12
Apr
2021
Apr
2021
The Navigator game for library instruction
https://www.navigateproject.eu/wp-content/uploads/2021/03/IRCDL-2021-NAVIGATE.pdf
Searching for "games"
19
Mar
2021
Mar
2021
empathy and VR
categories: AR, Digital literacy, e-learning, educational technology, gamification, gaming, information literacy, VR
Coming wave of video games could build empathy on racism, environment and aftermath of war
“Our America” and four other projects will evenly split $125,000 from Unity, the company announced Tuesday at the Game Developers Conference, which runs online through Friday. Each project may also get technical, marketing, and fundraising support from Unity.
- Ahi Kā Rangers: An ecological mobile game with development led by Māori creators.
- Dot’s Home: A game that explores historical housing injustices faced by Black and brown home buyers.
- Future Aleppo: A VR experience for children to rebuild homes and cities destroyed by war.
- Samudra: A children’s environmental puzzle game that takes the player across a polluted sea to learn about pollution and plastic waste.
++++++++++++++++
more on empathy in this IMS blog
https://blog.stcloudstate.edu/ims?s=empathy
10
Mar
2021
Mar
2021
working in VR
categories: VR
I spent two weeks working in VR and now I’m not sure what’s real
++++
more on immersive in this IMS blog
https://blog.stcloudstate.edu/ims?s=immersive
23
Jan
2021
Jan
2021
History: Egypt book of the dead scroll
categories: academic library
Archaeologists Unearth Egyptian Queen’s Tomb, 13-Foot ‘Book of the Dead’ Scroll
The team also discovered dozens of sarcophagi, wooden masks and ancient board games
++++++++++++++++++
more on history in this IMS blog:
https://blog.stcloudstate.edu/ims?s=history
03
Jan
2021
Jan
2021
DeepMind’s AI agent MuZero
categories: YouTube
DeepMind’s AI agent MuZero could turbocharge YouTube from r/technews
https://www.bbc.com/news/technology-55403473
MuZero follows in the footsteps of:
- a program referred to as DQN, which achieved human-beating proficiency in Atari video games using only pixels and game scores as input
- AlphaGo, the program which beat master Go player Lee-Sedol 4-1 in a groundbreaking competition in 2016, after being trained on past games
- AlphaGo Zero, which surpassed AlphaGo in performance the following year after training itself from scratch having only been provided with the basic rules of the game
- AlphaZero, which in 2017 generalised AlphaGo Zero so that it could be applied to others games, including chess and Shogi
Most recently, DeepMind – which is owned by the same parent as Google’s – made a breakthrough in protein folding by adapting these techniques, which could pave the way to new drugs to fight disease.
+++++++++++++
more on youtube in this IMS blog
https://blog.stcloudstate.edu/ims?s=youtube
more on AI in this iMS Blog
https://blog.stcloudstate.edu/ims?s=artificial+intelligence+
22
Dec
2020
Dec
2020
iLRN 2021
CALL FOR PAPERS AND PROPOSALS
iLRN 2021: 7th International Conference of the Immersive Learning Research Network
May 17 to June 10, 2021, on iLRN Virtual Campus, powered by Virbela
… and across the Metaverse!
Technically co-sponsored by the IEEE Education Society,
with proceedings to be submitted for inclusion in IEEE Xplore(r)
Conference theme: “TRANSCEND: Accelerating Learner Engagement in XR across Time, Place, and Imagination”
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
The 7th International Conference of the Immersive Learning Research Network (iLRN 2021) will be an innovative and interactive virtual gathering for a strengthening global network of researchers and practitioners collaborating to develop the scientific, technical, and applied potential of immersive learning. It is the premier scholarly event focusing on advances in the use of virtual reality (VR), augmented reality (AR), mixed reality (MR), and other extended reality (XR) technologies to support learners across the full span of learning–from K-12 through higher education to work-based, informal, and lifelong learning contexts.
Following the success of iLRN 2020, our first fully online and in-VR conference, this year’s conference will once again be based on the iLRN Virtual Campus, powered by VirBELA, but with a range of activities taking place on various other XR simulation, gaming, and other platforms. Scholars and professionals working from informal and formal education settings as well as those representing diverse industry sectors are invited to participate in the conference, where they may share their research findings, experiences, and insights; network and establish partnerships to envision and shape the future of XR and immersive technologies for learning; and contribute to the emerging scholarly knowledge base on how these technologies can be used to create experiences that educate, engage, and excite learners.
Note: Last year’s iLRN conference drew over 3,600 attendees from across the globe, making the scheduling of sessions a challenge. This year’s conference activities will be spread over a four-week period so as to give attendees more opportunities to participate at times that are conducive to their local time zones.
##### TOPIC AREAS #####
XR and immersive learning in/for:
Serious Games • 3D Collaboration • eSports • AI & Machine Learning • Robotics • Digital Twins • Embodied Pedagogical Agents • Medical & Healthcare Education • Workforce & Industry • Cultural Heritage • Language Learning • K-12 STEM • Higher Ed & Workforce STEM • Museums & Libraries • Informal Learning • Community & Civic Engagement • Special Education • Geosciences • Data Visualization and Analytics • Assessment & Evaluation
##### SUBMISSION STREAMS & CATEGORIES #####
ACADEMIC STREAM (Refereed paper published in proceedings):
– Full (6-8 pages) paper for oral presentation
– Short paper (4-5 pages) for oral presentation
– Work-in-progress paper (2-3 pages) for poster presentation
– Doctoral colloquium paper (2-3 pages)
PRACTITIONER STREAM (Refereed paper published in proceedings):
– Oral presentation
– Poster presentation
– Guided virtual adventures
– Immersive learning project showcase
NONTRADITIONAL SESSION STREAM (1-2 page extended abstract describing session published in proceedings):
– Workshop
– Special session
– Panel session
##### SESSION TYPES & SESSION FORMATS #####
– Oral Presentation: Pre-recorded video + 60-minute live in-world discussion with
others presenting on similar/related topics (groupings of presenters into sessions determined by Program Committee)
– Poster Presentation: Live poster session in 3D virtual exhibition hall; pre-recorded video optional
– Doctoral Colloquium: 60-minute live in-world discussion with other doctoral researchers; pre-recorded video optional
– Guided Virtual Adventures: 60-minute small-group guided tours of to various social and collaborative XR/immersive environments and platforms
– Immersive Learning Project Showcase: WebXR space to assemble a collection of virtual artifacts, accessible to attendees throughout the conference
– Workshop: 1- or 2-hour live hands-on session
– Special Session: 30- or 60-minute live interactive session held in world; may optionally be linked to one or more papers
– Panel Session: 60-minute live in-world discussion with a self-formed group of 3-5 panelists (including a lead panelist who serves as a moderator)
Please see the conference website for templates and guidelines.
##### PROGRAM TRACKS #####
Papers and proposals may be submitted to one of 10 program tracks, the first nine of which correspond to the iLRN Houses of application, and the tenth of which is intended for papers making knowledge contributions to the learning sciences, computer science, and/or game studies that are not linked to any particular application area:
Track 1. Assessment and Evaluation (A&E)
Track 2. Early Childhood Development & Learning (ECDL)
Track 3. Galleries, Libraries, Archives, & Museums (GLAM)
Track 4. Inclusion, Diversity, Equity, Access, & Social Justice (IDEAS)
Track 5. K-12 STEM Education
Track 6. Language, Culture, & Heritage (LCH)
Track 7. Medical & Healthcare Education (MHE)
Track 8. Nature & Environmental Sciences (NES)
Track 9. Workforce Development & Industry Training (WDIT)
Track 10. Basic Research and Theory in Immersive Learning (not linked to any particular application area)
##### PAPER/PROPOSAL SUBMISSION & REVIEW #####
Papers for the Academic Stream and extended-abstract proposals for the Nontraditional Session Stream must be prepared in standard IEEE double-column US Letter format using Microsoft Word or LaTeX, and will be accepted only via the online submission system, accessible via the conference website (from which guidelines and templates are also available).
Proposals for the Practitioner Stream are to be submitted via an online form, also accessible from the conference website.
A blind peer-review process will be used to evaluate all submissions.
##### IMPORTANT DATES #####
– Main round submission deadline – all submission types welcome: 2021-01-15
– Notification of review outcomes from main submission round: 2021-04-01
– Late round submission deadline – Work-in-progress papers, practitioner presentations, and nontraditional sessions only: 2021-04-08
– Camera-ready papers for proceedings due – Full and short papers: 2021-04-15
– Presenter registration deadline – Full and short papers (also deadline for early-bird registration rates): 2021-04-15
– Notification of review outcomes from late submission round: 2021-04-19
– Camera-ready work-in-progress papers and nontraditional session extended abstracts for proceedings due; final practitioner abstracts for conference program due: 2021-05-03
– Presenter registration deadline – Work-in-progress papers, practitioner presentations, and nontraditional sessions: 2021-05-03
– Deadline for uploading presentation materials (videos, slides for oral presentations, posters for poster presentations): 2021-05-10
– Conference opening: 2021-05-17
– Conference closing: 2021-06-10
*Full and short papers can only be submitted in the main round.
##### PUBLICATION & INDEXING #####
All accepted and registered papers in the Academic Stream that are presented at iLRN 2021 and all extended abstracts describing the Nontraditional Sessions presented at the conference will be published in the conference proceedings and submitted to the IEEE Xplore(r) digital library.
Content loaded into Xplore is made available by IEEE to its abstracting and indexing partners, including Elsevier (Scopus, EiCompendex), Clarivate Analytics (CPCI–part of Web of Science) and others, for potential inclusion in their respective databases. In addition, the authors of selected papers may be invited to submit revised and expanded versions of their papers for possible publication in the IEEE Transactions on Learning Technologies (2019 JCR Impact Factor: 2.714), the Journal of Universal Computer Science (2019 JCR Impact Factor: 0.91), or another Scopus and/or Web of Science-indexed journal, subject to the relevant journal’s regular editorial and peer-review policies and procedures.
##### CONTACT #####
Inquiries regarding the iLRN 2020 conference should be directed to the Conference Secretariat at conference@immersivelrn.org.
General inquiries about iLRN may be sent to info@immersivelrn.org.
More on Virbela in this IMS blog
https://blog.stcloudstate.edu/ims?s=virbela
02
Dec
2020
Dec
2020
Hamlet on the HoloDeck
Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.
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)
(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.
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
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.
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
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.
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
19
Nov
2020
Nov
2020
Unreal Engine for students learning
Real-time technology like Epic Games’ Unreal Engine has emerged as a successful tool and resource to implement this type of teaching and learning.
Storytelling is a major component of so many professions.
use digital portfolios and our critique process by viewing a StoryMap I made using Geographic Information Systems (GIS)
_++++++++++++++++++
more on Unreal Engine in this IMS blog
https://blog.stcloudstate.edu/ims?s=unreal+engine
16
Nov
2020
Nov
2020
online tools for education
Four teachers share their favorite online tools to use during this unusual year, including sites for educational games and others for collaborative work. #EWOpinion https://t.co/yihTiS100e
— Education Week (@educationweek) November 14, 2020
Wordwall
Padlet
PearDeck
FlipGrid
Google Slides,
+++++++++++++++++
more on online tools in this ISM blog
https://blog.stcloudstate.edu/ims?s=online+tools
04
Nov
2020
Nov
2020
virtual worlds definition
https://www.techopedia.com/definition/25604/virtual-world
A virtual world is a computer-based online community environment that is designed and shared by individuals so that they can interact in a custom-built, simulated world. Users interact with each other in this simulated world using text-based, two-dimensional or three-dimensional graphical models called avatars. Avatars are graphically rendered using computer graphics imaging (CGI) or any other rendering technology. Individuals control their avatars using input devices like the keyboard, mouse and other specially designed command and simulation gadgets. Today’s virtual worlds are purpose-built for entertainment, social, ed
Girvan, C. (2018). What is a virtual world? Definition and classification. Educational Technology Research and Development, 66(5), 1087–1100. https://doi.org/10.1007/s11423-018-9577-y
“definitions of virtual worlds lack an essential conceptualisation of what a virtual world is. The propensity towards a techno-centric definition has its advantages as it allows for a myriad of user experiences, however it results in confusion between technologies with similar technical features, most likely because a virtual world, much like a smart phone, relies on a combination of different technologies.
Shared, simulated spaces which are inhabited and shaped by their inhabitants who are represented as avatars. These avatars mediate our experience of this space as we move, interact with objects and interact with others, with whom we construct a shared understanding of the world at that time.”
Shared, simulated spaces which are inhabited and shaped by their inhabitants who are represented as avatars. These avatars mediate our experience of this space as we move, interact with objects and interact with others, with whom we construct a shared understanding of the world at that time.”
https://www.yourdictionary.com/virtual-world
A 3D computer environment in which users are represented on screen as themselves or as made-up characters and interact in real time with other users. Massively multiuser online games (MMOGs) and worlds such as Second Life are examples. See MMOG, MMORPG, Second Life and metaverse.
++++++++++
more on virtual worlds in this IMS blog
https://blog.stcloudstate.edu/ims?s=virtual+worlds