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Peter Rubin Future Presence

P 4. But all that “disruption,” as people love to collect, is over looking the thing that’s the most disruptive of them all call on the way we relate to each other will never be the same. That’s because of something called presence.
Presence is the absolute foundation of virtual reality, and in VR, it’s the absolute foundation of connection-connection with yourself, with an idea, with another human, even connection with artificial intelligence.
p. 28 VR definition
Virtual reality is an 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it.
1. ” artificial environment ” could mean just about anything. The photograph is an artificial environment of video game is an artificial environment a Pixar movie is an artificial environment the only thing that matters is that it’s not where are you physically are
p. 44 VR: putting the “it” in “meditation”
my note: it seems Rubin sees the 21st century VR as the equivalent of the drug experimentation in the 1960s US: p. 46 “VR is potentially going to become a direct interface to the subconscious”

p. 74 serious games, Carrie Heeter. p. 49

The default network in the brain in today’s society is the wandering mind. We are ruminating about the past, and we are worrying about the future, or maybe even planning for the future; there is some productive thinking. But in general, a wandering mind is an unhappy mind. And that is where we spent all of our week in time: not being aware of everything that we are experiencing in the moment.
Hester’s Open meditation had already let her to design apps and studies that investigated mediate meditations ability to calm that wandering mind
p. 51 Something called interoception. It is a term that is gaining ground in psychologist circles in recent years and basically means awareness of battle associations-like my noticing the fact that I was sitting awkwardly or that keeping my elbows on the cheers armrests was making my shoulders hunched slightly. Not surprisingly, mindfulness meditation seems to heighten interoception. And that is exactly how Heeter and Allbritton Strep throat the meditation I am doing on Costa Del sole. First, I connect with the environment; then with my body; Dan I combined the two. The combination of the VR and interception leads to what she describes as “embodied presence”: not only do you feel like you are in the VR environment, but because you have consciously work to integrate your bodily Sensations into VR, it is a fuller, more vivid version of presents.

p. 52 guided meditation VR GMVR

p. 56 VVVR visual voice virtual reality

p. 57

Just as the ill-fated google glass immediately stigmatized all its wearers as “glassholes”- a.k.a. “techier-than-thou douche bags who dropped $1500 to see an email notification appear in front of their face”-so to do some VR headset still look like face TVs for another it’s

p. 61 Hedgehog Love
engineering feelings with social presence. p.64 remember presents? This is the beginning of social presence. Mindfulness is cool, but making eye contact with Henry is the first step into the future.

p.65 back in 1992, our friend Carrie heeter posited that presence-the sensation did you are really there in VR-head treat day mentions. There was personal presents, environmental presents, and social presents, which she basically defined is being around other people who register your existence.
p. 66 the idea that emotion can be not a cause, as sweet so often assumed, but a result of it of behavior
p. 72 in chapter 1, we explain the difference between Mobile VR and PC driven PR.  The former is cheaper and easier; all you do is drop your smart phone into a headset, and it provides just about everything can eat. Dedicated VR headsets rely on the stronger processors of desktop PCs and game consoles,So they can provide a more robust sense of presence-usually at the cost of being hit Earth to your computer with cables. (it’s the cost of actual money: dedicated headset systems from hundreds of dollars, while mobile headsets like Samsung’s deer VR or Google’s DayDream View can be had for mere tens of dollars.) There is one other fundamental distinction between mobile VR and high-end VR, though, and that is what you do with your hands-how you input your desires. When VR reemerged in the early 2010s, however, the question of input was open to debate. Actually, more than one debate. p. 73 video game controllers are basically metaphors. Some, like steering wheels or pilot flight sticks, might look like that think they’re supposed to be, but  at their essence they are all just collections of buttons. p. 77 HTC sales small wearable truckers that you can affix to any object, or anybody part, to break it into the Vive’s VR.
p. 78 wait a second – you were talking about storytelling.
p. 79 Every Hollywood studio you can imagine-21st Century Fox, Paramount, Warner Bross.-Has already invested in virtual reality. They have made VR experiences based on their own movies, like interstellar or ghost in the Shell, and they have invested in other VR companies. Hollywood directors like Doug Liman (Edge of Tomorrow) and Robert Stromberg (Maleficent) have taken VR project. And the progress is exhilarating. Alejandro GOnzalez Inarritu, a 4-Time Oscar winner for best director 2014 movie Birdman, won best picture, received this special achievement Academy award in 2017 for a VR Schwartz he made. Yet Carne Y Arena, which puts viewers insight a harrowing journey from Mexico to the United States, is nothing like a movie, or even a video game.

When you premiered at the Cannes film Festival in early 2017, it was housed in an airplane hangar; viewers were a shirt, barefoot, into a room with a sand-covert floor, where they could watch and interact with other people trying to make it over the border. Arrests, detention centers, dehydration-the extremity of the human condition happening all around you. India announcement, the Academy of motion picture arts and sciences called the peas “deeply emotional and physically immersive”

p. 83 empathy versus intimacy. Why good stories need someone else

p. 84 Chris Milk

http://www.thewildernessdowntown.com/

p. 85 empathy vs intimacy: appreciation vs emotion

Both of these words are fuzzy, to say the least. Both have decades of study behind him, but both have also appeared and more magazine covers in just about any words, other than possibly “abs”

Empathy: dear Do it to do identify with and understand dollars, particularly on an emotional level. It involves imagining yourself in the place of another and, therefore, appreciating how do you feel.

Intimacy: a complex sphere of ‘inmost’ relationships with self and others that are not usually minor or incidental (though they may be a transitory) and which usually touch the personal world very deeply. They are our closest relationships with friends, family, children, lovers, but they are also the deep into important experiences we have with self

Empathy necessarily needs to involve other people; intimacy doesn’t. Empathy involves emotional understanding; intimacy involves emotion itself. Empathy, at its base, isn’t act of getting outside yourself: you’re protecting yourself into someone’s else experience, which means that in some ways you are leaving your own experience behind, other than as a reference point. Intimacy, on the other hand, is at its base act of feeling: you might be connecting quit someone or something Else, but you are doing so on the basis of the emotions you feel. p 86. Any type of VR experience perfectly illustrates the surprising gap between empathy and intimacy: life action VR. p. 87 unlike CGI-based storytelling, which full somewhere in between game in movie, live action VR feels much more like the conventional video forms that we are used to from television and movies. Like those media, people have been using VR to shoot everything from narrative fiction to documentary the sports.

Nonny de la Peña Hunger in Los Angeles at Sundance

p. 89 Clouds over Sidra Chris Milk

p. 90 SXSW south by southwest Austin Texas

p. 92 every single story has only one goal at its base: to make you care. This holds true whether it is a tale told around a campfire at night, one related to a sequence of panels in the comic book, or dialogue-heavy narrative of a television show. The story might be trying to make you laugh, or just scare you, or to make you feel sad or happy on behalf of one of the characters, but those are all just forms of caring, right? Your emotional investment-the fact that what kept us in this tale matters to you-is the fundamental aim of the storyteller.

Storytelling, than, has evolved to find ways to draw you out of yourself, to make you forget that what you are hearing or seeing or reading isn’t real. It’s only at that point, after all, that our natural capacity for empathy can kick in. p. 93 meanwhile, technology continues to evolve to detaches from those stories. For one, the frame itself continues to get smaller. Strangers still, this distraction has happened well stories continue to become more and more complex. Narratively, at least, stories are more intricate then the have ever been. p. 94. Now, with VR storytelling, the distracting power of multiple screens his met it’s match.

p. 101 experiencing our lives- together

What videos two cannot do, though, he’s bringing people together insights VR, the way re-McClure’s sinking-multicoloredat-blogs-at-each-other tag-team project is VVVR does. That’s why even V are filmmaking powerhouses like Within ( https://www.with.in/get-the-app) are moving beyond mere documentary and narrative and trying to turn storytelling into a shared experience.

Make no mistake: storytelling has always been a shirt experience. Being conscripted into the story, or even being the story.

https://www.linkedin.com/in/jess-engel-96421010/

https://medium.com/@Within/welcome-jess-aea620df0ca9

p. 103 like so many VR experiences, life of us defies many of the ways we describe a story to each other. For one, it feels at fonts shorter and longer than its actual seven-minutes runtime; although it’s seems to be over in a flash, flash contains so many details that in retrospect it is as full and vivid is a two-our movie.

There is another think, though, that sets life of us apart from so many other stories-it is the fact that not only was I in the story, but someone else was in there with me. In that someone wasn’t a field character talking to a camera that they some calling about it, or a video game creature that was programmed to look in ‘my’ direction, but a real person-a person who saw what I saw, a person who was present for each of those moments and who know is inextricably part of my old, shard-Like memory of them.

p. 107 what to do and what to do it with . How social VR is reinventing everything from game night to online harassment.

Facebook Hires Altspace CEO Eric Romo

p. 110 VR isn’t given Romo’s first bet on the future. When he was finishing up his masters degree in mechanical engineering, a professor emailed him on behalf of two men who were recruiting for a rocket company there were starting. One of those man was a Elon musk, which is how Romo became the 13th employee at space X. Eventually, she started the company focusing go solar energy, but when the bottom fell out of the industry, she shut down the company and looked for his next opportunity. Romo spent the next year and a half researching the technology and thinking about what kind of company might make sense in the new VR enabled world. He had read Snow crash, but he oh soon you get our hopes for DVR future could very well end up like gay themed flying car: defined-and limited-bite an expectation that might not match perfectly which what we actually want.

https://www.amazon.com/Snow-Crash-Neal-Stephenson/dp/1491515058

p. 116 back in the day, trolling just trim forward to pursuing a provocative argument for kicks. Today, the word used to describe the actions of anonymous mobs like the one that, for instance, Rolf actor Leslie Jones off Twitter with an onslaught of racist and sexist abuse. Harassment has become one of the defining characteristics of the Internet is for use it today. But with the emergernce of VR, our social networks have become, quite literally, embodied.

p. 116 https://medium.com/athena-talks/my-first-virtual-reality-sexual-assault-2330410b62ee 

p. 142 increasing memory function by moving from being a voyeur to physically participating in the virtual activity. embodied presence – bringing not just your head into your hands, but your body into VR-strengthens memories in the number of ways.

p. 143 at the beginning of 2017, Facebook fit published some of its. New Ron’s in internal research about the potential of social VR. Neurons INc. The agency measured eye movements, Brain activity, and pools of volunteers who were watching streaming video on smart phones and ultimately discovered that buffering and lag were significantly more stressful than waiting can line it a store, and even slightly more stressful than watching a horror movie.

p. 145 after the VR experience, more than 80% of introverts — is identified by a short survey participants took before hand-wanted to become friends with the person they had chatted with, as opposed to less than 60% of extroverts

p. 149 Rec Room Confidential: the anatomy in evolution of VR friendships

p. 165 reach out and touch someone; haptics, tactile presence and making VR physical.

https://www.digicert.com/ 

VOID: Vision of Infinite Dimensions p. 167

p. 169 the 4-D-effects: steam, cool air, moisture,

p. 170 Copresence

About

https://www.researchgate.net/profile/Shanyang_Zhao

https://www.researchgate.net/publication/2532682_Toward_A_Taxonomy_of_Copresence

https://astro.temple.edu/~bzhao001/Taxonomy_Copresence.pdf

p. 171 Zhao laid out two different criteria. The first was whether or not to people are actually in the same place-basically, are they or their stand-ins physically close enough to be able to communicate without any other tools? To people, she wrote, can either have “physical proximity” or “electronic proximity” the latter being some sort of networked connection. The second criterion was whether each person is corporeally there; in other words, is it their actual flesh-and-blood body? The second condition can have three outcomes: both people can be there corporeally; neither can be there corporeally , instead using some sort of stand in like an avatar or a robot; or just one of them can be there corporeally, with the other using case stent in

“virtual copresence” is when a flesh and blood person interacts physically with a representative of a human; if that sounds confusing, 80 good example is using an ATM call mom where are the ATM is a stent in for a bank teller

p. 172 “hypervirtual copresence,” which involves nonhuman devices that are interacting in the same physical space in a humanlike fashion. social VR does not quite fit into any of this category. Zhao refers to this sort of hybrid as a “synthetic environment” and claims that it is a combination of corporeal https://www.waze.com/telecopresence (like Skyping) and virtual telecopresence(like Waze directions )

p. 172 haptic tactics for tactile aptness

Of the five human senses,  a VR headset ca currently stimulates only to: vision and hearing. That leaves treat others-and while smell and taste me come some day.
P. 174; https://en.wikipedia.org/wiki/Aldous_Huxley Brave New World. tactile “feelies”

p. 175 https://en.wikipedia.org/wiki/A._Michael_Noll, 1971

p. 177 https://www.pcmag.com/review/349966/oculus-touch

p. 178 haptic feedback accessories, gloves. full body suites, p. 179 ultrasonics, low-frequency sound waves.

p. 186 the dating game: how touch changes intimacy.

p. 187 MIT Presence https://www.mitpressjournals.org/loi/pres

p. 186-190 questionnaire for the VRrelax project

p. 195 XXX-chnage program: turning porn back into people

p. 221 where we are going, we don’t need headsets. lets get speculative

p. 225 Magic Leap. p. 227 Magic Leap calls its technology “mixed reality,” claiming that the three dimensional virtual objects it brings into your world are far more advanced than the flat, static overlays of augmented reality. In reality, there is no longer any distinction between the two; in fact, the air are by now so many terms being accused in various ways by various companies that it’s probably worth a quick clarification.

definitions

Virtual reality: the illusion of an all-enveloping artificial world, created by wearing an opaque display in front of your eyes.

augmented reality: Bringing artificial objects into the real world-these can be as simple as a ” heads-up display,” like a speedometer project it onto your car’s windshield, or as complex as seen to be virtual creature woke across your real world leaving room, casting a realistic shadow on the floor

mixed reality: generally speaking, this is synonymous with AR, or eight at least with the part of AR that brings virtual objects into the real world. However, some people prefer “mixed” because they think “augmented” implies that reality isn’t enough.

extended or synthetic reality (XR or SR): all of the above! this are bought catch old terms that encompass the full spectrum of virtual elements individual settings.

p. 228 https://avegant.com/.

Edward Tang:

p. 231 in ten years, we won’t even have smartphone anymore.

p. 229 Eve VR is these come blink toddler, though, AR/MR is a third-trimester fetus: eat may be fully formed book eat is not quite ready to be out in the world yet. The headsets or large, the equipment is far more expensive than VR Anthony in many cases we don’t even know what a consumer product looks like.

p. 235 when 2020 is hindsight: what life in 2028 might actually look like.

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Belamire, J. (2016, October 20). My First Virtual Reality Groping. Athena Talks. https://medium.com/athena-talks/my-first-virtual-reality-sexual-assault-2330410b62ee

Facebook vs Patreon

Facebook wants up to 30% of fan subscriptions vs Patreon’s 5%

Josh Constine joshconstine”>@joshconstine Feb 26. 2019

Facebook wants up to 30% of fan subscriptions vs Patreon’s 5%

Facebook has consistently shown that it puts what it thinks users want and its own interests above those of partners. It cut off game developers from viral channels, inadequately warned Page owners their reach would drop over time, decimated referral traffic to news publishers and, most recently, banished video makers from the feed. If Facebook wants to win creators’ trust and the engagement of their biggest fans, it may need a more competitive offering with larger limits on its power.

 

Mark Prensky on new education plan

To RSVP ahead of time, or to jump straight in at 2 pm EDT this Thursday, click here:
https://shindig.com/login/event/ftf-prensky

On Thursday, February 21st, from 2-3 pm EST, we’ll be joined by Marc Prensky, creator of “Civilization-level Alternative Education.”

Coiner of the term “Digital Native” and author of seven books and over 100 essays, Marc has spoken in over 40 countries, and his writings have been translated into a dozen languages.  He currently promotes a new civilization-level alternative in global education, championing an emerging new “Real-World-Impact Education” paradigm that more directly benefits students and the world in which they live.

Previously in his career Marc taught French, mathematics and music and headed an alternative school in New York City, worked as a consultant at the Boston Consulting Group (and was its first Product Development Director), and founded and ran a computer game company. Marc holds an MBA degree from Harvard, with distinction, and a Master of Arts in Teaching degree from Yale.

his new education plan would work in practice.  What would it take to get there from here?

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more on Future Trends in this IMS blog
https://blog.stcloudstate.edu/ims?s=future+trends

Literature on Digital Humanities

Burdick, A. (2012). Digital humanities . Cambridge, MA: MIT Press.

https://mnpals-scs.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma990078472690104318&context=L&vid=01MNPALS_SCS:SCS&search_scope=MyInst_and_CI&tab=Everything&lang=en

digital humanities is born f the encounter between traditional humanities and computational methods.

p. 5. From Humanism to Humanities
While the foundations of of humanistic inquiry and the liberal arts can be traced back in the west to the medieval trivium and quadrivium, the modern and human sciences are rooted in the Renaissance shift from a medieval, church dominated, theocratic world view to be human centered one period the gradual transformation of early humanism into the disciplines that make up the humanities today Was profoundly shaped by the editorial practices involved in the recovery of the corpus of works from classical antiquity

P. 6. The shift from humanism to the institution only sanctioned disciplinary practices and protocols that we associate with the humanities today is best described as a gradual process of subdivision and specialization.
P. 7. Text-based disciplines in studies (classics, literature, philosophy, the history of ideas) make up, from the very start, the core of both the humanities and the great books curricular instituted in the 1920s and 1930s.
P. 10. Transmedia modes of argumentation
In the 21st-century, we communicate in media significantly more varied, extensible, and multiplicative then linear text. From scalable databases to information visualizations, from video lectures to multi-user virtual platforms serious content and rigorous argumentation take shape across multiple platforms in media. The best digital humanities pedagogy and research projects train students both in “reading “and “writing “this emergent rhetoric and in understanding how the reshape and three model humanistic knowledge. This means developing critically informed literacy expensive enough to include graphic design visual narrative time based media, and the development of interfaces (Rather then the rote acceptance of them as off-the-shelf products).
P. 11. The visual becomes ever more fundamental to the digital humanities, in ways that compliment, enhance, and sometimes are in pension with the textual.
There is no either/or, no simple interchangeability between language and the visual, no strict sub ordination of the one to the other. Words are themselves visual but other kinds of visual constructs do different things. The question is how to use each to its best effect into device meaningful interpret wing links, to use Theodor Nelson’s ludic neologism.
P. 11. The suite of expressive forms now encompasses the use of sound, motion graphics, animation, screen capture, video, audio, and the appropriation and into remix sink of code it underlines game engines. This expanded range of communicative tools requires those who are engaged in digital humanities world to familiarize themselves with issues, discussions, and debates in design fields, especially communication and interaction design. Like their print predecessors, form at the convention center screen environments can become naturalized all too quickly, with the results that the thinking that informed they were designed goes unperceived.

p. 13.

For digital humanists, design is a creative practice harnessing cultural, social, economic, and technological constraints in order to bring systems and objects into the world. Design in dialogue with research is simply a picnic, but when used to pose in frame questions about knowledge, design becomes an intellectual method. Digital humanities is a production based in Denver in which theoretical issues get tested in the design of implementations and implementations or loci after your radical reflection and elaboration.
Did you thaw humanists have much to learn from communication and media design about how to juxtapose and integrate words and images create hire he is of reading, Forge pathways of understanding, deployed grades in templates to best effect, and develop navigational schemata that guide in produce meaningful interactions.
P. 15.  The field of digital digital humanities me see the emergence of polymaths who can “ do it all” : Who can research, write, shoot, edit, code, model, design, network, and dialogue with users. But there is also ample room for specialization and, particularly, for collaboration.
P. 16. Computational activities in digital humanities.
The foundational layer, computation, relies on principles that are, on the surface, at odds with humanistic methods.
P. 17. The second level involves processing in a way that conform to computational capacities, and this were explored in the first generation of digital scholarship and stylometrics, concordance development, and indexing.
P. 17.
Duration, analysis, editing, modeling.
Duration, analysis, editing, and modeling comprise fundamental activities at the core of digital humanities. Involving archives, collections, repositories, and other aggregations of materials, duration is the selection and organization of materials in an interpretive framework, argument, or exhibit.
P. 18. Analysis refers to the processing of text or data: statistical and quantitative methods of analysis have brought close readings of texts (stylometrics and genre analysis, correlation, comparisons of versions for alter attribution or usage patterns ) into dialogue with distant reading (The crunching cuff large quantities of information across the corpus of textual data or its metadata).
Edit think has been revived with the advent of digital media and the web and to continue to be an integral activity in textual as well as time based formats.
P. 18. Model link highlights the notion of content models- shapes of argument expressed in information structures in their design he digital project is always an expression of assumptions about knowledge: usually domain specific knowledge given an explicit form by the model in which it is designed.
P. 19.  Each of these areas of activity- cure ration, analysis, editing, and modeling is supported by the basic building blocks of digital activity. But they also depend upon networks and infrastructure that are cultural and institutional as well as technical. Servers, software, and systems administration are key elements of any project design.
P. 30. Digital media are not more “evolved” have them print media nor are books obsolete; but the multiplicity of media in the very processes of mediation entry mediation in the formation of cultural knowledge and humanistic inquiry required close attention. Tug link between distant and clothes, macro and micro, and surface in depth becomes the norm. Here, we focus on the importance of visualization to the digital humanities before moving on to other, though often related, genre and methods such as Locative investigation, thick mapping, animated archives, database documentaries, platform studies, and emerging practices like cultural analytics, data mining and humanities gaming.
P. 35. Fluid texture out what he refers to the mutability of texts in the variants and versions Whether these are produced through Authorial changes, anything, transcription, translation, or print production

Cultural Analytics, aggregation, and data mining.
The field of cultural Analytics has emerged over the past few years, utilizing tools of high-end computational analysis and data visualization today sect large-scale coach data sets. Cultural Analytic does Not analyze cultural artifacts, but operates on the level of digital models of this materials in aggregate. Again, the point is not to pit “close” hermeneutic reading against “distant” data mapping, but rather to appreciate the synergistic possibilities and tensions that exist between a hyper localized, deep analysis and a microcosmic view

p. 42.

Data mining is a term that covers a host of picnics for analyzing digital material by “parameterizing” some feature of information and extract in it. This means that any element of a file or collection of files that can be given explicit specifications,  or parameters, can be extracted from those files for analysis.
Understanding the rehtoric of graphics is another essential skill, therefore, in working at a skill where individual objects are lost in the mass of processed information and data. To date, much humanities data mining has merely involved counting. Much more sophisticated statistical methods and use of probability will be needed for humanists to absorb the lessons of the social sciences into their methods
P. 42. Visualization and data design
Currently, visualization in the humanities uses techniques drawn largely from the social sciences, Business applications, and the natural sciences, all of which require self-conscious criticality in their adoption. Such visual displays including graphs and charts, may present themselves is subjective or even unmediated views of reality, rather then is rhetorical constructs.

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Warwick, C., Terras, M., & Nyhan, J. (2012). Digital humanities in practice . London: Facet Publishing in association with UCL Centre for Digital Humanities.

https://mnpals-scs.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma990078423690104318&context=L&vid=01MNPALS_SCS:SCS&search_scope=MyInst_and_CI&tab=Everything&lang=en

 

Mondo Nano Colin Milburn

Colin Milburn, Mondo Nano: Fun and Games in the World of Digital Matter

International Journal of Communication, 2019

<Maxwell Foxman Maxwell Foxman

Book Review of Colin Milburn’s book “Mondo Nano: Fun and Games in the World of Digital Matter”

This book comes as a refreshing response to “gamification” literature, which tends to focus on how games can be extended to solve problems. From
Jane McGonigal’s (2011) Reality is Broken
 to Brian Burke’s(2016) Gamify 
 or Karl M. Kapp’s (2012) The Gamification of Learning and Instruction,
these works rely heavily on game elements, design, and mechanics to explain relationships between play and the larger world.

Gamification in Education in China and US

Song, D., Wang, J., Ju, P., Liang, Y., Huang, L., & Xu, H. (n.d.). Gamification in Education: A Comparison between China and Western Countries. Retrieved from https://www.academia.edu/38322547/Gamification_Final-2015.1.19_
ACM Classification Keywords
H.5.2. Information interfaces and presentation (e.g.,HCI): User Interfaces; H.5.3. Group and OrganizationInterfaces: User Interfaces.
https://peerwise.cs.auckland.ac.nz/at/?purdue_edu
According to the comparison, the use of gamification elements in Western learning platforms and apps is balanced and well-developed, both in comprehensive and targeted ones. Conditions are different in China.The use of gamification elements is balanced and well-developed in targeted platforms and apps. But for comprehensive ones, it is not balanced or developed enough, especially in regards to online higher education.
Discussion and Future Work
Gamification in China has been combined witheducation for a long time, but not much in the aspect ofhuman-computer interaction. In the 1990s, peopleoften played games or held parties, while now peopleprefer online entertainment. From the comparisonabove, it can be inferred that the research ofgamification in China has laid a good theoreticalfoundation. We are still trying to apply gamification tothe area of online education, which has already madesome progress. However, the use of gamification isuneven, especially in comprehensive learning platformsand we started a bit late. In this respect, China hasfallen behind Western countries in certain ways ofapplying gamification.

AR with Metaverse Studio

https://studio.gometa.io/landing

If you want to create AR, but don’t know Unity….

Thousands of people, from kids to teachers to big brands, are creating all kinds of Augmented Reality Experiences (games, interactive stories, educational curriculum, scavenger hunts, RPGs and much more!)

Here’s a quick overview video to help get you started

Check out our YouTube channel for more tutorials

Follow us on Twitter and read our blog where we feature amazing things created by people just like you.

Please send us all your questions, big or small. We’re here to help 🙂

If you have any questions you can respond to this email, or use the blue help chat button located at the bottom-left of the Metaverse Studio.

All the best,
Dmitry Shapiro
CEO
Metaverse

smartphones for learning and policies

6 ways to use students’ smartphones for learning

By Kelsey Ehnle 12/26/2018 BYOD Mobile learning Tools

https://www.iste.org/explore/articleDetail?articleid=528
Smartphones also provide an easy way for teachers to “inspire students to positively contribute to and responsibly participate in the digital world,” as espoused by the ISTE Standards for Educators.
research shows that when students are engaged in their learning — and they’re almost always engaged with their phones when given a choice — they are less likely to succumb to distractions.

1. Create short videos.

Videos can express any type of learning in any style, from music videos to interviews, book trailers, historical re-enactments, tutorials and stop animations.

Flipgrid is the one of the best educational video-creation sites

2. Access an online dictionary and thesaurus.

Find synonyms in many languages at Open Thesaurus!
Linguee
.

PONS or LEO. Question about a verb conjugation? Go to LEO or Canoo (for German)

3. Collaborate and share with Padlet and Twitter.

4. Scan QR codes.

5. Listen to podcasts and read the news.

6. Compete against classmates!

Quizlet and Kahoot, Gimkit

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

6. Use the apps, obviously.

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Gartner predicts that nearly 38 percent of companies will stop providing devices to workers by 2017 — but 20 percent of those BYOD programs will fail because of overly restrictive mobile device management measures. So how can IT pros devise a BYOD strategy that stays afloat? Here are six guidelines to accommodate legitimate IT concerns without sinking a policy’s odds of success:

Look to Existing Policies

Before creating a BYOD policy, take a look at existing HR and legal procedures. Many email, VPN, and remote access security policies can be applied to mobile devices, as well.

Provide Training and Education

Employees are using personal devices at work, whether the company realizes it or not. But that doesn’t mean they are using them correctly. Employees often use  file-sharing and other tools of their choosing without IT’s knowledge, which could put sensitive corporate data at risk. Use a BYOD policy to trainemployees how to correctly use their applications

Specify Devices

BYOD isn’t limited to smartphones. According to Gartner, a “new norm” is emerging in which employees manage up to four or five devices at work.

Enforce Passwords and Encryption

passwords aren’t foolprool. Data encryption is an additional security measure

A smart BYOD policy doesn’t mean IT is off the hook. Rather, successful policies rely on IT and employees sharing security obligations.

Set Ownership Expectations

Employees often fail to realize that all data on their devices is discoverable, regardless of whether the device is personal or company-owned. The question of who owns what is still a legal gray area, though companies increasingly take the liberty to remote wipe employees’ personal devices once they leave their job. Avoid the guessing game with a clear exit strategy.

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more on BYOD in this IMS blog
https://blog.stcloudstate.edu/ims?s=byod
https://blog.stcloudstate.edu/ims?s=mobile+learning

music literacy

The Tragic Decline of Music Literacy (and Quality)

Jon Henschen | August 16, 2018 |  529,478

https://www.intellectualtakeout.org/article/tragic-decline-music-literacy-and-quality

Both jazz and classical art forms require not only music literacy, but for the musician to be at the top of their game in technical proficiency, tonal quality and creativity in the case of the jazz idiom. Jazz masters like John Coltrane would practice six to nine hours a day, often cutting his practice only because his inner lower lip would be bleeding from the friction caused by his mouth piece against his gums and teeth. His ability to compose and create new styles and directions for jazz was legendary. With few exceptions such as Wes Montgomery or Chet Baker, if you couldn’t read music, you couldn’t play jazz.

 

can you read music?

Besides the decline of music literacy and participation, there has also been a decline in the quality of music which has been proven scientifically by Joan Serra, a postdoctoral scholar at the Artificial Intelligence Research Institute of the Spanish National Research Council in Barcelona. Joan and his colleagues looked at 500,000 pieces of music between 1955-2010, running songs through a complex set of algorithms examining three aspects of those songs:

1. Timbre- sound color, texture and tone quality

2. Pitch- harmonic content of the piece, including its chords, melody, and tonal arrangements

3. Loudness- volume variance adding richness and depth

In an interview, Billy Joel was asked what has made him a standout. He responded his ability to read and compose music made him unique in the music industry, which as he explained, was troubling for the industry when being musically literate makes you stand out. An astonishing amount of today’s popular music is written by two people: Lukasz Gottwald of the United States and Max Martin from Sweden, who are both responsible for dozens of songs in the top 100 charts. You can credit Max and Dr. Luke for most the hits of these stars:

Katy Perry, Britney Spears, Kelly Clarkson, Taylor Swift, Jessie J., KE$HA, Miley Cyrus, Avril Lavigne, Maroon 5, Taio Cruz, Ellie Goulding, NSYNC, Backstreet Boys, Ariana Grande, Justin Timberlake, Nick Minaj, Celine Dion, Bon Jovi, Usher, Adam Lambert, Justin Bieber, Domino, Pink, Pitbull, One Direction, Flo Rida, Paris Hilton, The Veronicas, R. Kelly, Zebrahead

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

Fortnite is Instagram of gaming

The Most Important Video Game on the Planet

How Fortnite became the Instagram of gaming

https://medium.com/new-york-magazine/the-most-important-video-game-on-the-planet-c26988a8f497  Jan 11 2019,Brian Feldman

http://nymag.com/intelligencer/2018/07/how-fortnite-became-the-most-popular-video-game-on-earth.html

Every number released in conjunction with Fortnite is staggering, even within the context of a $137 billion industry. On the same day as its Fortnite Pro-Am tournament at E3, the video-game industry’s largest convention, the game was released for the Nintendo Switch, and within 24 hours it had been downloaded more than 2 million times. Analysts estimate that Fortnite is currently raking in more than $300 million a month, and has made its maker, Epic Games, more than $1.2 billion since its battle royale mode launched in late September.

Fortnite is virtually identical on every platform, and players can move from their PlayStation to their phone and back without missing a beat. Milligan first heard about the game back in September. “It was the next new game, like when Minecraft came out, but way more popular.”

The cadence of a Fortnite game is that nothing is happening and then, very suddenly, everything is happening. The game has three main modes: solo (every player for themselves), duos (teams of two), and squads (teams of three or four), but there are consistently around 100 players in every session.

Even when kids aren’t playing Fortnite, they’re talking about Fortnite or finding ways to profit from it.

Video games pioneered the dopamine-rush cycle. Using bright graphics and sound effects to make players feel continual accomplishment, arcade games were honed to make players feel like they needed to feed in just one more quarter over and over again — slot machines that kept people entranced without ever having to pay out. The addictive core of video-gaming never went away, even as games became more complicated: Every win, every high score, every 100 percent completion, every secret and Easter egg was a chance for a little rush of accomplishment and satisfaction.

And then mobile products learned to do the same thing. Give people goals, reward them with flashes of color, and you could entrance them into something resembling addiction. This was called, tellingly and unsurprisingly, “gamification”: Treat every app and every activity as a video game, with scores, prizes, and leaderboards. Snapchat rewarded users who talked every day with “streaks”; the exercise app Strava allowed you to compete with other joggers and earn badges; Foursquare turned the entire world into a game of king of the hill.

The process has come full circle. Fortnite is a gamified video game.

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more on FortNite in this IMS blog
https://blog.stcloudstate.edu/ims?s=fortnite

https://blog.stcloudstate.edu/ims/2018/03/31/ready-player-one/

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