Learning archetypes as tools of Cybergogy for a 3D educational landscape: a structure for eTeaching in Second Life

This paper considers issues of validity and credibility of eTeaching using a 3D Virtual World as a delivery medium of eLearning pertaining to the transfer of authentic real life skills. It identifies the game like qualities perceived therein, recognising that these very attributes may, when experienced superficially, be a contributing factor to the potential educational demise of the platform. It goes on to examine traditional educational theories in the light of the affordances of a virtual world seeking to adapt and apply them to the construction of a new conceptual framework of a pedagogy reflecting the affordances and understanding of on-line learning which incorporates the implementation of Learning Archetypes (models of activities) to maximise the essence of a virtual world, in as much as it is able to facilitate learning experiences delimited by physical world constraints. It builds upon these ideas to develop a working model of Cybergogy and Learning Archetypes in 3D with a view to making it available to people who wish to demonstrate theoretically robust lesson and course planning. The model is then applied to three examples of eTeaching, developed as Case Studies for the purpose of critically evaluating the model, which is found to be operationally effective, accurate and flexible. Conclusions are drawn that identify the merits and challenges of implementing such a model of Cybergogy into eTeaching and eLearning conducted in Second Life®

Teaching, learning and technology: An e-route to deep learning?

This is the author's pdf version of an article published in Research into Education.This paper details a research project that considered the extent to which e-learning is congruent with the notion of inculcating and maintaining deep approaches to learning within HE. Also, to explore what actions may be taken to engender and or maintain a deep approach when using e-learning as the central androgogy as knowing what (is possible) and how (it may be achieved) provides a fuller picture. Whilst this paper is designed to help inform practice and professional judgement it is not purporting to provide absolute answers. Whilst I have attempted to provide an honest account of my findings, truth and reality are social constructions (Pring 2000). The research was based upon methodical triangulation and involved thirty-eight undergraduate students who are undertaking study through e-learning and five academic members of staff who utilise e-learning in their programmes. As such, the project was small scale and how much may be inferred as applicable to other groups and other contexts may be contested, as those sampled for this research have their own unique paradigms and perceptions. Finally, it is always worth remembering that effective teaching and learning is contextual (Pring 2000). The research revealed that deep approaches to learning are situational (Biggs 2003) and e-learning can authentically lead to a student adopting and maintaining a deep approach. There are several factors that increase the likelihood of a student adopting this desired approach. These include; where students perceive the programme to be of high quality (Parker 2004), they have feelings of competence and confidence in their ability to study and interact with the technology and others. In addition, students require appropriate, reliable access to technology, associated systems and individualised planned support (Salmon 2004). Further to this deep approaches are more likely to be adopted where programmes are built on a constructivist androgogy, constructive alignment is achieved, interaction at several levels and a steady or systematic style of learning are encouraged (Hwang and Wang 2004). Critically study programmes should have authentic assessment in which deep approaches are intrinsic to their completion. To effectively support students in achieving a deep approach to learning, when employing e-learning, staff require knowledge and skill in three areas: teaching and learning, technology, and subject content (Good 2001). They also require support from leaders at cultural, strategic and structural levels (Elloumi 2004)

Analyzing the Impact of Spatio-Temporal Sensor Resolution on Player Experience in Augmented Reality Games

Along with automating everyday tasks of human life, smartphones have become one of the most popular devices to play video games on due to their interactivity. Smartphones are embedded with various sensors which enhance their ability to adopt new new interaction techniques for video games. These integrated sen- sors, such as motion sensors or location sensors, make the device able to adopt new interaction techniques that enhance usability. However, despite their mobility and embedded sensor capacity, smartphones are limited in processing power and display area compared to desktop computer consoles. When it comes to evaluat- ing Player Experience (PX), players might not have as compelling an experience because the rich graphics environments that a desktop computer can provide are absent on a smartphone. A plausible alternative in this regard can be substituting the virtual game world with a real world game board, perceived through the device camera by rendering the digital artifacts over the camera view. This technology is widely known as Augmented Reality (AR). Smartphone sensors (e.g. GPS, accelerometer, gyro-meter, compass) have enhanced the capability for deploying Augmented Reality technology. AR has been applied to a large number of smartphone games including shooters, casual games, or puzzles. Because AR play environments are viewed through the camera, rendering the digital artifacts consistently and accurately is crucial because the digital characters need to move with respect to sensed orientation, then the accelerometer and gyroscope need to provide su ciently accurate and precise readings to make the game playable. In particular, determining the pose of the camera in space is vital as the appropriate angle to view the rendered digital characters are determined by the pose of the camera. This defines how well the players will be able interact with the digital game characters. Depending in the Quality of Service (QoS) of these sensors, the Player Experience (PX) may vary as the rendering of digital characters are affected by noisy sensors causing a loss of registration. Confronting such problem while developing AR games is di cult in general as it requires creating wide variety of game types, narratives, input modalities as well as user-testing. Moreover, current AR games developers do not have any specific guidelines for developing AR games, and concrete guidelines outlining the tradeoffs between QoS and PX for different genres and interaction techniques are required. My dissertation provides a complete view (a taxonomy) of the spatio-temporal sensor resolution depen- dency of the existing AR games. Four user experiments have been conducted and one experiment is proposed to validate the taxonomy and demonstrate the differential impact of sensor noise on gameplay of different genres of AR games in different aspect of PX. This analysis is performed in the context of a novel instru- mentation technology, which allows the controlled manipulation of QoS on position and orientation sensors. The experimental outcome demonstrated how the QoS of input sensor noise impacts the PX differently while playing AR game of different genre and the key elements creating this differential impact are - the input modality, narrative and game mechanics. Later, concrete guidelines are derived to regulate the sensor QoS as complete set of instructions to develop different genres or AR games

Personality, presence, and the virtual self: A five-factor model approach to behavioral analysis within a virtual environment

For several decades, researchers have explored the existence of the virtual self, or digital embodiment of self found within an avatar. It was surmised that this new component of one’s overall identity not only existed in conjunction with the public and private persona, but was replete with the necessary physical and psychological characteristics that facilitate a broad range of cognitive, cultural, and socio-emotional outcomes found within a virtual environment (e.g., Second Life, World of Warcraft). However, little is known with regard to whether these characteristics do indeed impact behavioral outcomes. For this reason, this study employed an observational assessment method to explore the virtual self as more than a set of characteristics attributed to an avatar, but rather as a relationship between personality (i.e., individual and avatar) and actualized behavior exhibited within a virtual environment. Further, presence measures were introduced to better understand whether feelings of immersion impact this relationship. Results indicated a burgeoning virtual self, linking personality with behavior along the domain of agreeableness. In other words, behavior is not solely the product of the environment but also is influenced by participant predispositions. Findings also suggest that the construct presence may now need to incorporate variables that account for this virtual self. Implications for educators, instructional designers, and psychologists are discussed

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