Quizzes are considered mostly an assessment tool. The reward is in the end of the game. The player cannot “lose life.”
Students who are used to the logic of a game, expect rewards throughout the game.
Therefore, instead of a final assessment quiz, the class can be phased out with several training quizzes. Each of the training quizzes can allow students to have several attempts (equals lifes). In addition, students can be stimulated format wise in playing the quizzes=gaming activity by some reward systems. E.g., for each training quiz being scored above B, students can collect badges/tockens, which they can redeem at the end of class. Content-wise, students can be stimulated in playing the quizzes=gaming activity by stepping on the next level and switching from text-based quizzes to quizzes including more multimedia: audio, video and interactivity
#techworkshop #pm great tool to combine with training D2L quizzes: http://quizlet.com
Here is a practical guide on games and quizzes with D2L
http://www.uww.edu/icit/instructional/teachingonline/games_quizzes.html
Those are the students we expect on campus: http://www.edweek.org/dd/articles/2012/06/13/03games.h05.html
Clickers, IPADs and stylus; http://www.as.ua.edu/ipad/drs-hong-min-park-emily-hencken-ritter-and-greg-vonnahme-ipads-in-political-science-pt-1/
Games and gamification
References
Frossard, F., Barajas, M., & Trifonova, A. (2012). A learner-centered game-design approach: Impacts on teachers’ creativity. Digital Education Review, (21), 13-22.
Fu-Hsing Tsai, Kuang-Chao Yu, & Hsien-Sheng Hsiao. (2012). Exploring the factors influencing learning effectiveness in digital game-based learning. Journal of Educational Technology & Society, 15(3), 240-250.
Virtual reality: A new frontier in climate change learning
https://www.universityworldnews.com/post.php?story=20220413115741390
Located in a building renovated over the past two years, the Dreamscape Learn centre welcomed 1,000 students in this, the first full semester. In place of traditional biology laboratory time, these students attend labs in the state-of-the-art virtual learning centre that cost US$20 million, paid for by Dreamscape Immersive, philanthropy and ASU.
What we’re doing with the alien zoo is replacing conventional biology labs with these highly immersive laboratory modules in which students get to enter into a virtual world and really deal with the way real scientists collect data, look at problems, collaborate, come up with solutions, try the solutions and then come up with other hypotheses.”
Making the abstract concrete
As is the case in many video games, the avatars can travel back in time, in this case to Britain at the start of the Industrial Revolution, when widespread burning of coal began increasing the CO2 levels in the atmosphere. We have an amazing tool, Schlosser told the conference, to put students next to where things happened, next to where they might look into the future. Doing this makes the abstract become concrete.
Laubersheimer, J., Ryan, D., & Champaign, J. (2016). InfoSkills2Go: Using Badges and Gamification to Teach Information Literacy Skills and Concepts to College-Bound High School Students. Journal of Library Administration, 56(8), 924.
https://www.academia.edu/21782837/InfoSkills2Go_Using_Badges_and_Gamification_to_Teach_Information_Literacy_Skills_and_Concepts_to_College_Bound_High_School_Students?email_work_card=title
From online trivia and virtual board games to complex first-person perspective video games and in-person scavenger hunts, libraries are creating games for a variety of purposes, including orientations and instruction (Broussard,2012; Mallon, 2013; Smith & Baker, 2011).
Although the line between gaming and gamification can be blurry, most scholars recognize differences. Games are interactive, involvechallenge, risk, and reward, and have rules and a goal (Pivec, Dziabenko, &Schinnerl, 2003; Becker, 2013). Gamification, on the other hand, utilizes spe-cific gaming elements, often interactivity and rewards, to make an ordinary task more engaging (Prince, 2013). The gamification layer is not the focus of an endeavor, but rather can add enjoyment and a sense of competition toa task.
Battista (2014) argues that well-executed badges could represent an authentic assessment tool, because they often require the student to tangibly demonstrate a skill, competency, or learning outcome.
Use of the badges helped the team organize the Web site and provided a hierarchy to follow once the steps for earning each badge were created.Each badge consists of three to six tasks. A task can be a tutorial, a video, a game, or a short reading assignment on a given topic. An assessment is given for each task
The fourth and final platform the group considered was BadgeOS fromLearningTimes. BadgeOS requires a WordPress installation BadgeOS was designed to work with Credly (https://credly.com/) and Mozilla Open Badges (http://openbadges.org/) as standard features.
LearnDash was the most useful plugin for the project beyond BadgeOS. Available for a reasonable fee, LearnDash adds tools and features that give WordPress the ability to be used as a complete learning management system(LMS).
Available for free under the GNU Public License, BuddyPress(https://buddypress.org/) is another plugin that was capable of integrating with BadgeOS as an extension. The advantage of BuddyPress for the project group was the addition of social media components and functionality to the project Web site.
Go-daddy.com offered comprehensive technical support, easy application instal-lation, and competitively priced hosting packages. A 3-year hosting agree-ment was purchased that included domain registration, unlimited storageand unlimited bandwidth.
compare to
practical application of D2L Brightspace badges for a chemistry course at SCSU
https://blog.stcloudstate.edu/ims/2019/11/06/mastery-of-library-instruction-badge/
standard library instruction
Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.
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
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
The ACRL Technical Interest Group invites you to join us virtually for two
presentations on
Date: Tuesday, June 23rd
Time: 12 PM (CDT)/1 PM (
Place: Zoom
The following will be 20 minute presentations with a 5 minute question
session:
Cataloging Virtual Reality programming: why and how
Joy DuBose, Assistant Professor, Special Collections Cataloger at Mississippi
State University Libraries
When video games really came to the forefront, there were arguments as to
whether these materials should be offered by libraries and whether or not they
should be cataloged. Now with the appearance of virtual reality (VR), which
has games and programming that are mostly in digital format, these arguments
are returning. Many libraries are questioning whether or not to add this
technology, and whether to catalog it.
While VR has taken off in many ways in the public arena, libraries are
somewhat slower to do so. The Mitchell Memorial Library at Mississippi State
University has embraced VR. Through the library students, faculty, and non-
university affiliates can experience VR on several different systems. However,
questions were soon raised on how exactly do we catalog VR programming? This
presentation examines the question of should these materials be cataloged, the
different questions that arose during the process, and the workflow that was
created to catalog these materials.
Register in advance for this webinar:
After registering, you will receive a confirmation email containing
information about joining the webinar.
++++++++++++++++
more on VR in libraries in this IMS blog
https://blog.stcloudstate.edu/ims?s=virtual+reality+libraries
Ellis, D. A. (2019). Are smartphones really that bad? Improving the psychological measurement of technology related behaviors. Computers in Human Behavior, 97
, 60-66
Conclusions sur- rounding use have therefore been
largely negative and smartphones have repeatedly
been associated with depression (Elhai, Dvorak,
Levine, & Hall, 2017), anxiety (Richardson,
Hussain, & Griffiths, 2018), disrupted sleep
(Rosen, Carrier, Miller, Rokkum, & Ruiz, 2016),
cognitive
impairment (Clayton,
Leshner,&
Almond, 2015), and poor academic performance
(Lepp, Barkley, & Karpinski, 2015). This repeats a
pattern of research priorities, which previously
focused on the ne- gative impacts of many other
screen-based technologies, systematically moving
from television and video games, to the internet
and social media (Rosen et al., 2014).
There is also little
evidence to support the existence of the constructs
under investigation (e.g., technology ‘addiction’),
yet many papers and scales continue to use
language associated with a specific diagnosis (see
Panova & Carbonell, 2018 for a recent review).
When it comes to understanding the impact of
technology more generally, there is an intrinsic
lack of high-quality evidence (Ellis et al., 2018a).
Revised psychometric tests may hold some value
in the future, provided they are grounded in
relevant theory and validated accordingly.