Process Drama in the Virtual World - A Survey

Process drama is a form of improvisational drama where the focus is on the process rather than the product. This form of improvisational activities has been used extensively in many domains. Role play, for example, has been used in health therapy as well as for training health personnel. Creative drama is a form of process drama that focuses on the use of story dramatization techniques; it has been extensively used to promote language and literature skills as well as creative and critical thinking. In these domains process drama exhibit itself in physical space. Recently, there have been many advances in technology that allows process drama to be exhibited in virtual space. In this article, we look at the form and structure of process drama. We specifically discuss process drama, especially Creative Drama. We outline several key factors of process drama that affect its effectiveness as a learning vehicle, including involvement and reflection. Through this lens, we survey several cases of virtual process drama both as a single person experience as well as a multiuser internet-based virtual experience

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

Inputs and outputs: engagement in digital media from the maker's perspective

In the process of developing a technology assembly that can objectively measure engagement on a moment-by-moment basis, subjective responses to stimuli must be shown to correlate with the component technologies, such as motion capture or psychophysiology. Subjective scales for engagement are not all consistent in segregating the measurement of causes (inputs to the audience) and effects (outputs from the audience); this lack of separation can obscure appropriate inferences in the relationship between cause and effect. Inputs to the audience are scripted, and are controllable by the maker. An output is what the designed experience engenders in the end-user, and outputs can include both mental states (satisfaction) and physical activities (heart rate) during the stimulus and subsequently. Inputs can be maximised by design, whereas to optimise outputs from the end-user, one needs an empirical process because outputs are dependent upon an interpretive process or entry into a biological system. Outputs will be highly dependent on audience and context, and they will often be quite variable, even in individuals from a similar audience profile. It is critical that, in instruments assessing the relationship between inputs and outputs, controllable inputs to the end-user must not be conflated with outputs engendered in the end-user

Working together in Dorset to create a lasting legacy among HE students and young people beyond 2012

RELAYS (Regional Educational Legacy in Arts and Youth Sport) is one of the programmes designed to create a positive and lasting legacy beyond 2012. Funded by Legacy Trust UK, an independent charity set up to build a lasting cultural and sporting legacy from the 2012 Olympic and Paralympic Games and the Higher Education Funding Council for England (HEFCE), it is supported by a range of partners, including 13 of the region’s universities (Universities South West, 2010). Here the partnership formed by the RELAYS School Events Coordinator, and the Events and Sports Management tutors from the School of Services Management at Bournemouth University is described. Through this collaboration, opportunities are being created to enhance the student experience both within the curricula and external to it, throughout the period of study

Ritual performances and collective intelligence: theoretical frameworks for analyising activity patterns in Cloudworks

This paper provides an overview of emerging activity patterns on Cloudworks, a specialised site for sharing and debating ideas as well as resources on teaching, learning and scholarship in education. It provides an overview of activities such as 'flash debates', 'blended workshops' and 'open reviews' and seeks to situate dialogic interchanges and structures of involvement within the following theoretical frameworks: a) Goffman's notions of 'face-work' and 'ritual performance�; and b) and secondly, notions of collective intelligence. The paper argues that these perspectives can offer a unique contribution to the study and analysis of sociality (Bouman et al, 2007) bounded in the context of technologically mediated networked learning, with wider implications for understanding matters of participation, self-representation, reflection and expansion in education

Moving Toward a Culture of Evidence: Documentation and Action Research inside CAPE Veteran Partnerships

This report is a culmination of three years of study of the impact on effective teaching of educators and artists engaging as partners in action research (inquiry based study of their own practice), in documenting the effects of arts integration on student learning (creating a "culture of evidence"), and in collaborating with other action research teams and with formal researchers to actively investigate qualities of teaching and learning at participating schools (what CAPE calls "layered research")