Assessing Online Collaborative Discourse

This qualitative study using transcript analysis was undertaken to clarify the value of Harasim’s Online Collaborative Learning Theory as a way to assess the collaborative process within nursing education. The theory incorporated three phases: (1) idea generating; (2) idea organizing; and (3) intellectual convergence. The transcripts of asynchronous discussions from a two-week module about disaster nursing using a virtual community were analyzed and formed the data for this study. This study supports the use of Online Collaborative Learning Theory as a framework for assessing online collaborative discourse. Individual or group outcomes were required for the students to move through all three phases of the theory. The phases of the Online Collaborative Learning Theory could be used to evaluate the student’s ability to collaborate. It is recommended that group process skills, which have more to do with interpersonal skills, be evaluated separately from collaborative learning, which has more to do with cognitive skills. Both are required for practicing nurses. When evaluated separately, the student learning needs are more clearly delineated

Investigating attitudes towards online safety and security, and evaluating a peer-led Internet safety programme for 14– to 16-year-olds: final report

Research Grants 2009 - Harnessing Technology Project. Recognising the significant e-safety issues facing young people, students aged between 14 and 16 were encouraged to engage peer-based activities to raise their own awareness of threats and appropriate responses

Food and Beverage Marketing to Children and Adolescents: An Environment at Odds With Good Health

Synthesizes research about the effectiveness of industry self-regulatory marketing practices promoting "better-for-you" foods and beverages to children and adolescents. Examines types of media used for unhealthy food marketing and race/ethnicity targeted

Evaluation of the game development process of a location-based mobile game

There is a growing interest of government bodies and NGOs in using (serious) video games in awareness campaigns. Until now, however, little was known on how to set up such a campaign so as to effectively cater to the needs of different stakeholders including the target audience. Hence designing, developing and translating a game for educational purposes whilst balancing between fun and learning is a complex process, this paper aims to evaluate this by presenting a methodological framework for involving stakeholders in the design and development of a game-based awareness campaign based on a user-centered software design methodology and assesses its effectiveness in a concrete use case: the development of the location-based mobile game City Jam. The goal was to develop a game-based road safety campaign to confront adolescents with road traffic situations with the aim to positively influence road safety attitude and behavior. Mobile technologies offer new opportunities to embed digital game based learning by in different contexts. Given the nature of the road safety campaign, a location-based game format was chosen, aiming to facilitate learning by means of an extended three-way interaction (human interaction, game and context). Different user-centered design methods were deployed throughout several phases of the game development process: In phase one (the opportunity identification) a literature review was performed to investigate relevant fields for the game’s goal. In phase two (the game concept development) expert interviews and a focus groups were conducted with relevant stakeholders and in phase three (the game concept design) co-design sessions and a focus group resulted in a game design document. In phase four (game development and testing) the beta version of City jam was developed and tested in an iterative field testing design and resulted in the final game. Results obtained throughout the game development process provided us the opportunity to evaluate several major aspects. Firstly the impact of stakeholder involvement on the different phases of the design process and the final product resulted in a game that was tailored to the preferences and needs of the target group. Secondly translating the game concept into practice, such as game elements, proposed educational game elements, were evaluated based on the usability, playability principles and social and technological aspects. Benefits and challenges of user-centered design methods are discussed and how budget constraints and differing desired outcomes of different stakeholders challenge but also enrich the process

Designing for designers: Towards the development of accessible ICT products and services using the VERITAS framework

Among key design practices which contribute to the development of inclusive ICT products and services is user testing with people with disabilities. Traditionally, this involves partial or minimal user testing through the usage of standard heuristics, employing external assisting devices, and the direct feedback of impaired users. However, efficiency could be improved if designers could readily analyse the needs of their target audience. The VERITAS framework simulates and systematically analyses how users with various impairments interact with the use of ICT products and services. Findings show that the VERITAS framework is useful to designers, offering an intuitive approach to inclusive design.The work presented in this article forms part of VERITAS, which is funded by the European Commission's 7th Framework Programme (FP7) (grant agreement # 247765 FP7-ICT-2009.7.2)

Real Virtuality: A Code of Ethical Conduct. Recommendations for Good Scientific Practice and the Consumers of VR-Technology

The goal of this article is to present a first list of ethical concerns that may arise from research and personal use of virtual reality (VR) and related technology, and to offer concrete recommendations for minimizing those risks. Many of the recommendations call for focused research initiatives. In the first part of the article, we discuss the relevant evidence from psychology that motivates our concerns. In Section “Plasticity in the Human Mind,” we cover some of the main results suggesting that one’s environment can influence one’s psychological states, as well as recent work on inducing illusions of embodiment. Then, in Section “Illusions of Embodiment and Their Lasting Effect,” we go on to discuss recent evidence indicating that immersion in VR can have psychological effects that last after leaving the virtual environment. In the second part of the article, we turn to the risks and recommendations. We begin, in Section “The Research Ethics of VR,” with the research ethics of VR, covering six main topics: the limits of experimental environments, informed consent, clinical risks, dual-use, online research, and a general point about the limitations of a code of conduct for research. Then, in Section “Risks for Individuals and Society,” we turn to the risks of VR for the general public, covering four main topics: long-term immersion, neglect of the social and physical environment, risky content, and privacy. We offer concrete recommendations for each of these 10 topics, summarized in Table 1

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity

Evaluation Report of Prospero’s Island: an Immersive Approach to Literacy at Key Stage 3.

Prospero's Island is an immersive theatre project created by Punchdrunk Enrichment and sponsored by Learning Partner, London Borough of Hackney (Hackney Learning Trust). The project sought to inspire and motivate students’ engagement with the English curriculum, and to develop an immersive approach to teaching literacy that would improve students’ learning. Prospero’s Island took place in a secondary academy in Hackney, London over two school terms (autumn 2014-spring 2015). The project was embedded in existing schemes of work, and included the following elements: • An immersive theatre installation for Year 7-8 students (aged 11-13 years); this took the form of an interactive game based on The Tempest; over a two-week period groups of students participated in this experience for a morning or afternoon (autumn term); • A Teaching and Learning Day (TALD) and eight twilight CPD sessions on immersive learning techniques for school staff and teachers across London (autumn term); • A return to the installation for one lesson, led by English teachers (autumn term); • Follow-on work by teachers to develop immersive learning in English lessons (spring term); • An independent evaluation of the project (autumn and spring terms)

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities