Memory transition between communicating agents

Abstract: What happens to a memory when it has been externalised and embodied but has not reached its addressee yet? A letter that has been written but has not been read, a monument before it is unveiled or a Neolithic tool buried in the ground – all these objects harbour human memories engrained in their physicality; messages intended for those who will read the letter, admire the monument and hold the tool. According to Ilyenkov’s theory of objective idealism, the conscious and wilful input encoded in all manmade objects as the ‘ideal’ has an objective existence, independent from the author, but this existence lasts only while memories are shared between communicating parties. If all human minds were absent from the world for a period of time, the ‘ideal’, or memories, would cease to exist. They would spring back to existence, however, once humans re-entered the world. Ilyenkov’s analysis of memories existing outside an individual human consciousness is informative and thorough but, following his line of thought, we would have to accept an ontological gap in the process of memory acquisition, storage and transmission. If there is a period, following memory acquisition and receding its transmission, when memories plainly do not exist, then each time a new reader, spectator or user perceives them, he or she must create the author’s memories ex nihilo. Bergson’s theory of duration and intuition can help us to resolve this paradox. This paper will explore the ontological characteristics of memory passage in communication taken at different stages of the process. There will be an indicationof how the findings of this investigation could be applicable to concrete cases of memory transmission. In particular, this concerns intergenerational communication, technological memory, the use of digital devices and the Internet

Undergraduate students: interactive, online experiences and ePortfolio development

Results of a previous study by the authors into the perceived value and potential of ePortfolios to assist undergraduate students indicated that technology was an important aspect of their everyday lives. It was also felt it to be beneficial to their learning. A large percentage of students were found to be using digital techniques to store evidence of their learning, and were also using interactive, online tools in their learning activities. There was, however, little reported structured use of ePortfolio development in their learning. Students acknowledged they were discovering for themselves the value of online technologies in learning. This paper focuses on student skills and experiences of online tools on entry to university, and considers their experience of ePortfolio development using the Wordpress personal publishing platform. Results indicate that students’ skill level of online, interactive tools was high and wide-ranging. Although previous experience of using these tools was unstructured and informal, ePortfolio creation was found to be an engaging, relevant and worthwhile activity. The ePortfolio development exercise also provided an experiential learning experience, and had a positive effect on students’ attitudes to learning

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

A Case Study of Using Online Communities and Virtual Environment in Massively Multiplayer Role Playing Games (MMORPGs) as a Learning and Teaching Tool for Second Language Learners

Massively Multiplayer Online Role Playing Games (MMORPGs) create large virtual communities. Online gaming shows potential not just for entertaining, but also in education. This research investigates the use of commercial MMORPGs to support second language teaching. MMORPGs offer virtual safe spaces in which students can communicate by using their target second language with global players. Using a mix of ethnography and action research, this study explores the students’ experiences of language learning and performing while playing MMORPGs. The results show that the use of MMORPGs can facilitate language development by offering fun, informal, individualised and secure virtual spaces for students to practise their language with native and other second language speakers

Fans and Adaptation: An Analysis of the Use of Interactive Storytelling in The Lizzie Bennet Diaries

By using adaptations of Jane Austen’s classic novel Pride and Prejudice (1813) as a frame of reference, my thesis will demonstrate that transmedia narratives are most effective in tandem with original texts that have a history of successful adaptations due to the perpetual audience of fans and their previous knowledge of the story to meaningfully, as well as canonically, interact with the narrative. This thesis will first introduce theories surrounding adaptations and look at previous Pride and Prejudice adaptations in light of a devoted fan base. It will then introduce the concept of transmedia narratives and examine the culture of fans and their interactions with texts in the digital age. Lastly, I will analyze the success of the Internet production company Pemberley Digital and their transmedia YouTube adaptation of Pride and Prejudice that boasts a view count of 82.2 million views and secured an Emmy. This analysis will apply the theories on transmedia, fandom, and adaptation introduced in the first three sections to demonstrate that interactive transmedia narratives are most effective when they have an established fan base, which is most easily found in popular texts prone to adaptations. Digital storytelling will only continue to grow, especially as upcoming generations favor online streaming and independent producers as opposed to the cable television shows created by the larger media corporations. The research contained within this thesis will show the importance of appealing to wider audiences by creating richer, more immersive narratives through transmedia and paratexts that encourage collective authorship

ALANZ handbook 2018

Co-edited Handbook for participants at December ALANZ Symposiu

ALANZ handbook

Co-edited Handbook for participants at December ALANZ Symposiu

ALANZ 2018

1st December 2018 Waikato Institute of Technology (Wintec) Hamilton We are pleased to announce that the Call for Papers for the ALANZ SYMPOSIUM 2018 is now open. We invite proposals for paper presentations, interactive sessions and posters. The landscape of English language teaching is constantly changing and as teachers contemplate new cohorts of learners, they face this question: Is business as usual enough? In today’s settings there are new technologies to incorporate into learning and teaching, different teaching spaces becoming available, a need to balance fostering learner autonomy with the pastoral care of students, as well as ensuring that our teaching is relevant to the world our students face. We would like to adopt a collegial approach to this question and so invite abstracts from members and non-members of ALANZ and in particular from new and emerging researchers. Presentation types: * Oral Presentations: These will be allocated 20 minutes and 5 minutes for questions (25 minutes total) usually supported with visual aids. * Interactive sessions: These could be workshops or informal discussions around points of interest in Applied Linguistics (45 minutes) and could be supported by visual aids or activities. * Posters: Often some research projects can be best presented in a visual manner in the form of a poster. Abstracts (250 words max.) can be submitted to one of two committee members: * Anthea Fester email: [email protected] or * Celine Kearney email: [email protected] Deadline for abstract submission: 7th September 2018 Notification of acceptance: 28th September 201