Gathering the Voices: disseminating the message of the Holocaust for the digital generation by applying an interdisciplinary approach

The aim of the Gathering the Voices project is to gather testimonies from Holocaust survivors who have made their home in Scotland and to make these testimonies available on the World Wide Web. The project commenced in 2012, and a key outcome of the project is to educate current and future generations about the resilience of these survivors. Volunteers from the Jewish community are collaborating with staff and undergraduate students in Glasgow Caledonian University in developing innovative approaches to engage with school children. These multimedia approaches are essential, as future generations will be unable to interact in person with Holocaust survivors. By students being active participants in the project, they will learn more about the Holocaust and recognize the relevance of these testimonies in today’s society. Although some of the survivors have been interviewed about their journeys in fleeing from the Nazi atrocities, for all of the interviewees, this is the first time that they have been asked about their lives once they arrived in the United Kingdom. The interviews have also focused on citizenship and integration into society. The project is not yet completed, and an evaluation will be taking place to measure the effectiveness of the project in communicating its message to the public

Video Game Development in a Rush: A Survey of the Global Game Jam Participants

Video game development is a complex endeavor, often involving complex software, large organizations, and aggressive release deadlines. Several studies have reported that periods of "crunch time" are prevalent in the video game industry, but there are few studies on the effects of time pressure. We conducted a survey with participants of the Global Game Jam (GGJ), a 48-hour hackathon. Based on 198 responses, the results suggest that: (1) iterative brainstorming is the most popular method for conceptualizing initial requirements; (2) continuous integration, minimum viable product, scope management, version control, and stand-up meetings are frequently applied development practices; (3) regular communication, internal playtesting, and dynamic and proactive planning are the most common quality assurance activities; and (4) familiarity with agile development has a weak correlation with perception of success in GGJ. We conclude that GGJ teams rely on ad hoc approaches to development and face-to-face communication, and recommend some complementary practices with limited overhead. Furthermore, as our findings are similar to recommendations for software startups, we posit that game jams and the startup scene share contextual similarities. Finally, we discuss the drawbacks of systemic "crunch time" and argue that game jam organizers are in a good position to problematize the phenomenon.Comment: Accepted for publication in IEEE Transactions on Game

Game jams as valuable tools for the development of 21st-century skills

The concept of 21st-century skills refers to the knowledge, skills, and emotions that are critical to successfully navigating today’s world. Game jams can act as spaces to develop these skills and thus boost cooperative learning, problem-based learning, or co-creation. Additionally, game jams offer opportunities to improve collaboration and creativity skills, among others. This paper summarizes three years of activities designing and studying game jams to develop 21st-century skills, focused on Mexican students aged 12–16 years old. Data were compiled through direct observation, open-ended questionnaires, and interviews and were subject to thematic analysis in order to construct new knowledge on a previously underexplored topic. The results suggest that game jams are valuable tools to develop 21st-century skills, and, although the outcomes of skill evaluation may vary and may be difficult to verify, the participants reported increased skills, such as creativity or collaboration. Finally, this paper provides recommendations based on the research and practice conducted by the authors on how to use game jams to develop 21st-century skills and different ways to organize game jams, along with the resources neededPeer ReviewedPostprint (published version

Old Ways of Knowing, New Ways of Playing — The Potential of Collaborative Game Design to Empower Indigenous Sámi

Eamiálbmogat leat stoahkan, speallan ja hutkan spealuid čađa historjjá. Sámekultuvrras stoahkan lea okta bajásgeassima oasáš ja vuohki sirdit ovddosguvlui ávnnasmeahttun kulturárbbi. Liikká máilmmis leat hui unnán dutkamušat dakkár spealuin, mat livčče boahtán njuolgga eamiálbmogiin, eandalit sápmelaččain. Digitála spealuid dutkamušaid mearri lea vel uhcit. Dutkamušaid vátnivuođa sáhttá čilget sámi digitálaspealuid vátnivuođain: dárbu iežasgielat mediasisdollui lea dovddastuvvon juo jagiid dassái, muhto liikká sámekultuvrii gullevaš digitála spealut leat dušše moattit. Rabas gažaldagat laktásit nappo resurssaide ja eandalit dahkkiide: gii dahká ja mo? Dutkamuša vuolggasadjin lea sámi oaidnu ja oktavuohta sámeservošii. Dutkamuš gieđahallá kvalitatiiva metodaid bokte spealloovddidandáhpáhusaid potentiála sámi kultuvrralaš iešolggosbuktima ovddideaddjin. Dutkamuš vuođđuduvvá sápmelaš speallan- ja stoahkanárbevirrui, sápmelaš bajásgeassima árvvuide, álgoálbmogiid speallandutkamuššii ja speallandáhpáhusaid eahpenjuolgga oahppama iešvuođaide. Dáid oainnuid vuođul lean hábmen váldo dutkangažaldaga: mo spealloovddidandáhpáhusaid bokte sáhttá doarjut sámiid iešolggosbuktima. Dutkamuša metodan lea álgoálbmotvuolggalaš etnografiija, man materiálan leat observeremat (guokte spealloovddidandáhpáhusa, main oktiibuot 57 oassálasti), online gažaldatskovit (N=5), videojearahallamat (N=7), spealut (N=16) ja dutki beaivegirjemerkestagat. Analysa dahkkui kvalitatiiva sisdoalloanalysa vugiiguin. Dutkamuš ráhkaduvai golmma oassedutkamušas. Vuosttas oassedutkamuš suokkardalai sosiála oahppama váikkuhusa Nuoraid spealloprogrammerenkurssas, mii ordnejuvvui Ohcejogas jagis 2017. Oassedutkamuš I bohtosat čájehedje, ahte diehtu huksejuvvo sosiála vuorrováikkuhusas ovttas ja ovttaveardásaččat sámi bajásgeassima dieđuhuksema prinsihpaguin. Oassedutkamuš I čujuhii dasa, ahte lea vejolaš ávkkástallat sosiála oahppama oassin spealloovddideami sámi kulturkonteavsttas. Oassedutkamušat II ja III guorahalle dárkileabbot sosiála spealloovddideami fenomena nu, ahte speadjalaste sámi bajásgeassima iešvuođaid speallodáhpáhusaid eahpenjuolgga oahppamii. Oassedutkamuš II gieđahalai gažaldagaid das, mo Sami Game Jam ordnejuvvui, makkár spealut buvttaduvvojedje ja mo game jam -formáhta ávkkuhii oassálastiid. Oassedutkamušas III dutkojuvvui dat, mainna vugiin speallodáhpáhusaid sáhttá atnit ávkin sámi revitalisašuvnna bargoneavvun. Bohtosat čájehit ahte spealloovddidandáhpáhusaid sosiálalaš iešvuohta heive bures oktii sámi máilmmioainnuin ja dieđu buvttademiin ja ná dat doarju kultuvrralaš iešovdanbuktima. Ráhkaduvvon spealut speadjalaste sápmelaš speallan- ja stoahkanárbevieru iešvuođaid otnábeaivve sápmelašvuođa oainnuid mielde. Sáhttá nappo čuoččuhit, ahte sápmelaččaid spealloovddideapmi lea kultuvrralaš iešvuohta, mii boahtá oidnosii, šaddá ja ovdána go oažžu saji. Bohtosiid vuođul ráhkaduvvui Eamiálbmogiid spealloráhkadeami málle (Indigenous game design model), mii govvida álgoálbmotvuolggalaš fámu digitála spealuin ja mii stivre spealloplánema. Málle vehkiin sáhttá guorahallat fámuiduvvama spealuin viđa oasi bokte: máinnasárbevierru, dálá beaivve vásáhusat, oahpahusat, giella sihke juohkin ja ovddideapmi, Málle dahká vejolažžan guorahallat eamiálbmotvuolggalaš spealloplánema proseassan ja dat čalmmustahttá spealloplánema kultuvrralaš mearkkašumi eamiálbmotkonteavsttas.Throughout history, Indigenous peoples have played and made games. In Sámi culture, playing is one of the many elements of education, as well as a platform for transmitting their intangible heritage. Yet research into games originating in the communities of Indigenous peoples, especially Sámi people, is quite sparse, and this is even more true concerning digital games. This lack of research can be explained to some extent by the modest number of digital Sámi games in existence. While the need for media content in the native languages of Sámi communities has been recognised for several years now, there is only a handful of games available in Sámi languages. Several questions arise, then, concerning the resources and especially the creating: who creates games, and how are those games created? This thesis is written from the Indigenous Sámi perspective, especially pertaining to the local context of Sámi people in Utsjoki. The thesis takes a qualitative approach to exploring the potential of game development events to empower the cultural selfexpression of Sámi people. Its starting points are the Sámi game and play tradition, Sámi educational values, game studies on Indigenous peoples, and indirect learning as a feature of game jams. These aspects form the basis for the general research question: in what ways can game development events enhance the cultural self-expression of Sámi people? The study relies on the method of Indigenous ethnography and its data is collected via observation (two game development events, involving a total of 57 participants), online questionnaires (N=5), video interviews (N=7), games (N=16), and researcher field journals. The analysis was data-oriented and conducted using qualitative content analysis. This study consists of three publications (I–III). Publication I examines the social aspects of learning in a game programming course for adolescents, which was organised in Utsjoki in 2017. The results of this first study show that knowledge is formed in social interaction, collectively, and as equals, following the principles of the Sámi educational tradition. The study also suggest that social learning could be successfully employed as a part of game development in the Sámi cultural context. Publications II and III explore the phenomenon of social game development more closely, by employing aspects from Sámi education as a framework for studying indirect learning in game jams. Publication II set out to examine how Sami Game Jam was organised, what kind of games were created, and in what ways the game jam format was beneficial to the participants. Publication III examines the ways in which the new digital collaboration format of game jams can serve as a tool for the revitalisation of Indigenous Sámi cultures. The results show that the social aspects of the game creating events work well with the Sámi worldview and methods of knowledge production, thus supporting cultural self-expression. Games created in the event reflect contemporary aspects of the game and play tradition of the Sámi. It can be argued, then, that for the Sámi, game creation is a cultural trait which flourishes when granted proper opportunities. Based on these results, the study introduces the Indigenous game design model, a model that describes the Indigenous empowerment concerning digital games and that guides the process of game development. With the help of this model, empowerment can be explored from five aspects: storytelling, contemporary experiences, teachings, language, and sharing and developing. The model enables the examination of Indigenous game development as a process and reveals the cultural importance of game designing in the Indigenous context.Alkuperäiskansat ovat leikkineet, pelanneet ja tehneet pelejä läpi historian. Saamelaisessa kulttuurissa leikki on yksi monista kasvatuksen elementeistä sekä aineettoman kulttuuriperinnön siirtoalustoista. Alkuperäiskansalähtöisten, erityisesti saamelaisten, pelien osalta tutkimusta on kuitenkin vähän jopa globaalisti, ja digitaalisten pelien tutkimusta vielä vähemmän. Tutkimuksen vähyyttä voidaan selittää saamelaisten digitaalisten pelien vähyydellä: tarve omankieliselle mediasisällölle on tunnustettu jo vuosia sitten, mutta silti saamelaiskulttuurilähtöisiä digitaalisia pelejä on olemassa vain kourallinen. Avoimet kysymykset liittyvät siis resursseihin ja erityisesti tekijyyteen: kuka tekee ja miten? Tutkimuksen lähtökohdat ovat saamelaisnäkökulma ja yhteys saamelaisyhteisöön. Tutkimus käsittelee laadullisin menetelmin pelinkehitystapahtumien potentiaalia saamelaisen kulttuurillisen itseilmaisun edistäjänä. Tutkimus pohjautuu saamelaiseen peli- ja leikkiperinteeseen, saamelaisen kasvatuksen arvoihin, alkuperäiskansojen pelitutkimukseen sekä pelijamien epäsuoran oppimisen piirteeseen. Näiden näkökulmien pohjalta muotoutuu päätutkimuskysymys: Millä tavoin pelinkehitystapahtumat voivat tukea saamelaisten itseilmaisua? Tutkimuksen menetelmänä on alkuperäiskansalähtöinen etnografia, jonka aineistona ovat observoinnit (kaksi pelinkehitystapahtumaa, joissa yhteensä 57 osallistujaa), verkkokyselylomakkeet (N=5), videohaastattelut (N=7), pelit (N=16) sekä tutkijan kenttäpäiväkirjat. Analyysi tehtiin aineistolähtöisesti laadullisen sisällönanalyysin keinoin. Tutkimus koostui kolmesta osatutkimuksesta (I-III). Ensimmäisen osatutkimus tarkasteli sosiaalisen oppimisen ulottuvuutta Nuorten peliohjelmointikurssilla, joka järjestettiin Utsjoella vuonna 2017. Osatutkimus I:n tulokset osoittivat, että tietoa muodostetaan sosiaalisessa vuorovaikutuksessa yhdessä ja tasavertaisesti saamelaisen kasvatuksen tiedonrakentumisen periaatetta noudatellen. Osatutkimus I antoi viitteitä sosiaalisen oppimisen hyödynnettävyydestä osana pelinkehitystä saamelaisessa kulttuurikontekstissa. Osatutkimukset II ja III tarkastelivat sosiaalisen pelinkehittämisen ilmiötä lähemmin nivomalla saamelaisen kasvatuksen piirteitä viitekehykseksi pelijamien epäsuoraan oppimiseen. Osatutkimus II kysyi, kuinka Sami Game Jam järjestettiin, millaisia pelejä tuotettiin ja miten pelijamien formaatti hyödytti osallistujia. Osatutkimuksessa III tutkittiin, millä tavoin pelijameja voidaan hyödyntää saamelaisen revitalisaation työkaluna. Tulokset osoittavat, että pelinkehitystapahtumien sosiaalinen luonne sopii hyvin yhteen saamelaisen maailmankatsomuksen ja tiedon tuottamisen tavan kanssa tukien kulttuurista itseilmaisua. Luodut pelit heijastelivat saamelaisen peli- ja leikkiperinteen piirteitä tämän päivän saamelaisuuden näkökulmasta. Voidaan siis väittää, että saamelaisten pelinkehittäjyys on kulttuurillinen ominaisuus, joka tulee esiin, kasvaa ja kehittyy saadessaan tilaa. Tulosten pohjalta luotiin alkuperäiskansalähtöistä voimaantumista digitaalisissa peleissä kuvaava ja pelisuunnittelua ohjaava alkuperäiskansalähtöisen pelisuunnittelun malli. Mallin avulla voidaan tarkastella voimaantumista peleissä viiden osa-alueen kautta: tarinankerronta, tämän päivän kokemukset, opetukset, kieli sekä jakaminen ja kehittäminen. Malli mahdollistaa alkuperäiskansalähtöisen pelisuunnittelun tarkastelun prosessina ja tuo näkyväksi pelisuunnittelun kulttuurisen merkityksen alkuperäiskansakontekstissa

Professional competency of modern specialist: means of formation, development and improvement

The modern scientific and methodical approaches to the study and analysis of professional competence that are in line with the state requirements for reforming education and the tendencies of introducing a competent approach as one of the key factors of today's vocational education are analyzed. The emphasis is placed on the fact that implementation of the competence approach should include the use of professional training of real professional tasks with the orientation of future professionals to analyze the results of their own professional activities and decisions. The basic principles of professional training of future managers of economic security are determined. It has been established that the professional training of future managers of economic security should be carried out on a modular basis