From ‘hands up’ to ‘hands on’: harnessing the kinaesthetic potential of educational gaming

Traditional approaches to distance learning and the student learning journey have focused on closing the gap between the experience of off-campus students and their on-campus peers. While many initiatives have sought to embed a sense of community, create virtual learning environments and even build collaborative spaces for team-based assessment and presentations, they are limited by technological innovation in terms of the types of learning styles they support and develop. Mainstream gaming development – such as with the Xbox Kinect and Nintendo Wii – have a strong element of kinaesthetic learning from early attempts to simulate impact, recoil, velocity and other environmental factors to the more sophisticated movement-based games which create a sense of almost total immersion and allow untethered (in a technical sense) interaction with the games’ objects, characters and other players. Likewise, gamification of learning has become a critical focus for the engagement of learners and its commercialisation, especially through products such as the Wii Fit. As this technology matures, there are strong opportunities for universities to utilise gaming consoles to embed levels of kinaesthetic learning into the student experience – a learning style which has been largely neglected in the distance education sector. This paper will explore the potential impact of these technologies, to broadly imagine the possibilities for future innovation in higher education

From Multi-User Virtual Environment to 3D Virtual Learning Environment

While digital virtual worlds have been used in education for a number of years, advances in the capabilities and spread of technology have fed a recent boom in interest in massively multi‐user 3D virtual worlds for entertainment, and this in turn has led to a surge of interest in their educational applications. In this paper we briefly review the use of virtual worlds for education, from informal learning to formal instruction, and consider what is required to turn a virtual world from a Multi‐User Virtual Environment into a fully fledged 3D Virtual Learning Environment (VLE). In this we focus on the development of Sloodle – a system which integrates the popular 3D virtual world of Second Life with the open‐source VLE Moodle. Our intent is not simply to provide additional learning support features for Second Life, but to study more generally the ways in which integrated virtual environments can benefit teaching and learning, and this is the focus of our closing discussion

Emerging digital media, games and simulations: a challenge for open and distance learning

In this article we examine the state-of-the-art research related to digital media in education and evaluate the information concerning a new generation of students that are communityminded and technologically savvy, highlighting the innovative technology behind the new interaction and communication processes, and assessing the challenges for Open and Distance Learning (ODL). Where traditional distance education is based on the completion of carefully graded assignments and tests, today games, simulations and virtual environments may become safe platforms for trial and error experimentation. With games the chance of failure is high, but the cost is low and the lessons are learned immediately and with greater emotional impact. However, these conditions may become more difficult to address when the volume of users increases from small to medium, large or extra-large. Dealing effectively with tens or even hundreds of thousands of students in absentia requires following very sound organizational principles and good technical implementation, systematic monitoring of deviations from established norms, regular audition of users' comments and criticisms, careful analysis of final results. In this emerging scenario, involving digital media, games and simulations, ODL systems must have means of establishing rich connections with each member of the universe of users. In this sense we propose using a virtual space with multiple places, in ways that use the Internet, social applications, games and mobile devices to involve students in pedagogical activities

Techno-historical limits of the interface: the performance of interactive narrative experiences

This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production.From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface?In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest.The main argument of this thesis is that the technical limits of new media experiences cause significant ‘gaps’ in the reader’s experience of them, and that the cause of these gaps is the lack of a dedicated technology for new media, which instead ‘borrows’ technology from other fields. These gaps are overcome by a greater dependence upon the reader’s cognitive abilities than other media forms. This greater dependence can be described as a ‘performance’ by the reader/player/user, utilising Eco’s definition of an ‘open’ work (Eco 21).This thesis further argues that the ‘mimetic’ and ‘immersive’ ambitions of current new media practice can increases these gaps, rather than overcoming them. The thesis also presents the case that these ‘gaps’ are often not caused by technical limits in the present, but are oversights by the author/designers that have arisen as the product of a craft culture that has been subject to significant technical limitations in the past. Compromises that originally existed to overcome technical limits have become conventions of the reader/player/user’s interactive literacy, even though these conventions impinge on the experience, and are no longer necessary because of subsequent technical advances. As a result, current new media users and designers now think of these limitations as natural.This thesis concludes the argument by redefining ‘immersion’ as the investment the reader makes to overcome the gaps in an experience, and suggests that this investment is an important aspect of their performance of the work