Innovations in learning and teaching approaches using game technologies - can "The Movies" teach how to make a movie?

The use of games technology in education is not a new phenomenon. Even back in the days of 286 processors, PCs were used in some schools along with (what looks like now) primitive simulation software to teach a range of different skills and techniques – from basic programming using Logo (the turtle style car with a pen at the back that could be used to draw on the floor – always a good way of attracting the attention of school kids!) up to quite sophisticated replications of physical problems, such as working out the trajectory of a missile to blow up an enemies’ tank. So why are games not more widely used in education (especially in FE and HE)? Can they help to support learners even at this advanced stage in their education? We aim to provide in this article an overview of the use of game technologies in education (almost as a small literature review for interested parties) and then go more in depth into one particular example we aim to introduce from this coming academic year (Sept. 2006) to help with teaching and assessment of one area of our Multimedia curriculum. Of course, we will not be able to fully provide the reader with data on how successful this is but we will be running a blog (http://themoviesineducation.blogspot.com/) to keep interested parties up to date with the progress of the project and to hopefully help others to set up similar solutions themselves. We will also only consider a small element of the implementation here and cover how the use of such assessment processes could be used in a broader context. The use of a game to aid learning and improve achievement is suggested because traditional methods of engagement are currently failing on some levels. By this it is meant that various parts of the production process we normally cover in our Multimedia degree are becoming difficult to monitor and continually assess.

The tilt casting of titanium aluminides

TiAl castings are prone to various defects including bubbles entrained during the turbulent filling of moulds. The present research has exploited the principles of the Durville tilt casting technique to develop a novel process in which the Induction Skull Melting (ISM) of TiAl alloys in a vacuum chamber has been combined with controlled tilt pouring to achieve the tranquil transfer of the metal into a hot ceramic shell mould. Practical casting equipment has been developed to evaluate the feasibility of this process in parallel with the development of novel software to simulate and optimize it. The PHYSICA CFD code was used to simulate the filling, heat transfer and solidification during tilt pouring using a number of free surface modelling techniques, including the novel Counter Diffusion Method (CDM). In view of the limited superheat, particular attention was paid to the mould design to minimize heat loss and gas entrainment caused by interaction between the counter-flowing metal and gas streams. The model has been validated against real-time X-ray movies of the tilt casting of aluminium and against TiAl blade castings. Modelling has contributed to designing a mould to promote progressive filling of the casting and has led to the use of a parabolic tilting cycle to balance the competing requirements for rapid filling to minimize the loss of superheat and slow filling minimize the turbulence-induced defects.

Rats, floods and flowers: London's Gothicized nature

AUTHOR's OVERVIEW This chapter attempts a definition of London eco-gothic, beginning with an ecocritical reading of the ubiquitous London rat. Following Dracula, popular London gothic has been overrun, from the blunt horror-schlock of James Herbert’s 1970s Rats series to China Miéville’s King Rat. Maud Ellman’s elegant discussion of the modernist rat as a protean figure associated with a ‘panoply of fears and fetishes’, underlines how the rat has always featured in anti-urban discourse: as part of racist representations of immigration; as an expression of fear of disease and poverty; or through a quasi-supernatural anxiety about their indestructible and illimitable nature which makes them a staple feature of post-apocalyptic landscapes. Even so, the London rat is a rather more mundane manifestation of urban eco-gothic than the ‘city wilderness’ metaphors common to representations of New York or Los Angles as identified by eco-critic Andrew White. London’s gothic noses its way out through cracks in the pavements, grows from seeds in suburban gardens or accumulates through the steady drip of rainwater. However, I will suggest, in texts such as Maggie Gee’s The Flood and P. D. James’ Children of Men, London eco-gothic becomes less local and familiar as it responds to global environmental crisis with more dramatic tales of minatorial nature.