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Mayer’s 12 Principles of Multimedia

Mayer’s 12 Principles of Multimedia

How to Use Mayer’s 12 Principles of Multimedia Learning [Examples Included]

1. The Coherence Principle

2. The Signaling Principle

3. The Redundancy Principle
humans learn best with narration and graphics, as opposed to narration, graphics, and text.

4. The Spatial Contiguity Principle
learn best when relevant text and visuals are physically close together

5. The Temporal Contiguity Principle
learn best when corresponding words and visuals are presented together, instead of in consecutive order.

6. The Segmenting Principle
learn best when information is presented in segments, rather than one long continuous stream.

7. The Pre-Training Principle
learn more efficiently if they already know some of the basics.

8. The Modality Principle
learn best from visuals and spoken words than from visuals and printed words.

9. The Multimedia Principle
learn best from words and pictures than just words alone.

10. The Personalization Principle
 learn best from a more informal, conversational voice than an overly formal voice.

11. The Voice Principle
learn best from a human voice than a computer voice.

12. The Image Principle
humans do not necessarily learn better from a talking head video.

 

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more on ID in this IMS blog
https://blog.stcloudstate.edu/ims?s=instructional+design

 

 

accessibility in XR

Regine Gilbert talks about accessibility in XR

https://skarredghost-com.cdn.ampproject.org/c/s/skarredghost.com/2021/05/19/regine-accessibility-xr/amp/

What do you think is the current status of XR experiences? Are most of them accessible?

As with all technology, XR is evolving. The current status in terms of accessibility is that more folks need to be educated about accessibility in the VR space. In general, most experiences are not accessible, yet.

Oculus For Developers has some documentation for Designing accessible VR. You can find it here:
https://developer.oculus.com/learn/design-accessible-vr/

My current research with VEIL (Virtual Experience Interaction Lab https://www.veilab.org/) involves examining Design Patterns in VR. My future work involves research into inclusive and accessible XR. In addition, I am working on a book that will be related to XR and spatial computing.

How can people support you?

You can check out my book that is available online at this link: https://www.apress.com/gp/book/9781484250150

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more on XR in this IMS blog
https://blog.stcloudstate.edu/ims?s=extended+reality

Virtual Worlds lab for IM 554

IM 554, Skills for Online Learning and Teaching

Topic for the lab this week: Virtual Worlds (VW): ASVR

Plan:

Prior to class meeting

During class meeting

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more on IM 554 in this IMS blog
https://blog.stcloudstate.edu/ims?s=554

ASVR Mesh

Microsoft’s Mesh Platform For Mixed Reality Puts Microsoft At The Forefront Of XR Collaboration

https://www.forbes.com/sites/moorinsights/2021/03/03/microsofts-mesh-platform-for-mixed-reality-puts-microsoft-at-the-forefront-of-xr-collaboration/

Mesh = Hololens + ASVR + Teams
Mesh = immersive presence + spatial maps + holographic rendering

https://altvr.com/mesh/

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

learning paradigms

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

p. 3

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).

Red Cross and Immersive Learning

Virtual Reality & Innovation

https://www.icrc.org/en/what-we-do/virtual-reality

mounting research suggests that gaming in immersive virtual environments can directly affect and impact regions of the brain responsible for memory, spatial orientation, information organizations, and fine motor skills.

the ICRC officially established its Virtual Reality Unit (VRU) to delve further into computer-generated environments as a way to educate, communicate and advocate respect for IHL.

By 2017, the VRU had amassed a library of virtual environments for FAS’ IHL training sessions but there was a desire within the VRU, as well as in FAS and ICRC’s Learning & Development, to develop more advanced VR opportunities for a wider audience.

2018 report researched global financial investment in XR and a 2019 meta-analysis consolidated global academic findings that used VR to measure behaviour.

December 2019 … the production of an XR Quick Start Guide in April 2020 which introduces ICRC staff to lessons learned and best practices for initiative development.

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more on gaming in this IMS blog
https://blog.stcloudstate.edu/ims?s=gaming
and immersive learning
https://blog.stcloudstate.edu/ims?s=immersive+learning

Hamlet on the HoloDeck

Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.
https://mnpals-scs.primo.exlibrisgroup.com/permalink/01MNPALS_SCS/qoo6di/alma990011592830104318
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)
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
p. 140 Games into Stories
p. 142 Games as Symbolic Dramas

iLearn2020

YouTube Live stream: https://www.youtube.com/watch?v=DSXLJGhI2D8&feature=youtu.be
and the Discord directions: https://docs.google.com/document/d/1GgI4dfq-iD85yJiyoyPApB33tIkRJRns1cJ8OpHAYno/editiLearn2020

Modest3D Guided Virtual Adventure – iLRN Conference 2020 – Session 1: currently, live session: https://youtu.be/GjxTPOFSGEM

https://mediaspace.minnstate.edu/media/Modest+3D/1_28ejh60g

CALL FOR PROPOSALS: GUIDED VIRTUAL ADVENTURE TOURS
at iLRN 2020: 6th International Conference of the Immersive Learning Research Network
Organized in conjunction with Educators in VR
Technically co-sponsored by the IEEE Education Society
June 21-25, 2020, Online
Conference theme: “Vision 20/20: Hindsight, Insight, and Foresight in XR and Immersive Learning”
Conference website: https://nam02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fimmersivelrn.org%2Filrn2020&data=02%7C01%7Cpmiltenoff%40STCLOUDSTATE.EDU%7C7a9997a1d6724744f7d708d7f52d9387%7C5011c7c60ab446ab9ef4fae74a921a7f%7C0%7C0%7C637247448406614239&sdata=Jt%2BFUtP3Vs%2FQi1z9HCk9x8m%2B%2BRjkZ63qrcoZnFiUdaQ%3D&reserved=0
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Wednesday, June 24 • 12:00pm – 1:00pm

 Instruction and Instructional Design

Presentation 1: Inspiring Faculty (+ Students) with Tales of Immersive Tech (Practitioner Presentation #106)

Authors: Nicholas Smerker

Immersive technologies – 360º video, virtual and augmented realities – are being discussed in many corners of higher education. For an instructor who is familiar with the terms, at least in passing, learning more about why they and their students should care can be challenging, at best. In order to create a font of inspiration, the IMEX Lab team within Teaching and Learning with Technology at Penn State devised its Get Inspired web resource. Building on a similar repository for making technology stories at the sister Maker Commons website, the IMEX Lab Get Inspired landing page invites faculty to discover real world examples of how cutting edge XR tools are being used every day. In addition to very approachable video content and a short summary calling out why our team chose the story, there are also instructional designer-developed Assignment Ideas that allow for quick deployment of exercises related to – though not always relying upon – the technologies highlighted in a given Get Inspired story.

Presentation 2: Lessons Learned from Over A Decade of Designing and Teaching Immersive VR in Higher Education Online Courses (Practitioner Presentation #101)

Authors: Eileen Oconnor

This presentation overviews the design and instruction in immersive virtual reality environments created by the author beginning with Second Life and progressing to open source venues. It will highlight the diversity of VR environment developed, the challenges that were overcome, and the accomplishment of students who created their own VR environments for K12, college and corporate settings. The instruction and design materials created to enable this 100% online master’s program accomplishment will be shared; an institute launched in 2018 for emerging technology study will be noted.

Presentation 3: Virtual Reality Student Teaching Experience: A Live, Remote Option for Learning Teaching Skills During Campus Closure and Social Distancing (Practitioner Presentation #110)

Authors: Becky Lane, Christine Havens-Hafer, Catherine Fiore, Brianna Mutsindashyaka and Lauren Suna

Summary: During the Coronavirus pandemic, Ithaca College teacher education majors needed a classroom of students in order to practice teaching and receive feedback, but the campus was closed, and gatherings forbidden. Students were unable to participate in live practice teaching required for their program. We developed a virtual reality pilot project to allow students to experiment in two third-party social VR programs, AltSpaceVR and Rumii. Social VR platforms allow a live, embodied experience that mimics in-person events to give students a more realistic, robust and synchronous teaching practice opportunity. We documented the process and lessons learned to inform, develop and scale next generation efforts.

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Tuesday, June 23 • 5:00pm – 6:00pm
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Sunday, June 21 • 8:00am – 9:00am
Escape the (Class)room games in OpenSim or Second Life FULLhttps://ilrn2020.sched.com/event/ceKP/escape-the-classroom-games-in-opensim-or-second-lifePre-registration for this tour is required as places are limited. Joining instructions will be emailed to registrants ahead of the scheduled tour time.The Guided Virtual Adventure tour will take you to EduNation in Second Life to experience an Escape room game. For one hour, a group of participants engage in voice communication and try to solve puzzles, riddles or conundrums and follow clues to eventually escape the space. These scenarios are designed for problem solving and negotiating language and are ideal for language education. They are fun and exciting and the clock ticking adds to game play.Tour guide(s)/leader(s): Philp Heike, let’s talk online sprl, Belgium

Target audience sector: Informal and/or lifelong learning

Supported devices: Desktop/laptop – Windows, Desktop/laptop – Mac

Platform/environment access: Download from a website and install on a desktop/laptop computer
Official website: http://www.secondlife.com

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Thursday, June 25 • 9:00am – 10:00am

Games and Gamification II

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Presentation 1: Evaluating the impact of multimodal Collaborative Virtual Environments on user’s spatial knowledge and experience of gamified educational tasks (Full Paper #91)

Authors: Ioannis Doumanis and Daphne Economou

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Several research projects in spatial cognition have suggested Virtual Environments (VEs) as an effective way of facilitating mental map development of a physical space. In the study reported in this paper, we evaluated the effectiveness of multimodal real-time interaction in distilling understanding of the VE after completing gamified educational tasks. We also measure the impact of these design elements on the user’s experience of educational tasks. The VE used reassembles an art gallery and it was built using REVERIE (Real and Virtual Engagement In Realistic Immersive Environment) a framework designed to enable multimodal communication on the Web. We compared the impact of REVERIE VG with an educational platform called Edu-Simulation for the same gamified educational tasks. We found that the multimodal VE had no impact on the ability of students to retain a mental model of the virtual space. However, we also found that students thought that it was easier to build a mental map of the virtual space in REVERIE VG. This means that using a multimodal CVE in a gamified educational experience does not benefit spatial performance, but also it does not cause distraction. The paper ends with future work and conclusions and suggestions for improving mental map construction and user experience in multimodal CVEs.

Presentation 2: A case study on student’s perception of the virtual game supported collaborative learning (Full Paper #42)

Authors: Xiuli Huang, Juhou He and Hongyan Wang

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The English education course in China aims to help students establish the English skills to enhance their international competitiveness. However, in traditional English classes, students often lack the linguistic environment to apply the English skills they learned in their textbook. Virtual reality (VR) technology can set up an immersive English language environment and then promote the learners to use English by presenting different collaborative communication tasks. In this paper, spherical video-based virtual reality technology was applied to build a linguistic environment and a collaborative learning strategy was adopted to promote their communication. Additionally, a mixed-methods research approach was used to analyze students’ achievement between a traditional classroom and a virtual reality supported collaborative classroom and their perception towards the two approaches. The experimental results revealed that the virtual reality supported collaborative classroom was able to enhance the students’ achievement. Moreover, by analyzing the interview, students’ attitudes towards the virtual reality supported collaborative class were reported and the use of language learning strategies in virtual reality supported collaborative class was represented. These findings could be valuable references for those who intend to create opportunities for students to collaborate and communicate in the target language in their classroom and then improve their language skills

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Thursday, June 25 • 11:00am – 12:00pm

 Games and Gamification III

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Presentation 1: Reducing Cognitive Load through the Worked Example Effect within a Serious Game Environment (Full Paper #19)

Authors: Bernadette Spieler, Naomi Pfaff and Wolfgang Slany

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Novices often struggle to represent problems mentally; the unfamiliar process can exhaust their cognitive resources, creating frustration that deters them from learning. By improving novices’ mental representation of problems, worked examples improve both problem-solving skills and transfer performance. Programming requires both skills. In programming, it is not sufficient to simply understand how Stackoverflow examples work; programmers have to be able to adapt the principles and apply them to their own programs. This paper shows evidence in support of the theory that worked examples are the most efficient mode of instruction for novices. In the present study, 42 students were asked to solve the tutorial The Magic Word, a game especially for girls created with the Catrobat programming environment. While the experimental group was presented with a series of worked examples of code, the control groups were instructed through theoretical text examples. The final task was a transfer question. While the average score was not significantly better in the worked example condition, the fact that participants in this experimental group finished significantly faster than the control group suggests that their overall performance was better than that of their counterparts.

Presentation 2: A literature review of e-government services with gamification elements (Full Paper #56)

Authors: Ruth S. Contreras-Espinosa and Alejandro Blanco-M

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Nowadays several democracies are facing the growing problem of a breach in communication between its citizens and their political representatives, resulting in low citizen’s engagement in the participation of political decision making and on public consultations. Therefore, it is fundamental to generate a constructive relationship between both public administration and the citizens by solving its needs. This document contains a useful literature review of the gamification topic and e-government services. The documents contain a background of those concepts and conduct a selection and analysis of the different applications found. A set of three lines of research gaps are found with a potential impact on future studies.

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Thursday, June 25 • 12:00pm – 1:00pm

 Museums and Libraries

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Presentation 1: Connecting User Experience to Learning in an Evaluation of an Immersive, Interactive, Multimodal Augmented Reality Virtual Diorama in a Natural History Museum & the Importance of Story (Full Paper #51)

Authors: Maria Harrington

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Reported are the findings of user experience and learning outcomes from a July 2019 study of an immersive, interactive, multimodal augmented reality (AR) application, used in the context of a museum. The AR Perpetual Garden App is unique in creating an immersive multisensory experience of data. It allowed scientifically naïve visitors to walk into a virtual diorama constructed as a data visualization of a springtime woodland understory, and interact with multimodal information directly through their senses. The user interface comprised of two different AR data visualization scenarios reinforced with data based ambient bioacoustics, an audio story of the curator’s narrative, and interactive access to plant facts. While actual learning and dwell times were the same between the AR app and the control condition, the AR experience received higher ratings on perceived learning. The AR interface design features of “Story” and “Plant Info” showed significant correlations with actual learning outcomes, while “Ease of Use” and “3D Plants” showed significant correlations with perceived learning. As such, designers and developers of AR apps can generalize these findings to inform future designs.

Presentation 2: The Naturalist’s Workshop: Virtual Reality Interaction with a Natural Science Educational Collection (Short Paper #11)

Authors: Colin Patrick Keenan, Cynthia Lincoln, Adam Rogers, Victoria Gerson, Jack Wingo, Mikhael Vasquez-Kool and Richard L. Blanton

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For experiential educators who utilize or maintain physical collections, The Naturalist’s Workshop is an exemplar virtual reality platform to interact with digitized collections in an intuitive and playful way. The Naturalist’s Workshop is a purpose-developed application for the Oculus Quest standalone virtual reality headset for use by museum visitors on the floor of the North Carolina Museum of Natural Sciences under the supervision of a volunteer attendant. Within the application, museum visitors are seated at a virtual desk. Using their hand controllers and head-mounted display, they explore drawers containing botanical specimens and tools-of-the-trade of a naturalist. While exploring, the participant can receive new information about any specimen by dropping it into a virtual examination tray. 360-degree photography and three-dimensionally scanned specimens are used to allow user-motivated, immersive experience of botanical meta-data such as specimen collection coordinates.

Presentation 3: 360˚ Videos: Entry level Immersive Media for Libraries and Education (Practitioner Presentation #132)

Authors: Diane Michaud

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Within the continuum of XR Technologies, 360˚ videos are relatively easy to produce and need only an inexpensive mobile VR viewer to provide a sense of immersion. 360˚ videos present an opportunity to reveal “behind the scenes” spaces that are normally inaccessible to users of academic libraries. This can promote engagement with unique special collections and specific library services. In December 2019, with little previous experience, I led the production of a short 360˚video tour, a walk-through of our institution’s archives. This was a first attempt; there are plans to transform it into a more interactive, user-driven exploration. The beta version successfully generated interest, but the enhanced version will also help prepare uninitiated users for the process of examining unique archival documents and artefacts. This presentation will cover the lessons learned, and what we would do differently for our next immersive video production. Additionally, I will propose that the medium of 360˚ video is ideal for many institutions’ current or recent predicament with campuses shutdown due to the COVID-19 pandemic. Online or immersive 360˚ video can be used for virtual tours of libraries and/or other campus spaces. Virtual tours would retain their value beyond current campus shutdowns as there will always be prospective students and families who cannot easily make a trip to campus. These virtual tours would provide a welcome alternative as they eliminate the financial burden of travel and can be taken at any time.

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students in VR

XR Storytellers: Learners Making Immersive Stories

LIVE NOW
Thursday, May 7, 2020 from 1:30 PM to 2:30 PM (CDT)

PRESENTATION
Our team will share lessons learned in collaborating to create immersive experiences that accelerate STEM education. Find out how students achieve classroom learning objectives by designing AR experiences. Watch a demonstration of how an immersive scientific story is co-created by students and teachers in a virtual learning environment. Explore novel techniques for supporting learners to demonstrate understanding and share knowledge using spatial technologies and storytelling principles. We invite guests to share their questions and perspectives on the possibilities and limitations of XR storytelling to facilitate relational connections to curriculum and instruction.

PRESENTERS:
Sarah Cassidy | Janelle LaVoie | Quincy Wang | Poh Tan
We are a team of VR learners from the University of Saskatchewan and Simon Fraser University in Canada. Our research explores innovative uses of immersive technology for STEM education and pro-social change.


MENTOR: Paula MacDowell
University of Saskatchewan, Assistant Professor
Website
LinkedIN
Twitter: paulamacdowell
Facebook Discord: Paulie#8830

https://internal.altvr.com/events/1460721187360342083

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https://www.everestvirtualreality.com/

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more on students in VR in this IMS blog
https://blog.stcloudstate.edu/ims?s=students+in+vr

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