Searching for "digital storytelling"

SXSW 2017 tech and social media trends

Our favorite tech and social media trends from SXSW this year

http://mashable.com/2017/03/28/plenty-to-nerd-out-about-sxsw/

The themes surrounding the SXSW Interactive Festival

Virtual Reality is quickly becoming a device that can be used to bridge gaps in understanding between cultures, transporting people into situations and locations dissimilar from their own.

Empathy Lab, a partnership between Refinery29 and the Columbia University Digital Storytelling Lab. Here attendees witnessed firsthand the power of empathy, via a series of exercises that sought to shift the way they saw the world – and each other.

More on digital storytelling and virtual reality in this SCSU class:
http://web.stcloudstate.edu/pmiltenoff/lib490/

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more on digital storytelling in this IMS blog
https://blog.stcloudstate.edu/ims?s=digital+storytelling

more on VR in this IMS blog
https://blog.stcloudstate.edu/ims?s=virtual+reality

https://blog.stcloudstate.edu/ims/2015/11/18/immersive-journalism/

interactive historical map

Chronas – Interactive Historical Map and Data Sets

http://www.freetech4teachers.com/2015/12/chronas-interactive-history-map-and.html

http://chronas.org/history

My note: it is not about history ONLY, it is about gamifying your lesson plan.

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more on history in this IMS blog
https://blog.stcloudstate.edu/ims?s=history
more on digital storytelling in this IMS blog:
https://blog.stcloudstate.edu/ims?s=digital+storytelling
more on gamification in this IMS blog
https://blog.stcloudstate.edu/ims?s=gamification

thatcamp

http://twincities2016.thatcamp.org/

virtual scatchnoting sharing

confluence as a service.

notability versus evernote http://www.gingerlabs.com/

Virtual Reality

put the horse before the cart.

immersive augmented (elements 4D, comes with iPAD) reality. MS Hololens

Google imcardboard.com
HTC Vive (comes with two handheld controllers), Oculus (special relation in front of user), OSVR, laser towers, spacial awareness in the room,

https://blog.stcloudstate.edu/ims?s=holo

what is available now and what will be available.

how do you distinguish VR from gaming and gamification: when the latter lets us be in control and try again and again

and when it is digital storytelling.

hearts and minds. immersive environment. based on PTSD ethnography

virtual reality as recreating lost reality. whereas CL is more of creating new reality.

MS Hololens incorporates Skype

Rise of the Videogame Zinesters: How Freaks … – Seven Stories Press

Agisoft PhotoScan

cheating in virtual environment versus cheating in real environment.

computer archaeology. just a tool, but not something will solve all problems.

university web page

Posted in LinkedIn by Jonathan Moser

Check Out Thayer Academy’s new site: from Camps and Campus Maps to Infographics, History, and even some Digital Storytelling:

Home: http://www.thayer.org/
Camp Thayer: https://lnkd.in/e6CVMmk
Campus Map: https://lnkd.in/eu9aUGm
History of Thayer: https://lnkd.in/eSzgEbr
Facts & Figures: https://lnkd.in/eH_F6za

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see also
https://blog.stcloudstate.edu/ims/2016/03/23/library-social-media-strategy/

 

how to tell a story

The Danger of a Single Story

Let’s Begin…

Our lives, our cultures, are composed of many overlapping stories. Novelist Chimamanda Adichie tells the story of how she found her authentic cultural voice — and warns that if we hear only a single story about another person or country, we risk a critical misunderstanding. As you watch Tweet summaries and key phrases of her talk: @ChimamandaSays
customize the story


More on digital storytelling in this IMS blog:

https://blog.stcloudstate.edu/ims/?s=digital+storytelling&submit=Search

MN eSummit 2015

#MNsummit2015

Main speaker

Aaron Doering

aaron doening

aaron doening

Engagement not completion

Design experience not product

Create change, not simply respond to it

He was a geography teacher : Dimitrina

Experience explore expand. Adventure based how to collaborate in ways we have not collaborated before pedagogical guidelines internet driven

Instructor – content – design

Today: first think is design, content, instructor. So how do we design learning environments is the most important one

Guide learners as designers. Constructivism. Design for meaning. Through the power of the story.

Geotetic  design a learning environment learn geography using GIS

Situated movies (student-centered learning)

Grant Earthducation go to the most remote parts of the world to align their education with their culture, instead of what the government is downing as culture

Use of phone: whoever answers instructor’s question first, gets to pose the next question to the rest of the audience.

Design based research

Self-narrative, referencing the experience real world issues in real time

  1. reference knowledge . knowledge overlap. Technological pedagogical content knowledge.

Geotetic not only how prepare teachers, but desing learning environmwer of the story.

we explore: https://www.we-explore.com/

9.5 design as a learner.

the U Media Lab.
The Changing Earth. App GoX (instagram on steroids.  tell their story through the app). How is this different from Google Earth
Raptor Lab (rehabilitate a raptor).

  1. design experiences
  2. build trust
  3. guide learners as designers
  4. recognize learners as experts
  5. encourage collaboration
  6. inspire self narrative
  7. reference the knowledge domains
  8. teach for change
  9. design as learner

adoering@umn.edi     chasingseals.com   @chasingseals

 

podcast pontification (audio version of blog self reflections)

 Greg Steinke The U
A Digital Story Assignment using WeVideo

wevideo

WeVideo is the Google response to iMovie cloud

The U is on Google email and thus google drive and all other google tools

The Center for Digital Storytelling. short videos, 3-5 min incorporate photographs with the author narration, reflection

Assignment (verbal directions). process (write a 2 page script, every page is about a minute of video), gather images that support the story; edit the script (rewrite); record audio to the script (use an app on the phone instead of WeVideo), WeVideo can edit the audio recording; edit the story, edit the photos to match the story; YourTube and/or Google+

working with faculty: is the digital story a good fit for your course? two questions: does the course have many writing assignments? does everyone have to do the same type of assignment? do you want to offer choices? do you want your students to share their work outside of the class? to you want to explore opportunities for students to develop 21 century skills?

google communities for sharing

wewideo has a tutorial at Center for Digital Storytelling

students can use the digital story for their eportfolio

the entire exercise is entirely based on mobile devices

time frame: scaffolding options

3d printing products were the tangible result of the project and the digital storytelling just the format to present

Google Drive master folder for the phone images and video; iOS apps: MoviePro, FiLMc Pro, VoiceRecord Pro (including mp3); Android: WeVideo

Storyboard template

Faculty Development Programs: Digital Storytelling Community of Practice

http://it.umn.edu/faculty-development-programs-digital-0

Poster sessions:

Brad Hokanson

http://dha.design.umn.edu/faculty/BHokanson.html

iPAD video kit:

ipad video kit

Laurie Conzemius
Critical Thinking

laurie

ISTE: http://conference.iste.org/2016/
Joe Lau critical thinking

apps: Popplet  blog.popplet.com  http://www.popplet.com/ (mindmapping)

into the book: http://reading.ecb.org/

Kahoot – the token system. Polleverywhere  https://blog.stcloudstate.edu/ims/2015/05/21/polls-and-surveys-tools-for-education/

Symbaloo https://www.symbaloo.com/home/mix/13eOcK1fiV zotero, easybib, delicious, diigo depending on the grade

youth voices; http://youthvoices.net/ replace social media like teachertube is trying to replace youtube

quandary games in education. https://www.quandarygame.org/ sim city

citizen science alliance http://www.citizensciencealliance.org/

Toontastic https://itunes.apple.com/us/app/toontastic/id404693282?mt=8 now free  storytelling

coding and programming: https://www.makewonder.com/robots/dashanddot  scratch

Osmo : https://www.playosmo.com/en/ $79.99 + give a set for free Stride principle as a parental involvement

chainlink;

kickword; https://play.google.com/store/apps/details?id=com.makario.wordkick

red herring (four categories) https://play.google.com/store/apps/details?id=com.BlueOxTech.RedHerring&hl=en

http://www.mathplayground.com/logicgames.html

http://www.mathplayground.com/thinkingblocks.html

evaluation:

telestory  https://itunes.apple.com/us/app/telestory/id915378506?mt=8

explain everything http://explaineverything.com/

 

Exploring and Connecting 3D Printing to Teaching and Learning Jason Spartz, Saint Mary’s University of Minnesota

http://pubs.lib.umn.edu/minnesota-elearning-summit/2015/program/23/

http://pubs.lib.umn.edu/cgi/viewcontent.cgi?article=1023&context=minnesota-elearning-summit

3db 3da 3d lisa

Jason Spartz, Saint Mary’s University of MinnesotaFollow
Lisa Truax, Saint Mary’s University of MinnesotaFollow
Karen Sorvaag, Saint Mary’s University of MinnesotaFollow
Brett Bodsgard, Saint Mary’s University of MinnesotaFollow

chemistry professor. 3D printing with different materials.
what else can be made (e.g. reaction vessel)

printing of atoms

crystalography dbase

Karen: pre-service teachers professor: how to use 3d printers and be comfortable with them. Steve Hoover. Thinkercad and Autodesk123D>
3D academy http://www.team3dacademy.com/index2.html
. Pinterest board for3d Printing with resources

Lisa: graphic design. not intuitive.  Rhinoceros (not free anymore). 123D strong learning curve. 3d printing will be incorporated in the curriculum.  sculpture students and others don’t like fudging on the computer, but Adobe people love it. Some items takes up to 4 hours to print out. when working on the computer is difficult for some students to visualize the dimensionality.

collaborative learning opportunities.

no makerspace or fab lab. additional interest from the theater and business dept. 3d printing is connected to future work skills. new media ecology or media literacy set of skills.

the main presenter: build excitement and interest and gradually step back. how much material goes through and should we charge back. clean and maintenance involved; not too bad. better then a copier. plastic inexpensive. sizes with plastic – $25 and $50. how many project of a spool: depending on the size of the projects but considerable amount. two printers one art dept and one in the faculty dev area.

non profit visually impaired students.  how 3d can make difference in special ed.

3d printing lab with access for everybody. ownership brings policy. where housed: neutral place.

only one printer is barely sufficient for faculty to figure out how to use it. purchasing two more if students and curricula to be involved.

 

3dc 3d lisa 3da 3db

 

The Balancing Act: Team-Creating an eBook as an Alternative Method for Content Delivery Tom Nechodomu, University of Minnesota

ebook

tnecho@umn.edu
Susan Andre sandre@umn.edu
Linda Buturian butur001@umn.edu
Faculty Created digital stories – google “cultivaitng change series”
student created digital stories –
http://www.cehd.umn.edu/academics/online/
http://www.cehd.umn.edu/PSTL/water/
http://www.cehd.umn.edu/The-Changing-story/
Susan Andre uses a slide titled “trust” to elucidate how the entire project was enabled. “trust” and “transparency” are sparse currency in the environment I work in. if she is right an ebook ain’t happening anytime soon at my place.
inclining habitat.
students involvement. use stipends. student artists. food for the video interviews. create a community, student centered.
people able to change the book.
copyright process; did you find it cumbersome. copyright permission center.
time span and amount of hours spent: 3-4 months per chapter.

Main speaker
David Wiley. Making Teaching and Learning Awesome with Open

MN Learning Commons
open educational resources
LUMEN
lumen
education – sharing feedback, encouragement with students passion about the discipline, yourself
open is not the same as free.  free + permissions + copyright permission: 5 r = retain (make and own copies), reuse (use in a wide range of ways), revise (adapt, modify, and improve), remix (combine two or more), redistribute (share with others)
open:
free and unfettered access
perpetual, irrevocable copyright permissions
(look but don’t touch is not open)
tech enables OER permits
traditionally copyright materials on the Internet – not so good ; jet on the road
openly copyright materials on the internet _ yes: jet in the air
permission-less innovation. relatively inexpensive and broad permissions.
intellectual infrastructure of education: learning outcomes/objectives; assessments; textbooks. they are relatively expensive and narrow permissions.
disappearing ink strategies: buyback, rental, ebooks, online subscription
 mad, glad, sad, rad: the grumpy cat. student success per dollar
opennetgroup.org/review
change in student learning: replace commercial with open books – small. realign, bigger change. rethink is the large change.
responsibilities:
attribution and meeting other license requirements
thin common cartridge: a way to bring the content to the CMS, but the content remains on the creative commons
github.com/lumenlearning https://github.com/lumenlearning
disposable assignment: students hate doing them, instructors hate grading them. waste of time and energy
renewable assignment: students see value in doing them; instructor sees value grading them
https://www.youtube.com/watch?v=AsFU3sAlPx4
so what?
open education infrastructure: open outcomes, objectives, activities, educational resources
the culture of glued legos must be eradicated. open pedagogy. open credentialing model
summary: don’t settle for “affordable.” improve student outcomes. improve affordability. improve design / academic freedom

links generated from the discussion at my presentation:

https://www.google.com/search?q=tin+can&ie=utf-8&oe=utf-8

http://www.uwosh.edu/library/quizsmith

http://glickconsulting.com/resouce_brainegames

https://www.google.com/search?q=techers+skills&ie=utf-8&oe=utf-8

http://www.northeastern.edu/camd/gamedesign/people/sebastian-deterding/

https://www.duolingo.com/  Duolingo. App to learn languages using games

http://www.gamification.co/gabe-zichermann/

https://zebrazapps.com/  ZebraZapps

2014 Best Educational Web Sites

Best Websites for Teaching & Learning 2014

http://www.ala.org/aasl/standards-guidelines/best-websites/2014

Media sharing

Digital Storytelling

Manage and organize

Social Networking and Communication

Content Resources

Curriculum Collaboration

 

Media, Technology and Education in a Post-Truth Society

Media, Technology and Education in a Post-Truth Society

https://www.emerald.com/insight/publication/doi/10.1108/9781800439061

Alexander, B. (2021), “Macroauthorities and Microliteracies: The New Terrain of Information Politics”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 29-37. https://doi.org/10.1108/978-1-80043-906-120211003

Portelli, J.P. and Oladi, S. (2021), “Post-truth Society: Toward a Dialogical Understanding of Truth”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 11-28. https://doi.org/10.1108/978-1-80043-906-120211002

Patrinos, H.A. (2021), “The Learning Challenge in the Twenty-first Century * “, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 39-53. https://doi.org/10.1108/978-1-80043-906-120211004

Pauncefort, E. (2021), “Critical Literacy Is at the Heart of the Answer”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 73-94. https://doi.org/10.1108/978-1-80043-906-120211006

Balser, W.F.Diasio, S. and Kendal, T. (2021), “Societal Reorientation via Programmable Trust: A Case for Piloting New Models of Open Governance in Education”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 95-110. https://doi.org/10.1108/978-1-80043-906-120211007

This essay proposes the need to infuse open innovation (OI) and open source (OS) principles and technologies into schools as a means of tackling many of the most pervasive challenges in education, and by extension, society at large. It is argued that the principles of OI and OS, which are rooted in innovation management and software development, respectively, may be applied to the way we conceive of and approach organizational governance structures related to schooling, particularly in regard to harnessing innovation, updating management processes, and codifying new systems of trust. Whereas OI offers a novel approach to knowledge flow and the open exchange of ideas, communities rooted in OS principles breed tangible and generative effects through peer network democratization. These emergent, digitally defined networks have been proven to maximize innovation potential, expand collaboration, and enable the propagation of highly durable systems of trust and transparency, all catalytic and essential if we are to realize a future learning economy which favors equity, distributed systems, and common goods over profit, centralized decision-making, and proprietorship. It is within this framing that we articulate the core tenets of both OI and OS translationally as a means of stimulating thinking about how core principles of “openness” and the distributed technologies they enable may help to build common ground in an ever-evolving education and information ecosystem.

Sant, T. (2021), “How Can Wikipedia Save Us all?: Assuming Good Faith from all Points of View in the Age of Fake News and Post-truth”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 133-143. https://doi.org/10.1108/978-1-80043-906-120211010

Fusari, M. (2021), “The Kony 2012 Campaign: A Milestone of Visual Storytelling for Social Engagement”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 155-173. https://doi.org/10.1108/978-1-80043-906-120211012

Mallia, Ġorġ. (2021), “Post-truth Visuals, Untruth Visuals”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 175-187. https://doi.org/10.1108/978-1-80043-906-120211013

Basu, D. and Gabbay, M. (2021), “Karl Marx and the Blockchain”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 225-241. https://doi.org/10.1108/978-1-80043-906-120211016

Blockchain is often presented as a technological development; however, clearly it is not only that: the ‘Blockchain buzz’ exists in the context of current social and political developments. In this essay, we analyse blockchain technology and its social and political context from a perspective of Marxist economic theory. Since arguably the last great inflection point in society and technology was analysed by Marx in terms of labour and capital and since we seem to be experiencing a shift in the balance between these forces today, it makes sense to revisit the Marxist ideas and apply them to the current situation, to see how well they still apply and if necessary to update them for current events.

Ellul, J.Grech, A. and Pace, G.J. (2021), “Two Sides to Every Story. The Truth, Post-truth, and the Blockchain Truth”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 243-253. https://doi.org/10.1108/978-1-80043-906-120211017

One of the rallying cries of the blockchain community is that of immutability: the irreversibility of the past, the absolute truth which, once stored, remains there forever. The technology was designed with this foundational pillar in mind to ensure that changes to history are inordinately expensive and practically impossible to execute – and increasingly so, the further in the past the event which one intends to manipulate lies. This platonic view of absolute truth is in stark contrast with a world of manipulated truth, and it is not surprising that it is being revisited as a means of combating fake news. We argue that claims to the absolute nature of the blockchain are at best exaggerated, at worst misrepresented or even ‘fake news’. We discuss implicit centralised points of trust in blockchains, whether at a technological, social or governance level, and identify how these can be a threat to the ‘immutable truth’ stored within the blockchain itself. A global pandemic has unleashed an unprecedented wave of contradictory positions on anything from vaccines and face masks to ‘the new normal’. It is only natural that the pursuit of blockchain as a placebo for society’s ‘truth’ problems continues.

Hamlet on the HoloDeck

Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.
https://mnpals-scs.primo.exlibrisgroup.com/permalink/01MNPALS_SCS/qoo6di/alma990011592830104318
Since 1992 I have been teaching a course on how to write electronics section. My students include freshman, writing majors, and media lab graduate students.
As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellspring Safari time, causing the in animate circuits to sync with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here in about we mean to one another.
p. 12 A New Medium of Storytelling
p. 18 Aldous Huxley Brave New World
(more on it here https://blog.stcloudstate.edu/ims?s=huxley)
Set 600 years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of generating engineering, test tube delivery, and state indoctrination. Books are banned, and science has come up with a substitute form of storytelling to delete the masses.
p. 20 Ray Bradbury Fahrenheit 451
p. 22 this accounts of a digital dystopia but eroticize and demonize the computer. Cyberpunks surfers are like Cowboys on the new frontier motorcycle hoodlums with a joystick in their hand instead of a motorcycle between their legs. They are outlaw pirates on an endless voyage of exploration throughout the virtual world riding and plundering among the invisible data hoards of the world in many states by the stronger pirate parents who reach in and reprogram their minds.
p. 22 William Gibson Neurmancer
p. 28 The Harbinger on the the Holodeck
The technical in economic cultivation of this freestyle new medium of communication has led to several new varieties of narrative entertainment. This new storytelling formats very from the shoot them up video game in the virtual dungeons of Internet role-playing games to the post modern literary hypertext. This wide range of narrative art holds the promise of a new medium of expression that is S varied SD printed book or the movie picture.
Books printed before 1501 or cold incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that this books are the work of a technology still in its infancy.
The garish video games in tangled websites of the current digital environment or part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication.
p. 29 now, in the incunabular days of the narrative computer. We can see how 20th century novels, films, and please have been steadily pushing against the boundaries of linear storytelling. We therefore have to start our survey of the harbingers of the holiday back with a look at multiform stories, that is, linear narrative straining against the boundary of pre-digital media like a two dimensional picture trying to burst of its frame.
p. 30 The multiform story
Frank Capra’s It’s a wonderful life
p. 34 Robert Zemeskis Back to the Future
p. 35 Harold Ramis’s Groundhog Day
Multi forms stories often reflect different points of view of the same event.  p. 37 Kurosawa Rashomon, the same crime is narrated by four different people: a rape victim; her husband, who is murdered; the bandit who attacked them; and a bystander.
p. 37 Milorad Pavic’s Dictionary of the Khazars
p. 37 Multi form narrative attempts to give a simultaneous form to this possibilities, to allow us to hold in our minds at the same time multiple contradictory alternatives.
p. 38  active audience
When the writer expands the story to include multiple possibilities, the reader assumes a more active role.
p. 40 although television viewers have long been accused of being less active engaged in readers or theatergoers, research on thin culture provides considerable evidence that viewers actively appropriate the stories of their favorite series. In addition to sharing critical commentary and gossip, fans create their own stories by taking characters and situations from the series and developing them in ways closer to their own concerns.
p. 42 role playing games or theatrical in a non-traditional but thrilling way. Players are both actors and audience for one another, and events the purple tree often have the media seat of personal experience.
p. 43 Live theater has been incorporating the same qualities of spontaneity and audience involvement for some time.
p. 43 MUDs have allowed distant players on the Internet to share a common virtual space in which they can chat with one another in real time. A the social psychologist Sherry Turkle has persuasively demonstrated, mods are intensely “evocative” environments for fantasy play that allow people to create and sustain elaborate fictional personas.
p. 44 movies three dimensions
p. 51 dramatic storytelling in electronic games
p. 55 story webs
p. 59 computer scientist as storytellers
p. 65 Chapter 3 From Additive to Expressive Form
beyond multimedia
Sept 28, 1895 Arrival of the Train at La Ciotat Station
p. 66 photoplays
p. 67 one of the lessons we can learn from the history of film is that additive formulations like photo play or the contemporary catshall ‘multimedia” or a sign that the medium is in an early stage of development and it is still depending on the format derived from earlier technologies instead of exploiting its own expressive power. Today the derivative mindset is apparent in the conception of cyber space is the place to view “pages” of print or “clips” of moving video end of cedar rooms is offering “extended books.”
p. 60 ELIZA, 1966 Joseph Weizenbaum
p. 71 the four essential properties of digital environments
Digital environments are procedural
Digital environments are participatory
Digital environments are spacial
Digital environments are encyclopedic
p. 90 Digital structures of complexity
p. 95 part to the aesthetics of the medium
chapter 4 immersion
definition
The experience of being transported to an elaborate please simulator please it’s pleasurable in itself regarding of the fantasy contact. we Refer to this experience as immersion. Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different is water is from air, that takes over all of our attention, our whole perceptual apparatus.
p/ 99 entering the enchanted place
my note: ghost in the machine
The computer itself, even without any fantasy content, is an enchanted object. Sometimes it can act like an autonomous, animate being, sensing it’s environment in carrying out internally generated processes, yet it can also seem like an extension of our own consciousness, capturing our words through the keyboard in displaying them on the screen as fast as we can thank them.
p. 110 the active creation of belief
In digital environments we have new opportunities to practice this active creation of belief. For instance, in an interactive video program set in Paris that may research group designed in the 1980s for language learners, we included a working telephone, represented by a photograph of a phone who’s keypad could be clicked on .
p. 112 structuring participation with a mask .
p. 119 regulating arousal According to Winnicott, “the pleasurable element in playing Carris whit eight employee Kasian that the instructional a razzle is not excessive”; that is, the object of the imaginary world should not be too enticing, scary, or real let the immersive trance be broken. This is true in any medium. If a horror movie is too frightening, we cover our eyes or turn away from the screen.
p. 126 chapter Agency
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. We expect to feel agency on the computer when we double click on a file and seat open before us or when we enter numbers in a spreadsheet and see the totals readjust. However, we do not usually expect to experience agency within a narrative environment.
p. 129 the pleasures of navigation
One form of agency not dependent on the game structure yet characteristic of digital environment is spatial navigation. The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.
p. 130 the story of the maze
the adventure maze embodies a classic fair-tale narrative of danger and salvation. as a format for electronic narrative, the maze is a more active version of the immersive visit (chapter 4).
p. 134 Giving Shape to Anxiety
p. 137 The Journey Story and the Pleasure of Problem Solving
p. 140 Games into Stories
p. 142 Games as Symbolic Dramas

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