FAIR_OSCE – Feedback structure for assessment of interactive roleplay in Objective Structured Clinical Exams

Introduction Since the quality of patient portrayal of standardized patients (SPs) during an Objective Structured Clinical Exam (OSCE) has a major impact on the reliability and validity of the exam, quality control should be initiated. Literature about quality control of SPs’ performance focuses on feedback [1, 2] or completion of checklists [3, 4]. Since we did not find a published instrument meeting our needs for the assessment of patient portrayal, we developed such an instrument after being inspired by others [5] and used it in our high-stakes exam. Project description SP trainers from five medical faculties collected and prioritized quality criteria for patient portrayal. Items were revised twice, based on experiences during OSCEs. The final instrument contains 14 criteria for acting (i.e. adequate verbal and non-verbal expression) and standardization (i.e. verbatim delivery of the first sentence). All partners used the instrument during a high-stakes OSCE. SPs and trainers were introduced to the instrument. The tool was used in training (more than 100 observations) and during the exam (more than 250 observations). Outcome High quality of SPs’ patient portrayal during the exam was documented. More than 90% of SP performances were rated to be completely correct or sufficient. An increase in quality of performance between training and exam was noted. For example, the rate of completely correct reaction in medical tests increased from 88% to 95%. Together with 4% of sufficient performances these 95% add up to 99% of the reactions in medical tests meeting the standards of the exam. SP educators using the instrument reported an augmentation of SPs’ performance induced by the use of the instrument. Disadvantages mentioned were the high concentration needed to observe all criteria and the cumbersome handling of the paper-based forms. Discussion We were able to document a very high quality of SP performance in our exam. The data also indicates that our training is effective. We believe that the high concentration needed using the instrument is well invested, considering the observed enhancement of performance. The development of an iPad-based application for the form is planned to address the cumbersome handling of the paper.

Westminster Serious Games Platform (wmin-SGP) a tool for real-time authoring of roleplay simulations for learning

The use of serious games in education and their pedagogical benefit is being widely recognized. However, effective integration of serious games in education depends on addressing two big challenges: the successful incorporation of motivation and engagement that can lead to learning; and the highly specialised skills associated with customised development to meet the required pedagogical objectives. This paper presents the Westminster Serious Games Platform (wmin-SGP) an authoring tool that allows educators/domain experts without games design and development technical skills to create bespoke roleplay simulations in three dimensional scenes featuring fully embodied virtual humans capable of verbal and non-verbal interaction with users fit for specific educational objectives. The paper presents the wmin-SGP system architecture and it evaluates its effectiveness in fulfilling its purpose via the implementation of two roleplay simulations, one for Politics and one for Law. In addition, it presents the results of two types of evaluation that address how successfully the wmin-SGP combines usability principles and game core drives based on the Octalysis gamification framework that lead to motivating games experiences. The evaluation results shows that the wmin-SGP: provides an intuitive environment and tools that support users without advanced technical skills to create in real-time bespoke roleplay simulations in advanced graphical interfaces; satisfies most of the usability principles; and provides balanced simulations based on the Octalysis framework core drives. The paper concludes with a discussion of future extension of this real time authoring tool and directions for further development of the Octalysis framework to address learning.

'Truth, Ethics and Efficacy in the Training of Actors for Role Play'

Krysia M. Yardley-Matwiejczuk has addressed the clinical and psychological implications of role-play (Role Play: Theory and Practice, Sage Publications, 1997) and Judith Ackroyd has thoroughly reassessed the place of roleplay in education (Role Reconsidered, Trentham Books, 2004). But there has been no systematic analysis of the implications for actor training of this growing area of employment. This paper interrogates some of the implications of role-play for actor trainers, particularly in relation to the need for a clear ethical framework governing spontaneous performance in non-theatrical environments. The paper also suggests guidelines on ‘distancing’ and ‘presencing’ techniques to equip actors to cope with the unpredictability of role play-based performance.

The student experience in Objective Structured Clinical Examinations (OSCEs): phenomenological analysis

Background and purpose
The dominant psychometric discourse of OSCEs may lead to unexpected problems, such as a checklist-based student performance1 which under emphasises the clinical relationship with student and standardised patient (SP). Such encounters can be dehumanising for SPs2 and have implications for what students learn about relational skills through the assessment process. In this study we explore medical students’ experiences of undertaking OSCEs using a phenomenological frame.
Methodology
Interpretative phenomenological analysis is a form of qualitative methodology which has strong resonance with existentialism and focuses on the lived experience without significant reference to external political or discursive
forces.
Six 4th year undergraduate medical students from Queen’s University Belfast were recruited in December 2013. Maximum variation sampling was used. Students were interviewed by a researcher in the week prior to the
OSCE and then again in the week following the OSCE in Jan 2014. Interviews were minimally structured in order to be open to respondents, rather than adhering to a fixed topic guide, but focussed on participants’ experiences, thoughts and feelings about taking part in OSCEs. Interviews were audio-recorded and
transcribed. Students were also asked to complete a short diary entry in the days prior to the OSCEs and another immediately following. Diary entries were written, emailed or audio-recorded at student’s preference.
Results
Transcripts are currently being analysed by interpretative phenomenological analysis. Preliminary analysis has demonstrated the significance of students’ relationships within the OSCE triad (student, SP and examiner); the effect of the immediate examination environment; realism versus roleplay; students’ perceptions of the purpose of assessment; and coping mechanisms.
Full results will be available by the time of the conference.
Conclusion and Discussion
Understanding the student experience in OSCEs is a crucial step in understanding the complex construction of relationships within the OSCE triad. The focus in OSCEs is typically on standardisation and reliability, but in exploring social interactions we may refocus attention on their inherent potential for learning and effects on both students and patients.
References
1. Hodges B. Medical education and the maintenance of incompetence. Med Teach 2006;28(8):690-6
2. Johnston JL, Lundy G, McCullough M, Gormley GJ. The view from over there: reframing the OSCE through the experience of standardised patient
raters. Med Educ 2013;47(9):899-909

Le rôleplay dans les communautés underground en France

Dans les milieux dits alternatifs ou undergrounden France, affiliés aux formes postmodernes de cultures fan geek et otaku, une pratique a émergé ces dernières années: le rôleplay. Ni tout à fait jeu de rôle, ni tout à fait théâtre, cette modalité d’échange basée sur une mise en scène de soi se pratique en groupe dans des espaces consacrés. Le présent travail est le résultat d’une ethnographie au sein de ces milieux. Il cherche à la fois à rendre compte de cette pratique et à analyser les enjeux qui lui sont liés. C’est une réflexion polyphonique qui lie les questionnements de l’identité, tant individuelle que collective et la performativité à travers, notamment, les travaux de Deleuze, Agamben et Butler. La forme éclatée dans laquelle interviennent différentes voix reprend l’idée de chaos carnavalesque,motif central dans la présente analyse.

Une Fantasy roubaldienne, ou, Nouvelle exploration ludique des potentialités littéraires : essai ; suivi de La Quête du Vortex (création littéraire)

Le Jeu, un phénomène difficile à définir, se manifeste en littérature de différentes manières. Le présent travail en considère deux : l’écriture à contrainte, telle que la pratique l’Oulipo, et l’écriture de l’imaginaire, en particulier les romans de Fantasy française. La première partie de cette étude présente donc, sous forme d’essai, les origines et les visées des deux groupes d’écrivains, mettant en lumière les similitudes pouvant être établies entre eux malgré leurs apparentes différences. Tandis que l’Oulipo cherche des contraintes capables de générer un nombre infini de textes et explore la langue par ce moyen, la Fantasy se veut créatrice de mondes imaginaires en puisant généralement à la source de Tolkien et des jeux de rôle. Il en résulte que le jeu, dans les deux cas, se révèle un puissant moteur de création, que le récit appelle un lecteur-explorateur et qu’il crée une infinité de mondes possibles. Malgré tout, des divergences demeurent quant à leurs critiques, leurs rapports avec le jeu et les domaines extralittéraires, et leurs visées. Considérant ce fait, je propose de combiner les deux styles d’écriture en me servant du cycle des Hortense de Jacques Roubaud (structuré au moyen de la sextine) et des Chroniques des Crépusculaires de Mathieu Gaborit (figure de proue en fantasy « pure »). Ce projet a pour but de combler le fossé restant encore entre les deux groupes. Ainsi, la seconde partie de mon travail constitue une première tentative de réunion des deux techniques d’écriture (à contrainte et de l’imaginaire). Six héros (trois aventuriers et trois mercenaires) partent à la recherche d’un objet magique dérobé à la Reine du Désert et capable de bouleverser l’ordre du monde. Le récit, divisé en six chapitres, rapporte les aventures de ce groupe jusqu’à leur rencontre avec l’ennemi juré de la Reine, un puissant sorcier elfe noir. Chaque chapitre comporte six sections plus petites où sont permutés – selon le mouvement de la sextine – six éléments caractéristiques des jeux de rôles : 1-Une description du MJ (Maître du Jeu) ; 2-Un combat ; 3-Une énigme à résoudre ou un piège à désarmer ; 4-Une discussion entre les joueurs à propos de leurs avatars ; 5-L’acquisition d’un nouvel objet ; 6-Une interaction avec un PNJ (Personnage Non Joueur). Tout au long du texte, des références aux Chroniques des Crépusculaires de Mathieu Gaborit apparaissent, suivant également un ordre sextinien. D’autres allusions, à Tolkien, Queneau, Perec ou Roubaud, agrémentent le roman.