the managing director of the right-wing social network Gab described the conspiracy theory as a “new decentralized media network that surfaces, distributes and verifies information in real time.”
Meanwhile, a core of QAnon influencers who have built their careers on conspiracy theory – selling products like health supplements and healing rituals – are unlikely to give up their meal ticket. ”
Radianti, J., Majchrzak, T. A., Fromm, J., & Wohlgenannt, I. (2020). A systematic review of immersive virtual reality applications for higher education: Design elements, lessons learned, and research agenda. Computers & Education, 147, 103778. https://doi.org/10.1016/j.compedu.2019.103778
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2.2. Learning paradigms
An understanding of the existing learning paradigms is essential for performing an analysis of the current state of VR applications in higher education. Thus, we introduce the main ideas behind the existing learning paradigms. Literature distinguishes between behaviorism, cognitivism, and constructivism (Schunk, 2012). Other scholars also include experiential learning (Kolb & Kolb, 2012) to this list and, recently, connectivism has been introduced as a new learning paradigm (Kathleen Dunaway, 2011; Siemens, 2014). Each learning paradigm has developed various theories about educational goals and outcomes (Schunk, 2012). Each of these theories also offers a different perspective on the learning goals, motivational process, learning performance, transfer of knowledge process, the role of emotions, and implications for the teaching methods.
Behaviorism assumes that knowledge is a repertoire of behavioral responses to environmental stimuli (Shuell, 1986; Skinner, 1989). Thus, learning is considered to be a passive absorption of a predefined body of knowledge by the learner. According to this paradigm, learning requires repetition and learning motivation is extrinsic, involving positive and negative reinforcement. The teacher serves as a role model who transfers the correct behavioral response.
Cognitivism understands the acquisition of knowledge systems as actively constructed by learners based on pre-existing prior knowledge structures. Hence, the proponents of cognitivism view learning as an active, constructive, and goal-oriented process, which involves active assimilation and accommodation of new information to an existing body of knowledge. The learning motivation is intrinsic and learners should be capable of defining their own goals and motivating themselves to learn. Learning is supported by providing an environment that encourages discovery and assimilation or accommodation of knowledge (Shuell, 1986),RN23. Cognitivism views learning as more complex cognitive processes such as thinking, problem-solving, verbal information, concept formation, and information processing. It addresses the issues of how information is received, organized, stored, and retrieved by the mind. Knowledge acquisition is a mental activity consisting of internal coding and structuring by the learner. Digital media, including VR-based learning can strengthen cognitivist learning design (Dede, 2008). Cognitive strategies such as schematic organization, analogical reasoning, and algorithmic problem solving will fit learning tasks requiring an increased level of processing, e.g. classifications, rule or procedural executions (Ertmer & Newby, 1993) and be supported by digital media (Dede, 2008).
Constructivism posits that learning is an active, constructive process. Learners serve as information constructors who actively construct their subjective representations and comprehensions of reality. New information is linked to the prior knowledge of each learner and, thus, mental representations are subjective (Fosnot, 2013; Fosnot & Perry, 1996). Therefore, constructivists argue that the instructional learning design has to provide macro and micro support to assist the learners in constructing their knowledge and engaging them for meaningful learning. The macro support tools include related cases, information resources, cognitive tools, conversation, and collaboration tools, and social or contextual support. A micro strategy makes use of multimedia and principles such as the spatial contiguity principle, coherence principle, modality principle, and redundancy principle to strengthen the learning process. VR-based learning fits the constructivist learning design (Lee & Wong, 2008; Sharma, Agada, & Ruffin, 2013). Constructivist strategies such as situated learning, cognitive apprenticeships, and social negotiation are appropriate for learning tasks demanding high levels of processing, for instance, heuristic problem solving, personal selection, and monitoring of cognitive strategies (Ertmer & Newby, 1993).
Experientialism describes learning as following a cycle of experiential stages, from concrete experience, observation and reflection, and abstract conceptualization to testing concepts in new situations. Experientialism adopts the constructivist’s point of view to some extent—e.g., that learning should be drawn from a learner’s personal experience. The teacher takes on the role of a facilitator to motivate learners to address the various stages of the learning cycle (Kolb & Kolb, 2012).
Connectivism takes into account the digital-age by assuming that people process information by forming connections. This newly introduced paradigm suggests that people do not stop learning after completing their formal education. They continue to search for and gain knowledge outside of traditional education channels, such as job skills, networking, experience, and access to information, by making use of new technology tools (Siemens, 2014).
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.
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
recent book Le siècle du populisme (‘The Century of Populism’) (1), Pierre Rosanvallon
“populism consists in opposing a ‘pure people’ to a ‘corrupt elite’ and conceiving of politics as an immediate expression of the ‘general will’ (2) of the people.”
“There are only populisms, which explains why the notion produces so many interpretations and contradictory definitions.”
The left’s populist strategy appears particularly pertinent in the context of an exit out from the Covid-19 crisis which has been touted as a prelude for building a new social contract. This time, unlike in the 2008 crisis, a space could open up for the clash of opposing projects. A mere return to business as usual seems unlikely and the state will probably play a role that is both central and more prominent. We may witness the arrival of a ‘state capitalism’ that uses public authorities to rebuild the economy and restore the power of capital. It could take more or less authoritarian forms depending on the political forces at its helm. This scenario would signal either the victory of right-wing populist forces or neoliberalism’s defenders last-ditch attempt to ensure the survival of their model.
contrary to what Rosanvallon argues, far from threatening democracy, today left-wing populism is the best strategy if we want to orient the forces resisting a post-democratic, neoliberal order in an egalitarian direction.
It has been created by University of Cambridge psychologists with support from the US Department of State’s Global Engagement Center and Department of Homeland Security Cybersecurity and Infrastructure Security Agency (CISA).
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.”
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.
Tech companies largely oppose paring Section 230’s protections, which they say have been essential to the development of the internet. Now with the election just weeks away, some warn that the legislation could make tech platforms reluctant to act on potentially harmful disinformation.
Democratic presidential nominee Joe Biden has said Section 230 should be “revoked”, arguing that tech companies should be held to the same standards as media companies, which can be sued for printing falsehoods.
Sen. Ron Wyden, D-Ore., one of the original authors of Section 230, accused the Trump administration of trying to intimidate tech companies.
Last year, Australia’s Chief Scientist Alan Finkel suggested that we in Australia should become “human custodians”. This would mean being leaders in technological development, ethics, and human rights.
A recent report from the Australian Council of Learned Academies (ACOLA) brought together experts from scientific and technical fields as well as the humanities, arts and social sciences to examine key issues arising from artificial intelligence.
A similar vision drives Stanford University’s Institute for Human-Centered Artificial Intelligence. The institute brings together researchers from the humanities, education, law, medicine, business and STEM to study and develop “human-centred” AI technologies.
Meanwhile, across the Atlantic, the Future of Humanity Institute at the University of Oxford similarly investigates “big-picture questions” to ensure “a long and flourishing future for humanity”.
The IT sector is also wrestling with the ethical issues raised by rapid technological advancement. Microsoft’s Brad Smith and Harry Shum wrote in their 2018 book The Future Computed that one of their “most important conclusions” was that the humanities and social sciences have a crucial role to play in confronting the challenges raised by AI
Without training in ethics, human rights and social justice, the people who develop the technologies that will shape our future could make poor decisions.
