Virtual Reality (VR) training tools are here to help, ensuring that healthcare professionals can be trained remotely, immersively, and more thoroughly than traditional methods for both front-line medicine and in specialist procedures.
Their VR platform uses personalized prediction software and “gamification and varied content formats to engage users and embed knowledge”, and has been used to “deliver typically labor-intensive training quickly and at scale”
“VR enables medics to immerse themselves in these infrequent scenarios, and can reduce skill fade by 52% and improve learning retention rates by up to 75% (compared to 10% for traditional methods),”
Simulated virtual learning can also ease the psychological burden of notoriously intensive medical training and place more emphasis on wellbeing.
The use of AR/VR in educational settings is on the rise, paving the way for new careers and a workforce trained to embrace technology.
If projections stay on track, the global spending on educational AR/VR is expected to rise from $1.8 billion to $12.6 billion over the next four years.
the International Data Corporation (IDC) released a report indicating that the pandemic has fueled an impressive forecast of worldwide expenditures on AR/VR, which are expected to grow from $12 billion in 2020 to $72.8 billion by 2024.
rom completing spinal surgery to training at a high-tech facility, such as the University of Nebraska Medical Center’s Davis Global Center, which has AR/VR and holographic technologies among its many offerings.
The 7th International Conference of the Immersive Learning Research Network (iLRN 2021) will be an innovative and interactive virtual gathering for a strengthening global network of researchers and practitioners collaborating to develop the scientific, technical, and applied potential of immersive learning. It is the premier scholarly event focusing on advances in the use of virtual reality (VR), augmented reality (AR), mixed reality (MR), and other extended reality (XR) technologies to support learners across the full span of learning–from K-12 through higher education to work-based, informal, and lifelong learning contexts.
Following the success of iLRN 2020, our first fully online and in-VR conference, this year’s conference will once again be based on the iLRN Virtual Campus, powered by VirBELA, but with a range of activities taking place on various other XR simulation, gaming, and other platforms. Scholars and professionals working from informal and formal education settings as well as those representing diverse industry sectors are invited to participate in the conference, where they may share their research findings, experiences, and insights; network and establish partnerships to envision and shape the future of XR and immersive technologies for learning; and contribute to the emerging scholarly knowledge base on how these technologies can be used to create experiences that educate, engage, and excite learners.
Note: Last year’s iLRN conference drew over 3,600 attendees from across the globe, making the scheduling of sessions a challenge. This year’s conference activities will be spread over a four-week period so as to give attendees more opportunities to participate at times that are conducive to their local time zones.
##### TOPIC AREAS #####
XR and immersive learning in/for:
Serious Games • 3D Collaboration • eSports • AI & Machine Learning • Robotics • Digital Twins • Embodied Pedagogical Agents • Medical & Healthcare Education • Workforce & Industry • Cultural Heritage • Language Learning • K-12 STEM • Higher Ed & Workforce STEM • Museums & Libraries • Informal Learning • Community & Civic Engagement • Special Education • Geosciences • Data Visualization and Analytics • Assessment & Evaluation
##### SUBMISSION STREAMS & CATEGORIES #####
ACADEMIC STREAM (Refereed paper published in proceedings):
– Full (6-8 pages) paper for oral presentation
– Short paper (4-5 pages) for oral presentation
– Work-in-progress paper (2-3 pages) for poster presentation
– Doctoral colloquium paper (2-3 pages)
PRACTITIONER STREAM (Refereed paper published in proceedings):
– Oral presentation
– Poster presentation
– Guided virtual adventures
– Immersive learning project showcase
NONTRADITIONAL SESSION STREAM (1-2 page extended abstract describing session published in proceedings):
– Workshop
– Special session
– Panel session
##### SESSION TYPES & SESSION FORMATS #####
– Oral Presentation: Pre-recorded video + 60-minute live in-world discussion with
others presenting on similar/related topics (groupings of presenters into sessions determined by Program Committee)
– Poster Presentation: Live poster session in 3D virtual exhibition hall; pre-recorded video optional
– Doctoral Colloquium: 60-minute live in-world discussion with other doctoral researchers; pre-recorded video optional
– Guided Virtual Adventures: 60-minute small-group guided tours of to various social and collaborative XR/immersive environments and platforms
– Immersive Learning Project Showcase: WebXR space to assemble a collection of virtual artifacts, accessible to attendees throughout the conference
– Workshop: 1- or 2-hour live hands-on session
– Special Session: 30- or 60-minute live interactive session held in world; may optionally be linked to one or more papers
– Panel Session: 60-minute live in-world discussion with a self-formed group of 3-5 panelists (including a lead panelist who serves as a moderator)
Please see the conference website for templates and guidelines.
##### PROGRAM TRACKS #####
Papers and proposals may be submitted to one of 10 program tracks, the first nine of which correspond to the iLRN Houses of application, and the tenth of which is intended for papers making knowledge contributions to the learning sciences, computer science, and/or game studies that are not linked to any particular application area:
Track 1. Assessment and Evaluation (A&E)
Track 2. Early Childhood Development & Learning (ECDL)
Track 4. Inclusion, Diversity, Equity, Access, & Social Justice (IDEAS)
Track 5. K-12 STEM Education
Track 6. Language, Culture, & Heritage (LCH)
Track 7. Medical & Healthcare Education (MHE)
Track 8. Nature & Environmental Sciences (NES)
Track 9. Workforce Development & Industry Training (WDIT)
Track 10. Basic Research and Theory in Immersive Learning (not linked to any particular application area)
##### PAPER/PROPOSAL SUBMISSION & REVIEW #####
Papers for the Academic Stream and extended-abstract proposals for the Nontraditional Session Stream must be prepared in standard IEEE double-column US Letter format using Microsoft Word or LaTeX, and will be accepted only via the online submission system, accessible via the conference website (from which guidelines and templates are also available).
Proposals for the Practitioner Stream are to be submitted via an online form, also accessible from the conference website.
A blind peer-review process will be used to evaluate all submissions.
##### IMPORTANT DATES #####
– Main round submission deadline – all submission types welcome: 2021-01-15
– Notification of review outcomes from main submission round: 2021-04-01
– Late round submission deadline – Work-in-progress papers, practitioner presentations, and nontraditional sessions only: 2021-04-08
– Camera-ready papers for proceedings due – Full and short papers: 2021-04-15
– Presenter registration deadline – Full and short papers (also deadline for early-bird registration rates): 2021-04-15
– Notification of review outcomes from late submission round: 2021-04-19
– Camera-ready work-in-progress papers and nontraditional session extended abstracts for proceedings due; final practitioner abstracts for conference program due: 2021-05-03
– Deadline for uploading presentation materials (videos, slides for oral presentations, posters for poster presentations): 2021-05-10
– Conference opening: 2021-05-17
– Conference closing: 2021-06-10
*Full and short papers can only be submitted in the main round.
##### PUBLICATION & INDEXING #####
All accepted and registered papers in the Academic Stream that are presented at iLRN 2021 and all extended abstracts describing the Nontraditional Sessions presented at the conference will be published in the conference proceedings and submitted to the IEEE Xplore(r) digital library.
Content loaded into Xplore is made available by IEEE to its abstracting and indexing partners, including Elsevier (Scopus, EiCompendex), Clarivate Analytics (CPCI–part of Web of Science) and others, for potential inclusion in their respective databases. In addition, the authors of selected papers may be invited to submit revised and expanded versions of their papers for possible publication in the IEEE Transactions on Learning Technologies (2019 JCR Impact Factor: 2.714), the Journal of Universal Computer Science (2019 JCR Impact Factor: 0.91), or another Scopus and/or Web of Science-indexed journal, subject to the relevant journal’s regular editorial and peer-review policies and procedures.
##### CONTACT #####
Inquiries regarding the iLRN 2020 conference should be directed to the Conference Secretariat at conference@immersivelrn.org.
Justin Barad, MD, is the CEO and founder of Osso VR, a fully immersive, and scientifically validated, surgical training platform.
Prior to starting Osso VR, Justin became a board-eligible orthopedic surgeon with a Bioengineering degree from UC Berkeley, and an MD (medical doctorate) from UCLA, where he graduated first in his class. He completed his residency at UCLA and his fellowship in pediatric orthopedics at Harvard and Boston Children’s Hospital.
His experiences as a medical student and practicing surgeon opened his eyes to the many challenges faced by surgeons striving to provide the best care in the face of expanding medical understanding, technology, and complexity. For example, after 14 years of education, nearly a third of graduating residents cannot operate without supervision.
These insights, combined with a conviction to solve the problem, led him to co-found Osso VR.
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
GIGXR, Inc., a provider of extended reality (XR) learning systems for instructor-led teaching and training, announced today the availability of its GIG Immersive Learning System for the Fall 2020 Northern Hemisphere academic year. The cloud-based System was created to dramatically enhance learning outcomes while simplifying complex, real-life teaching and training scenarios in medical and nursing schools, higher education, healthcare and hospitals.
The event requires no registration, and is virtual only, free, and open to the public. Platform access is required, so please install one of the above platforms to attend the International Summit. You may attend in 2D on a desktop or laptop computer with a headphone and microphone (USB gaming headphone recommended), or with a virtual device such as the Oculus Go, Quest, and Rift, Vive, and other mobile and tethered devices. Please note the specifications and requirements of each platform.
Charlie Fink, author, columnist for Forbes magazine, and Adjunct Faculty member of Chapman University, will be presenting “Setting the Table for the Next Decade in XR,” discussing the future of this innovative and immersive technology, at the 2020 Educators in VR International Summit. He will be speaking in AltspaceVR on Tuesday, February 18 at 1:00 PM EST /
This workshop with Dr. Sarah Jones will focus on developing a relevant and new literacy for virtual reality, including the core competencies and skills needed to develop and understand how to become an engaged user of the technology in a meaningful way. The workshop will develop into research for a forthcoming book on Uncovering a Literacy for VR due to be published in 2020.
Sarah is listed as one of the top 15 global influencers within virtual reality. After nearly a decade in television news, Sarah began working in universities focusing on future media, future technology and future education. Sarah holds a PhD in Immersive Storytelling and has published extensively on virtual and augmented reality, whilst continuing to make and create immersive experiences. She has advised the UK Government on Immersive Technologies and delivers keynotes and speaks at conferences across the world on imagining future technology. Sarah is committed to diversifying the media and technology industries and regularly champions initiatives to support this agenda.
Currently there are limited ways to connect 3D VR environments to physical objects in the real-world whilst simultaneously conducting communication and collaboration between remote users. Within the context of a solar power plant, the performance metrics of the site are invaluable for environmental engineers who are remotely located. Often two or more remotely located engineers need to communicate and collaborate on solving a problem. If a solar panel component is damaged, the repair often needs to be undertaken on-site thereby incurring additional expenses. This triage of communication is known as inter-cognitive communication and intra-cognitive communication: inter-cognitive communication where information transfer occurs between two cognitive entities with different cognitive capabilities (e.g., between a human and an artificially cognitive system); intra-cognitive communication where information transfer occurs between two cognitive entities with equivalent cognitive capabilities (e.g., between two humans) [Baranyi and Csapo, 2010]. Currently, non-VR solutions offer a comprehensive analysis of solar plant data. A regular PC with a monitor currently have advantages over 3D VR. For example, sensors can be monitored using dedicated software such as EPEVER or via a web browser; as exemplified by the comprehensive service provided by Elseta. But when multiple users are able to collaborate remotely within a three-dimensional virtual simulation, the opportunities for communication, training and academic education will be profound.
Michael Vallance Ed.D. is a researcher in the Department of Media Architecture, Future University Hakodate, Japan. He has been involved in educational technology design, implementation, research and consultancy for over twenty years, working closely with Higher Education Institutes, schools and media companies in UK, Singapore, Malaysia and Japan. His 3D virtual world design and tele-robotics research has been recognized and funded by the UK Prime Minister’s Initiative (PMI2) and the Japan Advanced Institute of Science and Technology (JAIST). He has been awarded by the United States Army for his research in collaborating the programming of robots in a 3D Virtual World.
Augmented Reality Lens is popular among young people thanks to Snapchat’s invention. Business is losing money without fully using of social media targeting young people (14-25). In my presentation, Dominique Wu will show how businesses can generate more leads through Spark AR (Facebook AR/Instagram AR) & Snapchat AR Lens, and how to create a strategic Snapchat & Instagram AR campaigns.
Domnique Wu is an XR social media strategist and expert in UX/UI design.She has her own YouTube and Apple Podcast show called “XReality: Digital Transformation,” covering the technology and techniques of incorporating XR and AR into social media, marketing, and integration into enterprise solutions.
Mark Christian, EVP, Strategy and Corporate Development, GIGXR
Mixed Reality devices like the HoloLens are transforming education now. Mark Christian will discuss how the technology is not about edge use cases or POCs, but real usable products that are at Universities transforming the way we teach and learn. Christian will talk about the products of GIGXR, the story of how they were developed and what the research is saying about their efficacy. It is time to move to adoption of XR technology in education. Learn how one team has made this a reality.
As CEO of forward-thinking virtual reality and software companies, Mark Christian employs asymmetric approaches to rapid, global market adoption, hiring, diversity and revenue. He prides himself on unconventional approaches to building technology companies.
Virtual Reality is an effective medium to impart education to the student only if it is done right.The way VR is considered gimmick or not is by the way the software application are designed/developed by the developers not the hardware limitation.I will be giving insight about the VR development for educational content specifically designed for students of lower secondary school.I will also provide insights about the development of game in unity3D game engine.
Game Developer and VR developer with over 3 years of experience in Game Development.Developer of Zombie Shooter, winner of various national awards in the gaming and entertainment category, Avinash Gyawali is the developer of EDVR, an immersive voice controlled VR experience specially designed for children of age 10-18 years.
Virtual Reality Technologies for Learning Designers
Margherita Berti
Virtual Reality (VR) is a computer-generated experience that simulates presence in real or imagined environments (Kerrebrock, Brengman, & Willems, 2017). VR promotes contextualized learning, authentic experiences, critical thinking, and problem-solving opportunities. Despite the great potential and popularity of this technology, the latest two installations of the Educause Horizon Report (2018, 2019) have argued that VR remains “elusive” in terms of mainstream adoption. The reasons are varied, including the expense and the lack of empirical evidence for its effectiveness in education. More importantly, examples of successful VR implementations for those instructors who lack technical skills are still scarce. Margherita Berti will discuss a range of easy-to-use educational VR tools and examples of VR-based activity examples and the learning theories and instructional design principles utilized for their development.
Margherita Berti is a doctoral candidate in Second Language Acquisition and Teaching (SLAT) and Educational Technology at the University of Arizona. Her research specialization resides at the intersection of virtual reality, the teaching of culture, and curriculum and content development for foreign language education.
Amanda Fox, Creative Director of STEAMPunks/MetaInk Publishing, MetaInk Publishing
There is a barrier between an author and readers of his/her books. The author’s journey ends, and the reader’s begins. But what if as an author/trainer, you could use gamification and augmented reality(AR) to interact and coach your readers as part of their learning journey? Attend this session with Amanda Fox to learn how the book Teachingland leverages augmented reality tools such as Metaverse to connect with readers beyond the text.
Amanda Fox, Creative Director of STEAMPunksEdu, and author of Teachingland: A Teacher’s Survival Guide to the Classroom Apolcalypse and Zom-Be A Design Thinker. Check her out on the Virtual Reality Podcast, or connect with her on twitter @AmandaFoxSTEM.
Christian Jonathan Angel Rueda specializaes in didactic activity of the use of virtual reality/virtual worlds to learn the fundamentals of design. He shares the development of a course including recreating in the three-dimensional environment using the fundamentals learned in class, a demonstration of all the works developed throughout the semester using the knowledge of design foundation to show them creatively, and a final project class scenario that connected with the scenes of the students who showed their work throughout the semester.
Christian Jonathan Angel Rueda is a research professor at the Autonomous University of Queretaro in Mexico. With a PhD in educational technology, Christian has published several papers on the intersection of education, pedagogy, and three-dimensional immersive digital environments. He is also an edtech, virtual reality, and social media consultant at Eco Onis.
How we can bridge the gap between eLearning and XR. Richard Van Tilborg discusses combining brain insights enabled with new technologies. Training and education cases realised with the CoVince platform: journeys which start on you mobile and continue in VR. The possibilities to earn from your creations and have a central distribution place for learning and data.
Richard Van Tilborg works with the CoVince platform, a VR platform offering training and educational programs for central distribution of learning and data. He is an author and speaker focusing on computers and education in virtual reality-based tasks for delivering feedback.
During Lab work on Jan 28, we experienced Video 360 cardboard movies
let’s take 5-10 min and check out the following videos (select and watch at least three of them)
F2F students, please Google Cardboard
Online students, please view on your computer or mobile devices, if you don’t have googles at your house (you can purchase now goggles for $5-7 from second-hand stores such as Goodwill)
Both F2F and online students. Here directions how to easily open the movies on your mobile devices:
Copy the URL and email it to yourself.
Open the email on your phone and click on the link
If you have goggles, click on the appropriate icon lower right corner and insert the phone in the goggles
Open your D2L course on your phone (you can use the mobile app).
Go to the D2L Content Module with these directions and click on the link.
After the link opens, insert phone in the goggles to watch the video
Videos: While watching the videos, consider the following objectives:
– Does this particular technology fit in the instructional design (ID) frames and theories covered, e.g. PBL, CBL, Activity Theory, ADDIE Model, TIM etc. (https://blog.stcloudstate.edu/ims/2020/01/29/im-690-id-theory-and-practice/ ). Can you connect the current state, but also the potential of this technology with the any of these frameworks and theories, e.g., how would Google Tour Creator or any of these videos fits in the Analysis – Design – Development – Implementation – Evaluation process? Or, how do you envision your Google Tour Creator project or any of these videos to fit in the Entry – Adoption – Adaptation – Infusion – Transformation process?
– how does this particular technology fit in the instructional design (ID) frames and theories covered so far?
– what models and ideas from the videos you will see seem possible to be replicated by you?
Find one F2F and one online peer to form a group.
Based on the questions/directions before you started watching the videos:
– Does this particular technology fit in the instructional design (ID) frames and theories covered. e.g. PBL, CBL, Activity Theory, ADDIE Model, TIM etc. (https://blog.stcloudstate.edu/ims/2020/01/29/im-690-id-theory-and-practice/ ). Can you connect the current state, but also the potential of this technology with the any of these frameworks and theories, e.g., how would Google Tour Creator or any of these videos fits in the Analysis – Design – Development – Implementation – Evaluation process? Or, how do you envision your Google Tour Creator project or any of these videos to fit in the Entry – Adoption – Adaptation – Infusion – Transformation process?
– how does this particular technology fit in the instructional design (ID) frames and theories covered so far?
– what models and ideas from the videos you will see seem possible to be replicated by you?
exchange thoughts with your peers and make a plan to create similar educational product
Evaluate the ability of the game you watched to be incorporated in the educational process
Assignment: In 10-15 min (mind your peers, since we have only headset), do your best to evaluate one educational app (e.g., Labster) and one leisure app (games).
Use the same questions to evaluate Lenovo DayDream:
– Does this particular technology fit in the instructional design (ID) frames and theories covered, e.g. PBL, CBL, Activity Theory, ADDIE Model, TIM etc. (https://blog.stcloudstate.edu/ims/2020/01/29/im-690-id-theory-and-practice/ ). Can you connect the current state, but also the potential of this technology with the any of these frameworks and theories, e.g., how would Google Tour Creator or any of these videos fits in the Analysis – Design – Development – Implementation – Evaluation process? Or, how do you envision your Google Tour Creator project or any of these videos to fit in the Entry – Adoption – Adaptation – Infusion – Transformation process?
– how does this particular technology fit in the instructional design (ID) frames and theories covered so far?
– what models and ideas from the videos you will see seem possible to be replicated by you?
2019 Realities360 Conference and Expo
San Jose, USA
25 – 27 June 2019
EXPLORE AR AND VR IN YOUR WORK
Augmented and virtual reality technologies are the latest buzz in the training and education sector. 2019 Realities360 Conference and Expo is the event for you to explore this tech, and get started building and implementing your AR/VR strategy. You won’t want to miss it.
The 2019 Realities360 program delivers over 50 sessions covering the critical topics that will help you develop new skills, strategies, and expertise within the AR/VR world. Plus, in several sessions you’ll build the knowledge and skills directly with hands-on learning experiences.
Here are some essential sessions you’ll need to attend:
– Better Than the Real Thing: VR Learning Surpassing Real-world Training
– Transforming Learning with Digital Reality
– Designing Instructionally-Effective Virtual Experiences
– Lessons from a Year of Cost-Effective Immersive Strategies in Higher Ed
– Exploring the Efficacy of Virtual Reality for Training Centers of the Future
Embedded librarianship holds potential for immersive learning. Come learn how to promote your virtual world communities and the great work of educators in virtual worlds through networking. https://communityvirtuallibrary.wordpress.com/
Chris Luchs (SL: Abacus Capellini, WoW: Cheerwine)
What Can We Learn from the World of Warcraft?
Join us as we host a blended reality session featuring a live stream from the World of Warcraft (WoW) as we explore educational opportunities in a massive multiplayer online roleplaying game (MMORPG). We will have a YouTube live stream, a Discord channel for voice discussion, and an immersive event in WoW. Educators from the International Society for Technology in Education – Games and Simulations Network (ISTE G&SN) will host an immersive event & discuss learning in a multiuser virtual environment (MUVE).
Click Try for Free and download the Blizzard Launcher, which manages the download. You’ll need 52GB for the game. Create an account, select Sisters of Elune realm and create a troll if you are new to WoW and using a Free Trial account.
Location: In the World of Warcraft and for those who do not have the game, over a YouTube Live stream (available that day) and hosted after the event over https://www.youtube.com/user/gamesmooc/videos
Howard Gardner’s “Theory of Multiple Intelligences” explored through an Interactive, Immersive Experience in Second Life
Dr. Gardner has proposed 8 different types of intelligence, ranging from Interpersonal to Kinesthetic. Join us to discover your own most innate type. You may be surprised, like many of the teachers who have tried this challenge as part of our whole-brain training program.
This is a summary of various performance-based activities in Second Life and how performance studies can provide an insight into the experience of virtual worlds.
