The increasing availability of these kinds of tools raise concerns and questions for Doug Levin, founder of EdTech Strategies.acial-recognition police tools have been decried as “staggeringly inaccurate.”
acial-recognition police tools have been decried as “staggeringly inaccurate.”School web filters can also impact low-income families inequitably, he adds, especially those that use school-issued devices at home. #equity.
Social-Emotional Learning: The New Surveillance?
Using data to profile students—even in attempts to reinforce positive behaviors—has Cerda concerned, especially in schools serving diverse demographics. #equity.
As in the insurance industry, much of the impetus (and sales pitches) in the school and online safety market can be driven by fear. But voicing such concerns and red flags can also steer the stakeholders toward dialogue and collaboration.
Application of Virtual Reality in Higher Education
Most colleges and universities are either not using virtual reality (VR) or are using it in more token ways. Yet, according to the Gartner Hype Cycle for Emerging Technologies 2018 report, these technologies are rapidly reaching a much more mature stage – holding more promise for higher education and student learning than ever before.For most institutions, however, this promise of VR in student learning is still unrealized.
That’s why we’ve designed a collection of webcasts and resources to help you explore how VR might fuel better learning outcomes. See below which of our webcasts and resources you and your team qualify for based on your membership status.
Course title: IM 554 Developing Skills for Online Teaching and Learning
Topic for this week: Game-based learning, Virtual Reliability, and Augmented Reality
Audience: IM Graduate students working for K12 schools or in business
2. How did GBL change in the past year? Who is the leader in this research (country)? Is K12 the “playground” for GBL and DGBL?
China: Liao, C., Chen, C., & Shih, S. (2019). The interactivity of video and collaboration for learning achievement, intrinsic motivation, cognitive load, and behavior patterns in a digital game-based learning environment. Computers & Education, 133, 43–55. https://doi.org/10.1016/j.compedu.2019.01.013
Finalnd: Brezovszky, B., Mcmullen, J., Veermans, K., Hannula-Sormunen, M., Rodríguez-Aflecht, G., Pongsakdi, N., … Lehtinen, E. (2019). Effects of a mathematics game-based learning environment on primary school students’ adaptive number knowledge. Computers & Education, 128, 63–74. https://doi.org/10.1016/j.compedu.2018.09.011
Tunesia: Denden, M., Tlili, A., Essalmi, F., & Jemni, M. (2018). Implicit modeling of learners’ personalities in a game-based learning environment using their gaming behaviors. Smart Learning Environments, 5(1), 1–19. https://doi.org/10.1186/s40561-018-0078-6
Pitarch, R. (2018). An Approach to Digital Game-based Learning: Video-games Principles and Applications in Foreign Language Learning. Journal of Language Teaching and Research, 9(6), 1147–1159. https://doi.org/10.17507/jltr.0906.04
min 29 from start: University of Connecticut (chapter 1)
min 58 from start: Dan Getz with Penn State (chapter 2)
hour 27 min from start: Randy Rode, Yale (chapter 3)
Acclaim, Badger, Badge List, Credly, CSULogics, and Red Critter
Acclaim and Credly merged. CSULogics seems CCCS native; pls advise if I need to contact them nevertheless. Badgr is now with Canvas, but I still think we need to explore the options with other LMS, such as D2L.
From: Hank from Badge List <hank.holiday@badge-list.intercom-mail.com> Reply-To: Hank from Badge List <hank.holiday@badge-list.intercom-mail.com> Date: Friday, April 26, 2019 at 4:53 PM To: Plamen Miltenoff <pmiltenoff@stcloudstate.edu> Subject: Re: Discuss a setup of microcredentialing system
Please look that over and we can help you via email if you have any questions.
Cheers,
– Hank
From: Ben from Badge List <ben.roome@badge-list.intercom-mail.com> Reply-To: Ben from Badge List <ben.roome@badge-list.intercom-mail.com> Date: Monday, April 29, 2019 at 5:30 PM To: Plamen Miltenoff <pmiltenoff@stcloudstate.edu> Subject: Re: Discuss a setup of microcredentialing system
Hi Plamen,
We’d love to get on a call but unfortunately we can’t spend those time resources on accounts that generate below $4,950 per year. Does your budget meet those requirements? If so we’d be happy to schedule a conversation.
the emphasis (strong side) is the streamlining of the different offices and activities on campus
levels of proficiency is very much geared toward undergrads
aspects of gamification, but no peer support credit/badge
U of Pittsburgh – OCC outside the class curriculum
Monclair U (NJ second largest):
U of Wyoming: after level 3, career coach does storytelling appointment.
pilot is $5K and institutional can vary between $10-15K
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. 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.
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.
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.
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.
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. 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.
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. 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. 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.
The Future Of Mobile Web Design: Video Game Design And Storytelling
As attention spans shorten and visitors just want to get to the good stuff on a website, designers have to get more creative in how they communicate their website’s “story.”
What is truly impressive, however, is how we are now able to use design to tell a story. In other words, we no longer need to use long scrolls to set up plots or describe what a company does. This is especially great when designing for the mobile experience, which already sets pretty strict limits on how much we can “tell” versus “show.”
Three Video Game Storytelling Techniques We Need More Of In Web Design
1. Make Your Visitor the Hero
Create User Personas
Develop user personas before you do anything else when strategizing and planning for a website. Your personas should have a key “problem” they face.
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Use Relatable Content
In video game design, there is something known as “ludonarrative dissonance.”
the unpleasant situation where we’re asking players to do something they don’t want to do… or prevent them from doing what they want.
The brain digests visual content 60% more quickly than written content, so your web designs and other visuals (like video, animation, and so on) are the keys to doing this.
The Airbnb blog always does a great job of this type of visual storytelling.
2. Minimize Distractions by Using Symbols
As of August 2017, 52.64% of all visits to websites were done via a smartphone. And, starting in 2017, the most popular size for a smartphonewas between five and six inches and will only continue to grow in popularity as the years go on.
That’s not a lot of space to fill with content for the majority of site visitors, is it?
Functional minimalism is already something you’re doing in your own web design efforts, but have you thought about how it can tie into the storytelling aspect as well?
Here are some ways in which you might use symbols to declutter your site:
Hamburger icon (for the navigation)
Profile photo icon (for account details)
Pencil icon (for an editing interface)
Gear icon (for settings)
Shopping cart icon (to checkout)
Magnifying glass (to expand the search bar)
Connector icon (to open social sharing and RSS feed options)
Question mark (to expand live chat, search, or help options)
And so on.
3. Be Smart About How You Use Space
Use a Spotlight
In video games, you can use light and darkness to draw attention to important pathways. On websites, it’s not always easy to employ the use of lightness or darkness as too-dark of a design or too-light of text could lead to a bad user experience. What you want to do instead is create a “spotlight” of sorts. You can do this by infusing a key area of your design with a dramatic color or a boldly stylized font.
Add Clues
If you’ve ever played a horror video game before, you know how critical the element of sound can be for it.
That said, while you might not be able to direct visitors down the page with the sound of something playing down below, you can use other elements to lead them. For one, you can use interactive elements like animation to draw their attention to where it needs to go.
Employ a Mascot
For some brands, it might make sense to employ the use of an actual mascot to guide visitors through the story.
Summary
As attention spans shorten and visitors just want to get to the good stuff on a website, designers have to get more creative in how they communicate their website’s “story.” Ideally, your web design will do more showing of that story instead of telling, which is how video game design tends to succeed in this matter.
Remember: Storytelling isn’t just relegated to big brands that can weave bright and shiny tales about how consumers’ lives were changed with their products. Nor is it just for video game designers that have hours of gameplay to develop for their audiences. A story simply needs to convey to the end-user how their problem can be fixed by your site’s solution. Through subtle design strategies inspired by video game storytelling techniques, you can effectively share and shape your own story.
