Apr
2019
Digital Literacy for St. Cloud State University
+++++++++++
more on future trends in this IMS blog
https://blog.stcloudstate.edu/ims?s=future+trends
Topic for this week: Game-based learning, Virtual Reliability, and Augmented Reality
Audience: IM Graduate students working for K12 schools or in business
March 28, Adobe Connect. http://scsuconnect.stcloudstate.edu/im554_park/
Events worth mentioning (pls share if you would like to discuss details):
1. Where are we now compared to:
2018: https://blog.stcloudstate.edu/ims/2018/03/27/im-554-discussion-on-gbl-2018/
2017: https://blog.stcloudstate.edu/ims/2017/02/22/im554-discussion-gbl/
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
3. DGBL vs Serous Games vs Gamification
4. BYOx. Still timely?
5. XR and its relation to ID (instructional design) and the gamification of education:
https://blog.stcloudstate.edu/ims/2018/10/16/eli-2018-key-issues-teaching-learning/
#7 is ID, #13 is emerging technologies.
What is VR, AR, MR. Immersive learning?
examples from SCSU:
https://web.stcloudstate.edu/pmiltenoff/bi/
Examples from other universities as presented at Nercomp 2019 workshop:
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)
++++++++++++
last year plan for IM 554 https://blog.stcloudstate.edu/ims/2018/03/27/im-554-discussion-on-gbl-2018/
p. 74 serious games, Carrie Heeter. p. 49
p. 52 guided meditation VR GMVR
p. 57
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.
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.
https://uploadvr.com/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.
VOID: Vision of Infinite Dimensions p. 167
p. 169 the 4-D-effects: steam, cool air, moisture,
p. 170 Copresence
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.
++++++++++++
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.”
By Suzanne Scacca June 25, 2018
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.”
Develop user personas before you do anything else when strategizing and planning for a website. Your personas should have a key “problem” they face.
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.
Here’s an interesting fact: people are 22 times more likely to remember data when it’s presented in a narrative form.
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.
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:
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.
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.
For some brands, it might make sense to employ the use of an actual mascot to guide visitors through the story.
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.
International Journal of Communication, 2019
< Maxwell Foxman
Book Review of Colin Milburn’s book “Mondo Nano: Fun and Games in the World of Digital Matter”
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
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.
++++++++++++
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/
Bryan Alexander’s Future Trends Forum with Guest Sue Bohle, Serious Play Conference |
|
An interactive discussion on gaming in education | |
January 17, 2 – 3 PM (EST) |
Sue Bohle, Executive Director, Producer, Serious Play Conference, for a lively discussion on gaming in education.
Sue is a leader in the space and has seen tremendous growth and potential of serious games in corporate training and eLearning. The interview has been edited for clarity and length.
++++++++
notes from the webinar:
i had issues connecting and the streams of the guest speaker (Sue) and Bryan will stall when each of them were talking.
examples for formally learning through games
I’d love to hear Sue chat about: Students as game authors, what do you do to encourage reflection on game events?
++++++
more on Future Trends in this IMS blog
https://blog.stcloudstate.edu/ims?s=future+trends