The Design and Development of Educational Immersive Environments: From Theory to Classroom Deployment

Computer game technology is poised to make a significant impact on the way our youngsters will learn. Our youngsters are ‘Digital Natives’, immersed in digital technologies, especially computer games. They expect to utilize these technologies in learning contexts. This expectation, and our response as educators, may change classroom practice and inform curriculum developments. This chapter approaches these issues ‘head on’. Starting from a review of the current educational issues, an evaluation of educational theory and instructional design principles, a new theoretical approach to the construction of “Educational Immersive Environments” (EIEs) is proposed. Elements of this approach are applied to development of an EIE to support Literacy Education in UK Primary Schools. An evaluation of a trial within a UK Primary School is discussed. Conclusions from both the theoretical development and the evaluation suggest how future teacher-practitioners may embrace both the technology and our approach to develop their own learning resources.

Designing and Developing Digital and Blended Learning Solutions

The continuous advancement in computing, together with the decline in its cost, has resulted in technology becoming ubiquitous (Arbaugh, 2008, Gros, 2007). Technology is growing and is part of our lives in almost every respect, including the way we learn. Technology helps to collapse time and space in learning. For example, technology allows learners to engage with their instructors synchronously, in real time and also asynchronously, by enabling sessions to be recorded. Space and distance is no longer an issue provided there is adequate bandwidth, which determines the most appropriate format such text, audio or video. Technology has revolutionised the way learners learn; courses are designed; and ‘lessons’ are delivered, and continues to do so. The learning process can be made vastly more efficient as learners have knowledge at their fingertips, and unfamiliar concepts can be easily searched and an explanation found in seconds. Technology has also enabled learning to be more flexible, as learners can learn anywhere; at any time; and using different formats, e.g. text or audio. From the perspective of the instructors and L&D providers, technology offers these same advantages, plus easy scalability. Administratively, preparatory work can be undertaken more quickly even whilst student numbers grow. Learners from far and new locations can be easily accommodated. In addition, many technologies can be easily scaled to accommodate new functionality and/ or other new technologies. ‘Designing and Developing Digital and Blended Learning Solutions’ (5DBS), has been developed to recognise the growing importance of technology in L&D. This unit contains four learning outcomes and two assessment criteria, which is the same for all other units, besides Learning Outcome 3 which has three assessment criteria. The four learning outcomes in this unit are: • Learning Outcome 1: Understand current digital technologies and their contribution to learning and development solutions; • Learning Outcome 2: Be able to design blended learning solutions that make appropriate use of new technologies alongside more traditional approaches; • Learning Outcome 3: Know about the processes involved in designing and developing digital learning content efficiently and what makes for engaging and effective digital learning content; • Learning Outcome 4: Understand the issues involved in the successful implementation of digital and blended learning solutions. Each learning outcome is an individual chapter and each assessment unit is allocated its own sections within the respective chapters. This first chapter addresses the first learning outcome, which has two assessment criteria: summarise the range of currently available learning technologies; critically assess a learning requirement to determine the contribution that could be made through the use of learning technologies. The introduction to chapter one is in Section 1.0. Chapter 2 discusses the design of blended learning solutions in consideration of how digital learning technologies may support face-to-face and online delivery. Three learning theory sets: behaviourism; cognitivism; constructivism, are introduced, and the implication of each set of theory on instructional design for blended learning discussed. Chapter 3 centres on how relevant digital learning content may be created. This chapter includes a review of the key roles, tools and processes that are involved in developing digital learning content. Finally, Chapter 4 concerns delivery and implementation of digital and blended learning solutions. This chapter surveys the key formats and models used to inform the configuration of virtual learning environment software platforms. In addition, various software technologies which may be important in creating a VLE ecosystem that helps to enhance the learning experience, are outlined. We introduce the notion of personal learning environment (PLE), which has emerged from the democratisation of learning. We also review the roles, tools, standards and processes that L&D practitioners need to consider within a delivery and implementation of digital and blended learning solution.

Designing and Developing Digital and Blended Learning Solutions

Chapter 6 concerns ‘Designing and developing digital and blended learning solutions’, however, despite its title, it is not aimed at developing L&D professionals to be technologists (in so much as how Chapter 3 is not aimed at developing L&D professionals to be accounting and financial experts). Chapter 6 is about developing L&D professionals to be technology savvy. In doing so, I adopt a culinary analogy in presenting this chapter, where the most important factors in creating a dish (e.g. blended learning), are the ingredients and the flavour each of it brings. The chapter first explores the typical technologies and technology products that are available for learning and development i.e. the ingredients. I then introduce the data Format, Interactivity/ Immersion, Timing, Content (creation and curation), Connectivity and Administration (FITCCA) framework, that helps L&D professionals to look beyond the labels of technologies in identifying what the technology offers, its functions and features, which is analogous to the ‘flavours’ of the ingredients. The next section discusses some multimedia principles that are important for L&D professionals to consider in designing and developing digital learning solutions. Finally, whilst there are innumerable permutations of blended learning, this section focuses on the typical emphasis in blended learning and how technology may support such blends.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?