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
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.
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.
P 4. But all that “disruption,” as people love to collect, is over looking the thing that’s the most disruptive of them all call on the way we relate to each other will never be the same. That’s because of something called presence.
Presence is the absolute foundation of virtual reality, and in VR, it’s the absolute foundation of connection-connection with yourself, with an idea, with another human, even connection with artificial intelligence.
p. 28 VR definition
Virtual reality is an 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it.
1. ” artificial environment ” could mean just about anything. The photograph is an artificial environment of video game is an artificial environment a Pixar movie is an artificial environment the only thing that matters is that it’s not where are you physically are
p. 44 VR: putting the “it” in “meditation” my note: it seems Rubin sees the 21st century VR as the equivalent of the drug experimentation in the 1960s US: p. 46 “VR is potentially going to become a direct interface to the subconscious”
p. 74 serious games, Carrie Heeter. p. 49
The default network in the brain in today’s society is the wandering mind. We are ruminating about the past, and we are worrying about the future, or maybe even planning for the future; there is some productive thinking. But in general, a wandering mind is an unhappy mind. And that is where we spent all of our week in time: not being aware of everything that we are experiencing in the moment.
Hester’s Open meditation had already let her to design apps and studies that investigated mediate meditations ability to calm that wandering mind
p. 51 Something called interoception. It is a term that is gaining ground in psychologist circles in recent years and basically means awareness of battle associations-like my noticing the fact that I was sitting awkwardly or that keeping my elbows on the cheers armrests was making my shoulders hunched slightly. Not surprisingly, mindfulness meditation seems to heighten interoception. And that is exactly how Heeter and Allbritton Strep throat the meditation I am doing on Costa Del sole. First, I connect with the environment; then with my body; Dan I combined the two. The combination of the VR and interception leads to what she describes as “embodied presence”: not only do you feel like you are in the VR environment, but because you have consciously work to integrate your bodily Sensations into VR, it is a fuller, more vivid version of presents.
p. 52 guided meditation VR GMVR
p. 56 VVVR visual voice virtual reality
p. 57
Just as the ill-fated google glass immediately stigmatized all its wearers as “glassholes”- a.k.a. “techier-than-thou douche bags who dropped $1500 to see an email notification appear in front of their face”-so to do some VR headset still look like face TVs for another it’s
p. 61 Hedgehog Love
engineering feelings with social presence. p.64 remember presents? This is the beginning of social presence. Mindfulness is cool, but making eye contact with Henry is the first step into the future.
p.65 back in 1992, our friend Carrie heeter posited that presence-the sensation did you are really there in VR-head treat day mentions. There was personal presents, environmental presents, and social presents, which she basically defined is being around other people who register your existence.
p. 66 the idea that emotion can be not a cause, as sweet so often assumed, but a result of it of behavior
p. 72 in chapter 1, we explain the difference between Mobile VR and PC driven PR. The former is cheaper and easier; all you do is drop your smart phone into a headset, and it provides just about everything can eat. Dedicated VR headsets rely on the stronger processors of desktop PCs and game consoles,So they can provide a more robust sense of presence-usually at the cost of being hit Earth to your computer with cables. (it’s the cost of actual money: dedicated headset systems from hundreds of dollars, while mobile headsets like Samsung’s deer VR or Google’s DayDream View can be had for mere tens of dollars.) There is one other fundamental distinction between mobile VR and high-end VR, though, and that is what you do with your hands-how you input your desires. When VR reemerged in the early 2010s, however, the question of input was open to debate. Actually, more than one debate. p. 73 video game controllers are basically metaphors. Some, like steering wheels or pilot flight sticks, might look like that think they’re supposed to be, but at their essence they are all just collections of buttons. p. 77 HTC sales small wearable truckers that you can affix to any object, or anybody part, to break it into the Vive’s VR.
p. 78 wait a second – you were talking about storytelling.
p. 79 Every Hollywood studio you can imagine-21st Century Fox, Paramount, Warner Bross.-Has already invested in virtual reality. They have made VR experiences based on their own movies, like interstellar or ghost in the Shell, and they have invested in other VR companies. Hollywood directors like Doug Liman (Edge of Tomorrow) and Robert Stromberg (Maleficent) have taken VR project. And the progress is exhilarating. Alejandro GOnzalez Inarritu, a 4-Time Oscar winner for best director 2014 movie Birdman, won best picture, received this special achievement Academy award in 2017 for a VR Schwartz he made. Yet Carne Y Arena, which puts viewers insight a harrowing journey from Mexico to the United States, is nothing like a movie, or even a video game.
When you premiered at the Cannes film Festival in early 2017, it was housed in an airplane hangar; viewers were a shirt, barefoot, into a room with a sand-covert floor, where they could watch and interact with other people trying to make it over the border. Arrests, detention centers, dehydration-the extremity of the human condition happening all around you. India announcement, the Academy of motion picture arts and sciences called the peas “deeply emotional and physically immersive”
p. 83 empathy versus intimacy. Why good stories need someone else
p. 85 empathy vs intimacy: appreciation vs emotion
Both of these words are fuzzy, to say the least. Both have decades of study behind him, but both have also appeared and more magazine covers in just about any words, other than possibly “abs”
Empathy: dear Do it to do identify with and understand dollars, particularly on an emotional level. It involves imagining yourself in the place of another and, therefore, appreciating how do you feel.
Intimacy: a complex sphere of ‘inmost’ relationships with self and others that are not usually minor or incidental (though they may be a transitory) and which usually touch the personal world very deeply. They are our closest relationships with friends, family, children, lovers, but they are also the deep into important experiences we have with self
Empathy necessarily needs to involve other people; intimacy doesn’t. Empathy involves emotional understanding; intimacy involves emotion itself. Empathy, at its base, isn’t act of getting outside yourself: you’re protecting yourself into someone’s else experience, which means that in some ways you are leaving your own experience behind, other than as a reference point. Intimacy, on the other hand, is at its base act of feeling: you might be connecting quit someone or something Else, but you are doing so on the basis of the emotions you feel. p 86. Any type of VR experience perfectly illustrates the surprising gap between empathy and intimacy: life action VR. p. 87 unlike CGI-based storytelling, which full somewhere in between game in movie, live action VR feels much more like the conventional video forms that we are used to from television and movies. Like those media, people have been using VR to shoot everything from narrative fiction to documentary the sports.
p. 92 every single story has only one goal at its base: to make you care. This holds true whether it is a tale told around a campfire at night, one related to a sequence of panels in the comic book, or dialogue-heavy narrative of a television show. The story might be trying to make you laugh, or just scare you, or to make you feel sad or happy on behalf of one of the characters, but those are all just forms of caring, right? Your emotional investment-the fact that what kept us in this tale matters to you-is the fundamental aim of the storyteller.
Storytelling, than, has evolved to find ways to draw you out of yourself, to make you forget that what you are hearing or seeing or reading isn’t real. It’s only at that point, after all, that our natural capacity for empathy can kick in. p. 93 meanwhile, technology continues to evolve to detaches from those stories. For one, the frame itself continues to get smaller. Strangers still, this distraction has happened well stories continue to become more and more complex. Narratively, at least, stories are more intricate then the have ever been. p. 94. Now, with VR storytelling, the distracting power of multiple screens his met it’s match.
p. 101 experiencing our lives- together
What videos two cannot do, though, he’s bringing people together insights VR, the way re-McClure’s sinking-multicoloredat-blogs-at-each-other tag-team project is VVVR does. That’s why even V are filmmaking powerhouses like Within ( https://www.with.in/get-the-app) are moving beyond mere documentary and narrative and trying to turn storytelling into a shared experience.
Make no mistake: storytelling has always been a shirt experience. Being conscripted into the story, or even being the story.
p. 103 like so many VR experiences, life of us defies many of the ways we describe a story to each other. For one, it feels at fonts shorter and longer than its actual seven-minutes runtime; although it’s seems to be over in a flash, flash contains so many details that in retrospect it is as full and vivid is a two-our movie.
There is another think, though, that sets life of us apart from so many other stories-it is the fact that not only was I in the story, but someone else was in there with me. In that someone wasn’t a field character talking to a camera that they some calling about it, or a video game creature that was programmed to look in ‘my’ direction, but a real person-a person who saw what I saw, a person who was present for each of those moments and who know is inextricably part of my old, shard-Like memory of them.
p. 107 what to do and what to do it with . How social VR is reinventing everything from game night to online harassment.
p. 110 VR isn’t given Romo’s first bet on the future. When he was finishing up his masters degree in mechanical engineering, a professor emailed him on behalf of two men who were recruiting for a rocket company there were starting. One of those man was a Elon musk, which is how Romo became the 13th employee at space X. Eventually, she started the company focusing go solar energy, but when the bottom fell out of the industry, she shut down the company and looked for his next opportunity. Romo spent the next year and a half researching the technology and thinking about what kind of company might make sense in the new VR enabled world. He had read Snow crash, but he oh soon you get our hopes for DVR future could very well end up like gay themed flying car: defined-and limited-bite an expectation that might not match perfectly which what we actually want.
p. 116 back in the day, trolling just trim forward to pursuing a provocative argument for kicks. Today, the word used to describe the actions of anonymous mobs like the one that, for instance, Rolf actor Leslie Jones off Twitter with an onslaught of racist and sexist abuse. Harassment has become one of the defining characteristics of the Internet is for use it today. But with the emergernce of VR, our social networks have become, quite literally, embodied.
p. 142 increasing memory function by moving from being a voyeur to physically participating in the virtual activity. embodied presence – bringing not just your head into your hands, but your body into VR-strengthens memories in the number of ways.
p. 143 at the beginning of 2017, Facebook fit published some of its. New Ron’s in internal research about the potential of social VR. Neurons INc. The agency measured eye movements, Brain activity, and pools of volunteers who were watching streaming video on smart phones and ultimately discovered that buffering and lag were significantly more stressful than waiting can line it a store, and even slightly more stressful than watching a horror movie.
p. 145 after the VR experience, more than 80% of introverts — is identified by a short survey participants took before hand-wanted to become friends with the person they had chatted with, as opposed to less than 60% of extroverts
p. 149 Rec Room Confidential: the anatomy in evolution of VR friendships
p. 165 reach out and touch someone; haptics, tactile presence and making VR physical.
p. 171 Zhao laid out two different criteria. The first was whether or not to people are actually in the same place-basically, are they or their stand-ins physically close enough to be able to communicate without any other tools? To people, she wrote, can either have “physical proximity” or “electronic proximity” the latter being some sort of networked connection. The second criterion was whether each person is corporeally there; in other words, is it their actual flesh-and-blood body? The second condition can have three outcomes: both people can be there corporeally; neither can be there corporeally , instead using some sort of stand in like an avatar or a robot; or just one of them can be there corporeally, with the other using case stent in
“virtual copresence” is when a flesh and blood person interacts physically with a representative of a human; if that sounds confusing, 80 good example is using an ATM call mom where are the ATM is a stent in for a bank teller
p. 172 “hypervirtual copresence,” which involves nonhuman devices that are interacting in the same physical space in a humanlike fashion. social VR does not quite fit into any of this category. Zhao refers to this sort of hybrid as a “synthetic environment” and claims that it is a combination of corporeal https://www.waze.com/telecopresence (like Skyping) and virtual telecopresence(like Waze directions )
p. 172 haptic tactics for tactile aptness
Of the five human senses, a VR headset ca currently stimulates only to: vision and hearing. That leaves treat others-and while smell and taste me come some day.
P. 174; https://en.wikipedia.org/wiki/Aldous_Huxley Brave New World. tactile “feelies”
p. 195 XXX-chnage program: turning porn back into people
p. 221 where we are going, we don’t need headsets. lets get speculative
p. 225 Magic Leap. p. 227 Magic Leap calls its technology “mixed reality,” claiming that the three dimensional virtual objects it brings into your world are far more advanced than the flat, static overlays of augmented reality. In reality, there is no longer any distinction between the two; in fact, the air are by now so many terms being accused in various ways by various companies that it’s probably worth a quick clarification.
definitions
Virtual reality: the illusion of an all-enveloping artificial world, created by wearing an opaque display in front of your eyes.
augmented reality: Bringing artificial objects into the real world-these can be as simple as a ” heads-up display,” like a speedometer project it onto your car’s windshield, or as complex as seen to be virtual creature woke across your real world leaving room, casting a realistic shadow on the floor
mixed reality: generally speaking, this is synonymous with AR, or eight at least with the part of AR that brings virtual objects into the real world. However, some people prefer “mixed” because they think “augmented” implies that reality isn’t enough.
extended or synthetic reality (XR or SR): all of the above! this are bought catch old terms that encompass the full spectrum of virtual elements individual settings.
p. 231 in ten years, we won’t even have smartphone anymore.
p. 229 Eve VR is these come blink toddler, though, AR/MR is a third-trimester fetus: eat may be fully formed book eat is not quite ready to be out in the world yet. The headsets or large, the equipment is far more expensive than VR Anthony in many cases we don’t even know what a consumer product looks like.
p. 235 when 2020 is hindsight: what life in 2028 might actually look like.
presence (VR different from other media), virtual pit, haptic devices and environment
4 min: what’s the point?…
VR is a paradox, no rules,
what should you do and what to avoid
Ketaki Shriram dissertation
addiction
Gerd Bruder observed the other German person confused between VR and real world.
Common Sense Media – when children can VR and for how long
Jackie Baily worked with children VR Sesame street Grover impossible, counterproductive, rare/expensive, dangerous are the 4 reasons to use it. Not ubiquitous!
12 min. empathy
Tobin Asher “Becoming Homeless” blame the situation or the character (min 17)
counterproductive:
June Lubchenko, 2013. NOAA. min 19. natural disasters, not trusting self-report, but actions.
Fio Micheli. counter productive to fly children to the coral in Italy, but VR makes it possible. learning efficacy. Motivation to learn. min 21.
min 26. MOOC – materials are for free. not replacing field trips, just making them more often.
min 27. spherical video to practice football with VR
min 29. Walmart – “academies” Mark Gill the nursing home simulation.
dangerous:
learning to drive.
freedom speech over all media but VR is specific, different. If you won’t do it in the real world, don’t do it in VR
questions
min 33. what is the iPhone for VR.
Fred Brooks
min 37. disentization. how many times to do something to have effect. Kathy Mayhew and Mark Gill research
min 38. AR and psychology – not much resources. virtual person breaks physics – walks through chairs. Greg Weltch Central Florida – AR breaks physics study.
min 42. if his lab gives grants for art content creation. Immersive Journalism, storytelling syllabus. Mark Gill for our class, Bill Gorcica . Robert Wood Johnson Foundation, Gordon and Betty Moore Foundation, Mayday Foundation
at a session on the umbrella concept of “mixed reality” (abbreviated XR) here Thursday, attendees had some questions for the panel’s VR/AR/XR evangelists: Can these tools help students learn? Can institutions with limited budgets pull off ambitious projects? Can skeptical faculty members be convinced to experiment with unfamiliar technology?
Yale has landed on a “hub model” for project development — instructors propose projects and partner with students with technological capabilities to tap into a centralized pool of equipment and funding. (My note: this is what I suggest in my Chapter 2 of Arnheim, Eliot & Rose (2012) Lib Guides)
Several panelists said they had already been getting started on mixed reality initiatives prior to the infusion of support from Educause and HP, which helped them settle on a direction
While 3-D printing might seem to lend itself more naturally to the hard sciences, Yale’s humanities departments have cottoned to the technology as a portal to answering tough philosophical questions.
institutions would be better served forgoing an early investment in hardware and instead gravitating toward free online products like Unity, Organon and You by Sharecare, all of which allow users to create 3-D experiences from their desktop computers.
XR technologies encompassing 3D simulations, modeling, and production.
This project sought to identify
current innovative uses of these 3D technologies,
how these uses are currently impacting teaching and learning, and
what this information can tell us about possible future uses for these technologies in higher education.
p. 5 Extended reality (XR) technologies, which encompass virtual reality (VR) and augmented reality (AR), are already having a dramatic impact on pedagogy in higher education. XR is a general term that covers a wide range of technologies along a continuum, with the real world at one end and fully immersive simulations at the other.
p. 6The Campus of the Future project was an exploratory evaluation of 3D technologies for instruction and research in higher education: VR, AR, 3D scanning, and 3D printing. The project sought to identify interesting and novel uses of 3D technology
p. 7 HP would provide the hardware, and EDUCAUSE would provide the methodological expertise to conduct an evaluation research project investigating the potential uses of 3D technologies in higher education learning and research.
The institutions that participated in the Campus of the Future project were selected because they were already on the cutting edge of integrating 3D technology into pedagogy. These institutions were therefore not representative, nor were they intended to be representative, of the state of higher education in the United States. These institutions were selected precisely because they already had a set of use cases for 3D technology available for study
p. 9 At some institutions, the group participating in the project was an academic unit (e.g., the Newhouse School of Communications at Syracuse University; the Graduate School of Education at Harvard University). At these institutions, the 3D technology provided by HP was deployed for use more or less exclusively by students and faculty affiliated with the particular academic unit.
p. 10 definitions
there is not universal agreement on the definitions of these
terms or on the scope of these technologies. Also, all of these technologies
currently exist in an active marketplace and, as in many rapidly changing markets, there is a tendency for companies to invent neologisms around 3D technology.
A 3D scanner is not a single device but rather a combination of hardware and
software. There are generally two pieces of hardware: a laser scanner and a digital
camera. The laser scanner bounces laser beams off the surface of an object to
determine its shape and contours.
p. 11 definitions
Virtual reality means that the wearer is completely immersed in a computer
simulation. Several types of VR headsets are currently available, but all involve
a lightweight helmet with a display in front of the eyes (see figure 2). In some
cases, this display may simply be a smartphone (e.g., Google Cardboard); in other
cases, two displays—one for each eye—are integrated into the headset (e.g., HTC
Vive). Most commercially available VR rigs also include handheld controllers
that enable the user to interact with the simulation by moving the controllers
in space and clicking on finger triggers or buttons.
p. 12 definitions
Augmented reality provides an “overlay” of some type over the real world through
the use of a headset or even a smartphone.
In an active technology marketplace, there is a tendency for new terms to be
invented rapidly and for existing terms to be used loosely. This is currently
happening in the VR and AR market space. The HP VR rig and the HTC Vive
unit are marketed as being immersive, meaning that the user is fully immersed in
a simulation—virtual reality. Many currently available AR headsets, however, are
marketed not as AR but rather as MR (mixed reality). These MR headsets have a
display in front of the eyes as well as a pair of front-mounted cameras; they are
therefore capable of supporting both VR and AR functionality.
p. 13 Implementation
Technical difficulties.
Technical issues can generally be divided into two broad categories: hardware
problems and software problems. There is, of course, a common third category:
human error.
p. 15 the technology learning curve
The well-known diffusion of innovations theoretical framework articulates five
adopter categories: innovators, early adopters, early majority, late majority, and
laggards. Everett M. Rogers, Diffusion of Innovations, 5th ed. (New York: Simon and Schuster, 2003).
It is also likely that staff in the campus IT unit or center for teaching and learning already know who (at least some of) these individuals are, since such faculty members are likely to already have had contact with these campus units.
Students may of course also be innovators and early adopters, and in fact
several participating institutions found that some of the most creative uses of 3D technology arose from student projects
p. 30 Zeynep Tufekci, in her book Twitter and Tear Gas
definition: There is no necessary distinction between AR and VR; indeed, much research
on the subject is based on a conception of a “virtuality continuum” from entirely
real to entirely virtual, where AR lies somewhere between those ends of the
spectrum. Paul Milgram and Fumio Kishino, “A Taxonomy of Mixed Reality Visual Displays,” IEICE Transactions on Information Systems, vol. E77-D, no. 12 (1994); Steve Mann, “Through the Glass, Lightly,” IEEE Technology and Society Magazine 31, no. 3 (2012): 10–14.
For the future of 3D technology in higher education to be realized, that
technology must become as much a part of higher education as any technology:
the learning management system (LMS), the projector, the classroom. New
technologies and practices generally enter institutions of higher education as
initiatives. Several active learning classroom initiatives are currently under
way,36 for example, as well as a multi-institution open educational resources
(OER) degree initiative.37
p. 32 Storytelling
Some scholars have argued that all human communication
is based on storytelling;41 certainly advertisers have long recognized that
storytelling makes for effective persuasion,42 and a growing body of research
shows that narrative is effective for teaching even topics that are not generally
thought of as having a natural story, for example, in the sciences.43
p. 33 accessibility
The experience of Gallaudet University highlights one of the most important
areas for development in 3D technology: accessibility for users with disabilities.
p. 34 instructional design
For that to be the case, 3D technologies must be incorporated into the
instructional design process for building and redesigning courses. And for that
to be the case, it is necessary for faculty and instructional designers to be familiar
with the capabilities of 3D technologies. And for that to be the case, it may not be necessary but would certainly be helpful for instructional designers to collaborate closely with the staff in campus IT units who support and maintain this hardware.
Every institution of higher education has a slightly different organizational structure, of course, but these two campus units are often siloed. This siloing may lead to considerable friction in conducting the most basic organizational tasks, such as setting up meetings and apportioning responsibilities for shared tasks. Nevertheless, IT units and centers for teaching and learning are almost compelled to collaborate in order to support faculty who want to integrate 3D technology into their teaching. It is necessary to bring the instructional design expertise of a center for teaching and learning to bear on integrating 3D technology into an instructor’s teaching (My note: and where does this place SCSU?) Therefore, one of the most critical areas in which IT units and centers for teaching and learning can collaborate is in assisting instructors to develop this integration and to develop learning objects that use 3D technology. p. 35 For 3D technology to really gain traction in higher education, it will need to be easier for instructors to deploy without such a large support team.
p. 35 Sites such as Thingiverse, Sketchfab, and Google Poly are libraries of freely
available, user-created 3D models.
ClassVR is a tool that enables the simultaneous delivery of a simulation to
multiple headsets, though the simulation itself may still be single-user.
p. 37 data management:
An institutional repository is a collection of an institution’s intellectual output, often consisting of preprint journal articles and conference papers and the data sets behind them.49 An institutional repository is often maintained by either the library or a partnership between the library and the campus IT unit. An institutional repository therefore has the advantage of the long-term curatorial approach of librarianship combined with the systematic backup management of the IT unit. (My note: leaves me wonder where does this put SCSU)
Sharing data sets is critical for collaboration and increasingly the default for
scholarship. Data is as much a product of scholarship as publications, and there
is a growing sentiment among scholars that it should therefore be made public.50
“Shifts in students’ learning style will prompt a shift to active construction of knowledge through mediated immersion.”-Chris Dede
The theory of constructivist-based learning, according to Dr. Seymour Papert, “is grounded in the idea that people learn by actively constructing new knowledge, rather than having information ‘poured’ into their heads.”
Moreover, constructionism asserts that people learn with particular effectiveness when they are engaged in constructing personally meaningful artifacts (such as computer programs, animations, 3D modeling, creating spatial environments in virtual reality or building robots).”
Technologies like virtual reality, especially for Gen Z students’, provides avenues that allow them to engage in a social, collaborative, and active learning environment.
Virtual reality, especially when combined with powerful storytelling, allows the student to participate in the story, develop empathy to experiences outside their current realm of understanding and allows them to be fully immersed in their own exploration and learning.
the International Society for Technology in Education to publish a book, titled Learning Transported: Augmented, Virtual and Mixed Reality for All Classrooms, to offer practical insights, lesson plans, and classroom examples so educators can make the most of these experiential worlds.
Definition
Augmented reality superimposes a digital layer on the world around us, often activated by scanning a trigger image or via GPS (think Pokemon Go!). Virtual reality takes users away from the real world, fully immersing students in a digital experience that replaces reality. Mixed reality takes augmented a step further by allowing the digital and real worlds to interact and the digital components to change based on the user’s environment.
DEVICES: iOS, Android, COURSE: English Language Arts, Speaking and Listening, GRADES: K-1
Augmented and Virtual Reality with EON
DEVICES: iOS, Android, COURSE: Earth and Space Science, GRADE: 4, 45 minutes
Scavenger Hunting as a Classroom Activity
The app offers teachers a unique way to create a scavenger hunt by designing AR messages and leaving them in specific places for students to “discover.”
Waypoint App
The Waypoint App also allows for creation of educational scavenger hunts using augmented reality. Educators can easily add questions that address lesson objectives, set specific locations where the questions are hidden, and then have students hunt for questions by following the map. The hunt is easily shared with students on a variety of platforms, including text messaging and email.
Breakout EDU
Breakout EDU has become a popular game in education. Driven by creativity, teamwork, and problem-solving, the game provides a fun learning experience as it challenges students to compete in solving puzzles. The game centers on a series of questions; each solved question unlocks the next part of the activity. Students work in groups, competing against other groups to open all the locks first.
Preliminary Plan for Monday, Sept 10, 5:45 PM to 8 PM
Introduction – who are the students in this class. About myself: http://web.stcloudstate.edu/pmiltenoff/faculty Contact info, “embedded” librarian idea – I am available to help during the semester with research and papers
#FakeNews is a very timely and controversial issue. in 2-3 min choose your best source on this issue. 1. Mind the prevalence of resources in the 21st century 2. Mind the necessity to evaluate a) the veracity of your courses b) the quality of your sources (the fact that they are “true” does not mean that they are the best). Be prepared to name your source and defend its quality.
How do you determine your sources? How do you decide the reliability of your sources? Are you sure you can distinguish “good” from “bad?”
Compare this entry https://en.wikipedia.org/wiki/List_of_fake_news_websites
to this entry: https://docs.google.com/document/d/10eA5-mCZLSS4MQY5QGb5ewC3VAL6pLkT53V_81ZyitM/preview to understand the scope
Do you know any fact checking sites? Can you identify spot sponsored content? Do you understand syndication? What do you understand under “media literacy,” “news literacy,” “information literacy.” https://blog.stcloudstate.edu/ims/2017/03/28/fake-news-resources/
Why do we need to explore the “fake news” phenomenon? Do you find it relevant to your professional development?
So, how do we do academic research? Let’s play another Kahoot: https://play.kahoot.it/#/k/5e09bb66-4d87-44a5-af21-c8f3d7ce23de
If you to structure this Kahoot, what are the questions, you will ask? What are the main steps in achieving successful research for your paper?
Research using social media
what is social media (examples). why is called SM? why is so popular? what makes it so popular?
use SM tools for your research and education:
– Determining your topic. How to?
Digg http://digg.com/, Reddit https://www.reddit.com/ , Quora https://www.quora.com
Facebook, Twitter – hashtags (class assignment 2-3 min to search)
LinkedIn Groups
YouTube and Slideshare (class assignment 2-3 min to search)
Flickr, Instagram, Pinterest for visual aids (like YouTube they are media repositories)