and send it very hot to table with some rich brown gravy.
 A BOILED LEG OF MUTTON WITH TONGUE AND TURNIPS.

(An excellent Receipt.)

Trim into handsome form a well-kept, but perfectly sweet leg of
mutton, of middling weight; wash, but do not soak it; lay it into a
vessel as nearly of its size as convenient, and pour in rather more
than sufficient cold water[80] to cover it; set it over a good fire, and
when it begins to boil take off the scum, and continue to do so until
no more appears; throw in a tablespoonful of salt (after the first
skimming), which will assist to bring it to the surface, and as soon as
the liquor is clear, add two moderate-sized onions stuck with a dozen
cloves, a large faggot of parsley, thyme, and winter savoury, and four
or five large carrots, and half an hour afterwards as many turnips.
Draw the pan to the side of the fire, and let the mutton be simmered
gently from two hours to two and a half, from the time of its first
beginning to boil. Serve it with caper, brown cucumber, or oyster
sauce. If stewed softly, as we have directed, the mutton will be found
excellent dressed thus; otherwise, it will but resemble the
unpalatable and ragged-looking joints of fast-boiled meat, so
constantly sent to table by common English cooks. Any undressed
bones of veal, mutton, or beef, boiled with the joint will improve it
much, and the liquor will then make excellent soup or bouillon. A
small smoked ox-tongue boiled very tender will generally be much
approved as an accompaniment to the mutton, though it is out of the
usual course to serve them together: innovation on established
usages is, however, sometimes to be recommended. The tongue
should be garnished with well-prepared mashed turnips, moulded
with a tablespoon into the form of a half-egg, and sent to table as hot
as possible; or the turnips may be dished apart.
80. We have left this receipt unaltered, instead of applying to it Baron Liebeg’s
directions for his improved method of boiling meat, because his objections to
the immersion of the joint in cold water are partially obviated, by its being
placed immediately over a sound fire, and heated quickly; and the mutton is
very good thus dressed.
2 to 2-1/2 hours.
 ROAST OR STEWED FILLET OF MUTTON.

Cut some inches from either end of a large and well-kept leg of
mutton, and leave the fillet shaped like one of veal. Remove the
bone, and fill the cavity with forcemeat (No. 1, Chapter VIII.), which
may be flavoured with a little minced eschalot, when its flavour is
liked: more forcemeat may be added by detaching the skin
sufficiently on the flap side to admit it. When thus prepared, the fillet
may be roasted, and served with currant-jelly and brown gravy, or
with only melted butter poured over it; or it may be stewed gently for
nearly or quite four hours, in a pint of gravy or broth, after having
been floured and browned all over in a couple of ounces of butter: it
must then be turned every hour that it may be equally done. Two or
three small onions, a faggot of herbs, a couple of carrots sliced, four
or five cloves, and twenty whole peppercorns can be added to it at
will.
Roasted 2 hours, or stewed 4 hours.
Obs.—At a large fire, half an hour less of time will roast the mutton
sufficiently for English taste in general.
 TO ROAST A LOIN OF MUTTON.

The flesh of the loin of mutton is superior to that of the leg, when
roasted; but to the frugal housekeeper this consideration is usually
overbalanced by the great weight of fat attached to it; this, however,
when economy is more considered than appearance, may be pared
off and melted down for various kitchen uses. When thus reduced in
size, the mutton will be soon roasted. If it is to be dressed in the
usual way, the butcher should be desired to take off the skin; and
care should be taken to preserve the fat from being ever so lightly
burned: it should be managed, indeed, in the same manner as the
saddle, in every respect, and carved also in the same way, either in
its entire length or in oblique slices.
Without the fat, 1 to 1-1/2 hour; with 1-1/4 to 1-3/4 hour.
 TO DRESS A LOIN OF MUTTON LIKE VENISON.

Skin and bone a loin of mutton, and lay it into a stewpan, or

braising-pan, with a pint of water, a large onion stuck with a dozen
cloves, half a pint of port wine and a spoonful of vinegar; add, when
it boils, a small faggot of thyme and parsley, and some pepper and
salt: let it stew three hours, and turn it often. Make some gravy of the
bones, and add it at intervals to the mutton when required. This
receipt comes to us so strongly recommended by persons who have
partaken frequently of the dish, that we have not thought it needful to
prove it ourselves.
3 hours.
 ROAST NECK OF MUTTON.

This is a very favourite joint in many families, the flesh being more
tender and succulent than that even of the loin; and when only a
small roast is required, the best end of the neck of mutton, or the
middle, if divested of a large portion of the fat and cut into good
shape, will furnish one of appropriate size and of excellent quality.
Let the ends be cut quite even and the bones short, so as to give a
handsome squareness of form to the meat. The butcher, if directed
to do so, will chop off the chine bone, and divide the long bones
sufficiently at the joints to prevent any difficulty in separating them at
table. From four to five pounds weight of the neck will require from
an hour to an hour and a quarter of roasting at a clear and brisk, but
not fierce, fire. It should be placed at a distance until it is heated
through, and then moved nearer, and kept thoroughly basted until it
is done. Tomatas baked or roasted may be sent to table with it; or a
little plain gravy and red currant-jelly; or it may be served without
either.
When the entire joint, with the exception of the scrag-end (which
should always be taken off), is cooked, proportionate time must be
allowed for it.
 TO ROAST A SHOULDER OF MUTTON.

Flour it well, and baste it constantly with its own dripping; do not
place it close enough to the fire for the fat to be in the slightest
degree burned, or even too deeply browned. An hour and a half will
roast it, if it be of moderate size. Stewed onions are often sent to
table with it. A shoulder of mutton is sometimes boiled, and
smothered with onion sauce.
1-1/2 hour.
 THE CAVALIER’S BROIL.

Half roast or stew, or parboil, a small, or moderate-sized shoulder

of mutton; lift it into a hot dish, score it on both sides down to the
bone, season it well with fine salt and cayenne or pepper, and finish
cooking it upon the gridiron over a brisk fire. Skim the fat from any
gravy that may have flowed from it, and keep the dish which contains
it quite hot to receive the joint again. Warm a cupful of pickled
mushrooms, let a part of them be minced, and strew them over the
broil when it is ready to be served; arrange the remainder round it,
and send it instantly to table. The reader will scarcely need to be told
that this is an excellent dish.
 FORCED SHOULDER OF MUTTON.

Cut off all the flesh from the inside of the joint down to the blade-
bone, and reserve it for a separate dish. It may be lightly browned
with some turnips or carrots, or both, and made into a small harrico
or stewed simply in its own gravy, or it will make in part, a pie or
pudding. Bone the mutton (see page 219), flatten it on a table, lay
over the inside some thin and neatly-trimmed slices of striped bacon,
and spread over them some good veal forcemeat (No. 1, Chapter
VIII.) to within an inch of the outer edge; roll the joint up tightly
towards the knuckle (of which the bone may be left in or not, at
pleasure), secure it well with tape or twine, and stew it gently in good
gravy, from four hours to four and a half.
4 to 4-1/2 hours.
Obs.—In France it is usual to substitute sausage-meat for the
bacon and veal stuffing in this dish, but it does not appear to us to be
well suited to it.
 MUTTON CUTLETS STEWED IN THEIR OWN GRAVY.

(Good.)
Trim the fat entirely from some cutlets taken from the loin; just dip
them into cold water, dredge them moderately with pepper, and
plentifully on both sides with flour; rinse a thick iron saucepan with
spring water, and leave three or four tablespoonsful in it; arrange the
cutlets in one flat layer, if it can be done conveniently, and place
them over a very gentle fire; throw in a little salt when they begin to
stew, and let them simmer as softly as possible, but without ceasing,
from an hour and a quarter to an hour and a half. If dressed with
great care, which they require, they will be equally tender, easy of
digestion, and nutritious; and being at the same time free from
everything which can disagree with the most delicate stomach, the
receipt will be found a valuable one for invalids. The mutton should
be of good quality, but the excellence of the dish mainly depends on
its being most gently stewed; for if allowed to boil quickly all the
gravy will be dried up, and the meat will be unfit for table. The cutlets
must be turned when they are half done: two or three spoonsful of
water or gravy may be added to them should they not yield sufficient
moisture; or if closely arranged in a single layer at first, water may be
poured in to half their depth. The advantage of this receipt is, that
none of the nutriment of the meat is lost; for that which escapes from
the cutlets remains in the gravy, which should all be served with
them: any fat which may be perceived upon it should be carefully
skimmed off. Cold broth used for it instead of water will render it
extremely good.
1-1/4 to 1-3/4 hour.
 TO BROIL MUTTON CUTLETS. (ENTRÉE.)

These may be taken from the loin, or the best end of the neck, but
the former are generally preferred. Trim off a portion of the fat, or the
whole of it, unless it be liked; pepper the cutlets, heat the gridiron,
rub it with a bit of the mutton suet, broil them over a brisk fire, and
turn them often until they are done; this, for the generality of eaters,
will be in about eight minutes, if they are not more than half an inch
thick, which they should not be. French cooks season them with
pepper and salt, and brush them lightly with dissolved butter or oil,
before they are laid to the fire, and we have found the cutlets so
managed extremely good.
Lightly broiled, 7 to 8 minutes. Well done, 10 minutes.
Obs.—A cold Maître d’Hôtel sauce may be laid under the cutlets
when they are dished; or they may be served quite dry, or with brown
gravy; or with good melted butter seasoned with mushroom catsup,
cayenne, and chili vinegar or lemon-juice.
 CHINA CHILO

Mince a pound of an undressed loin or leg of mutton, with or

without a portion of its fat; mix with it two or three young lettuces
shred small, a pint of young peas, a teaspoonful of salt, half as much
pepper, four tablespoonsful of water, from two to three ounces of
good butter, and, if the flavour be liked, a few green onions minced.
Keep the whole well stirred with a fork over a clear and gentle fire
until it is quite hot, then place it closely covered by the side of the
stove, or on a high trivet, that it may stew as softly as possible for a
couple of hours. One or even two half-grown cucumbers, cut small
by scoring the ends deeply as they are sliced, or a quarter of a pint
of minced mushrooms may be added with good effect; or a
dessertspoonful of currie-powder and a large chopped onion. A dish
of boiled rice should be sent to table with it.
Mutton, 1 pint; green peas, 1 pint: young lettuces, 2; salt, 1
teaspoonful; pepper, 1/2 teaspoonful; water, 4 tablespoonsful; butter,
2 to 3 oz.: 2 hours. Varieties: cucumbers, 2; or mushrooms minced,
1/4 pint; or currie-powder, 1 dessertspoonful, and 1 large onion.
 A GOOD FAMILY STEW OF MUTTON.

Put into a broad stewpan or saucepan, a flat layer of mutton

chops, freed entirely from fat and from the greater portion of the
bone, or in preference a cutlet or two from the leg, divided into bits of
suitable size, then just dipped into cold water, seasoned with pepper,
and lightly dredged with flour; on these put a layer of mild turnips
sliced half an inch thick, and cut up into squares; then some carrots
of the same thickness, with a seasoning of salt and black pepper
between them; next, another layer of mutton, then plenty of
vegetables, and as much weak broth or cold water as will barely
cover the whole; bring them slowly to a boil, and let them just simmer
from two to three hours, according to the quantity. One or two
minced onions may be strewed between the other vegetables when
their flavour is liked. The savour of the dish will be increased by
browning the meat in a little butter before it is stewed, and still more
so by frying the vegetables lightly as well, before they are added to
it. A head or two of celery would to many tastes improve the flavour
of the whole. In summer, cucumber, green onions, shred lettuces,
and green peas may be substituted for the winter vegetables.
Mutton, free from fat, 2-1/2 lbs.; turnips, 3 lbs; carrots, 3 lbs.;
celery (if added), 2 small heads: 2 to 3 hours.
Obs.—The fat and trimmings of the mutton used for this and for
other dishes into which only the lean is admissible, may be turned to
useful account by cutting the whole up rather small, and then boiling
it in a quart of water to the pound, with a little spice, a bunch of herbs
and some salt, until the fat is nearly dissolved: the liquid will then, if
strained off and left until cold, make tolerable broth, and the cake of
fat which is on the top, if again just melted and poured free of
sediment into small pans, will serve excellently for common pies and
for frying kitchen dinners. Less water will of course produce broth of
better quality, and the addition of a small quantity of fresh meat or
bones will render it very good.
 AN IRISH STEW.

Take two pounds of small thick mutton cutlets with or without fat,
according to the taste of the persons to whom the stew is to be
served; take also four pounds of good potatoes, weighed after they
are pared; slice them thick, and put a portion of them in a flat layer
into a large thick saucepan or stewpan; season the mutton well with
pepper, and place some of it on the potatoes; cover it with another
layer, and proceed in the same manner with all, reserving plenty of
the vegetable for the top; pour in three quarters of a pint of cold
water, and add, when the stew begins to boil, an ounce of salt; let it
simmer gently for two hours, and serve it very hot. When the addition
of onion is liked, strew some minced over the potatoes.
Mutton cutlets, 2 lbs.; potatoes, 4 lbs.; pepper, 1/2 oz.; salt, 1 oz.;
water, 3/4 pint: 2 hours.
Obs.—For a real Irish stew the potatoes should be boiled to a
mash: an additional quarter of an hour may be necessary for the full
quantity here, but for half of it two hours are quite sufficient.