Tuesday, 24 May 2011
stupid is as stupid does
Sunday, 22 May 2011
The Perfect Interface
Saturday, 21 May 2011
Tablets are like high heels
I've had an opportunity to use a Motorola Xoom tablet this week and respond to my board about how it might be used in class rooms. I've been crushing on the idea of getting a tablet for a while now. After using netbooks in class last semester, I love the idea of a rotatable screen that lets you read without over-scrolling, the super battery life, instant on functionality and the super small form factor.
Tablets are like high heels PART DEUX! (complete with awesome geeky high heels!)
Saturday, 14 May 2011
Expectations
Friday, 13 May 2011
Setting the Stage
Tuesday, 10 May 2011
Spotty Internet & Spoiling The Argument
Sunday, 8 May 2011
Demonizing Public Employment
An article by a conservative think tank, disseminated by a conservative media outlet:
http://m.torontosun.com/News/1304708716881
"Teachers have also seen very decent raises — 12.55% between 2008 and 2012 (10.4% for public elementary teachers) — while the rest of us have lost jobs or are just treading water."
Facts by the government:
http://www.statcan.gc.ca/subjects-sujets/cpi-ipc/cpi-ipc-eng.htm
Wednesday, 4 May 2011
Post Election Rants (best of facebook)
Ive got to stop reading factual, science based books on climate change (http://www.tvo.org/TVOsite
Any aliens monitoring facebook? I"m ready to go back to the mothership!
Canada won't become a dictatorship, but it will continue to be a shifty, lying international presence that says one thing, does another and makes slaves of future generations in the process.
Monday, 2 May 2011
Mobilizing Technology Access in Schools
Sunday, 1 May 2011
Simulation In Education: DM as teacher
Simplifying game play/in-class simulation as an add on to existing, simplistic lessons is certain to fail. You might have success the first time you do it based student response to a new, novel approach to learning, but repeating a simplistic gaming pattern will quickly cause students to drop out of the simulation. The game has to have enough complexity and contextual development or it will be too easy for students to step out of the game, it needs to be encompassing.
Some thoughts on sims in education:
- Teacher as referee rather than resource, puts focus on student to figure out material. Sports do this well, creating an apparently certain context (it's all made up, buy you couldn't convince a hockey player of the arbitrary nature of the rules they are playing in)
- “The point of economic policy in a game isn't to simulate reality; it's to make the synthetic scarcity so entertaining that the truly scarce good (the players' time) goes toward solving problems in the game, not in the outer world.” Geekonomics. Simulation should be designed around maximizing player’s experience within the game context.
- Immersion is a powerful thing! Rewarding a student’s immersion in a game by rewarding their efforts within the simulation is key.
- What is better? Intrinsic or extrinsic motivation (intrinsic is, extrinsic is transient)
- Must develop an intrinsic motivation! It's better to have a ‘good in itself’, summum bonum,or some fecundity (both much more motivating) or else players are just jumping through hoops, the teacher won't get their best work, students don’t get best learning.
- Is curriculum motivating in itself? No, just a set of arbitrary government rules. At best it offers a Foursquare like badging system (grades), or a sudden, harsh result (post secondary options). Grade leveling is eased all the way until they hit the wall of trying to access post secondary (something that seems far away in the teenage mind). Wouldn't it be interesting if we could gamify the student experience? "You're a level 11 writer and a level 6 hockey player? Cool."
- What makes a motivated student? Relevance of material? Control of the situation? Social interaction? Non-confrontational relationship with teacher? Strong interpersonal relationship with teacher? Sense of self-direction? Self confidence?
- Immersive simulation adapts to each student experience, (must) offers contextual, supporting material, develops confidence because the student's experience prompts the learning, develops a supportive, non confrontational relationship with the teacher.
Simulation development has to go well beyond the Khan Academy approach, it has to offer an immersive, meaningful, personalized experience, and you can't do that by adapting lessons, you need to begin with big ideas and work the lessons into that coherent whole.
Types of Genius
I just re-read a fantastic article in WIRED about types of genius.
After examining art history, an economics professor noticed two distinct expressions of genius. There is the Conceptualist, who usually goes right after her goals with a preconceived notion of how to get there. Conceptualists usually peak early and loudly, they are the ‘typical’ kind of child genius people think of, like Mozart. The less well known creative genius is the Experimentalist. They slowly develop across their lives and their greatest work usually comes later in life.
Someone like Jackson Pollack didn’t really start producing until his thirties and didn’t really hit his stride until well into his forties. His early work is terrible. He developed his style through years of trial and error, hence, an experimentalist.
Picasso’s greatest works came early and created an incredible shock wave. He had a preconceived notion of what he wanted to do and did it. As a conceptualist his work presented a radical change in how things were done. While he produced many great works across his long life, it is generally understood that his early work presents his strongest.
I've always liked Robert Frost, and now that I know his history, I see he's an experimentalist, just like me. It's nice to be in such good company. As a late bloomer myself, I remember the painful efforts of my teachers to educate me when I simply wasn't ready for it. I was always a good reader and writer, but even my English teachers (I now have an honours degree in English) couldn't reach me (“a disruptive influence in class”). I finally had the sense to drop out (something kids aren't allowed to do any more) and work for a few years before I went back and graduated at the age of 22.
It makes you wonder just what a FAILURE in a course really means. I had my fair share of them, and they weren't exactly great for my slow-motion approach to development.
The recent round of 'your son is not up to STANDARDS' from his elementary teachers had me very worried, but when I dug up this article again, I feel a bit better. Even geniuses can arrive last, being off-average in school is by no means an indicator of your actual abilities, it's simply a system based on averages. Exceptionality lives outside of those averages, I'd rather be there than in the NORMAL range.
Archive: 2007: Artist Training With Historical Context
The modern view of visual arts is complex. Once a straightforward trade based entirely on quantifiable and observable skills development surrounding the recreation of natural forms, the visual artist has become something of a hybrid, straddling the lines between the experiential, materials handling, hand-eye skills associated with a skilled trade and the mental disciplines associated with aesthetics, philosophy, art history and the development of a personalized and unique artistic sensibility. The requirement of both of these rigorous mental and physical aspects within the field of visual arts is quite unique. Few other disciplines require the mental athleticism and hand eye skills that a mastery in visual arts demands. Teaching to this requirement is an ongoing struggle.
The benefits of this research in terms of presenting art history are fairly straightforward. What is perhaps more valuable to me is an awareness of just how difficult it is to balance the widely differing needs of visual arts in one course of study. My own background suggested that high school visual arts attempts to focus too much on the mental aspects of the discipline and leaves the challenging (and often repetitive) hand-eye skills development to college. My initial drive in reviewing the history of art and art training was to resurrect an interest in improving the technical proficiency of the high school visual arts student by recreating something of the intensity I experienced while apprenticing.
In retrospect, I think this will not work. As an apprentice, I was financially and professionally obliged to work through some very difficult material. Dropping out would have cost me a great deal of money, not to mention lost me my job. High school students do not have this motivation, especially in visual arts which is not even a mandatory course. In order to serve as wide a public audience as possible, it makes sense to design visual arts curriculum around Socrates’ view of visual arts, as a course designed to create an interest in the visual arts as part of a liberal arts education. This would, of course, require students to become aware of the means of production of visual arts (so studio work is still an important portion of the curriculum), but it would not require the students themselves to be artists with the associated intensity of expression. I find this very similar to the current atmosphere in English, where literacy is stressed, but the teacher isn’t looking to cater to student writers. It is assumed that these students will display competence in the basic skills and find ways to express their writing skills in specialized courses or outside of the curriculum.
I find it unfortunate that curriculum can not cater to mastery focused students in this way. Visual artists in high school would simply, for them, an empty survey of the subject matter while they wait for an opportunity to really exercise their creativity in a post-secondary situation more suited to their need for specialization. This situation makes me wish for a means of bypassing years of unproductive basics, especially if a student wants to specialize intensively in a particular subject. An early graduation for these students might be a suggestion to move them into more effective learning. If an exceptional fine arts student demonstrated sufficient technical ability and the wish to more aggressively pursue their discipline, the opportunity to apply to post-secondary institutions at the age of 16 or 17 might make public education more than simply waiting to turn eighteen.
Note: Interestingly, the high skills arts major became an option only two years after this was written.
Note: Interesting tie in with the Mastery Blog entry from last week.
Archive: 1999: Bloodsport, the gore of experience (points)
I'm currently swinging my way through Never Winter Nights and last night, after clearing out a room of guards, I paused for a moment. Bodies lay scattered around me and the blood was thick on the floor. In my character's head came the thought, "I just murdered eight men."
The bodies just fade away in NWN, it's all very antiseptic and clean (and I imagine it makes life easier for the graphics card). Bodies don't really fade away though do they? In a more realistic world guards and investigators would be swarming around that house shortly after the guards on shift change found their slaughtered companions. People who saw me enter and leave with heavy pockets would have been questioned, the bodies would not have disappeared, my life would have been forever changed by that action.
I think about the mountains of corpses I've made in this game (which I'm enjoying otherwise - it is quite beautifully rendered), and I'm only on Chapter 2! This isn't slagging against NWN specifically, all computer based role playing games do this. I think they do it because the people who design and make the games aren't role-players, they're programmers and marketing types; people who think linearly and modularly. I know it's easy for game makers to make experience = killing because it's mechanical, and simple and it satisfies an innate human need for violence, but if graphics are getting as good as they are (almost movie quality at times), then perhaps this lazy approach to game design should finally be put aside. I don't think it does anyone any good to control a mass murderer, especially when this usually happens for the greater good in the context of the game.
Why can't my opponents see that I can easily kill them and surrender? Why couldn't I earn experience by taking it away from people I subdue (that even makes sense in a balance of nature sort of way). Imagine a young fighter who gains experience and loses it too when he is subdued by a powerful foe. If he ever got knocked back down to zero experience I'm sure he'd be rethinking his career choice. It would also help in a game situation where developers wouldn't have to worry about linear design so much. With lethality as a rare occurrence, but being subdued having an immediate effect on experience, I imagine most characters would be more careful especially if this system also took away or greatly minimized the 'save game' crutch. I take many more risks knowing that I'm 10 seconds of hard drive access away from trying it again. Continuity would help players develop real connection to their characters instead of using them as tools to attack a linear plot.
Why does it have to be about gallons of blood and piles of corpses? ... and why does violence have to be mechanical?
Don't get me wrong, I'm a hockey player, a kendo practicioner and I've had a go at half a dozen martial arts; violence isn't a stranger to me, but maybe that's why I've got respect for it, because I'm familiar with it.
I enjoy a good fight more than most people, but what's happening in NWN (and every other computer RPG I've played) is not a good fight, it's a dumbed down fight against dimensionless opponents. Do you know how hard it is to find an opponent who won't cut and run at the first injury? 99% of opponents are not commited to the fight, they are commited to their own well being (as they should be). I think it's safe to say that the vast majority of people that you meet will do anything to avoid a physical confrontation and the most dangerous opponents are those who willingly consider a physical confrontation but avoid it if circumstances aren't to their liking. In a more lawless society that might mean they'll try and get you later when you're busy, asleep or otherwise indisposed. That would only enrich the experience more. Having repeat encounters with a character who you first think is a coward and later learn is a vendeta ridden lunatic bent on revenge at all costs might make you reconsider being a jackass in the first place. People aren't always what they appear at first blush; it's part of their charm.
Have you ever been in a fist fight? Can you remember the adrenaline? That was only a fist fight! Can you imagine what it would feel like with a real sword in your hand and an opponent facing you with a lethal weapon? Wouldn't you think twice about it if the person/monster you were facing had a hungry gleam in their eye? If you submit early perhaps you can escape intact, without losing any equipment and with a minimal experience point loss. If you mouth off and get in over your head, your teacher will certainly take more of your valuables as well as skim off more experience. You'd have to gamble to rise quickly. If you're third level and you want to face off against a fifth level character you will probably lose, but if you win by luck or skill you would take more experience suddenly and find yourself levelling up. Wouldn't they think twice if they saw that same look in your eye?
I'd like my role-playing battles to approach the intensity (are rarity) of the real thing. It should never be mechanical, it should never be done without thought and it should almost never end in a mortal wound. Having to submit and then being sold into slavery would greatly enrich a character's background and provide a solid source of motivation to get better with that damn sword.
There are so many ways that a role playing world can become encompassing, but the game makers don't seem to want to take that step. If it sells as it is why tamper with it I guess. Well here's another angle: build it and they will come. If a designer out there can come up with a role playing game that incorporates a respect for violence and concentrates on developing a stronger tie between player and character, I'll be the first to sign up.
Just some thoughts while standing ankle deep in the blood of guards who were just doing their jobs.
Archive: 1998: FPS: A Gamer's Reply
I'll come straight out and tell you that I'm an avid video game player, have been since I got hooked on Donkey Kong Jr. when I was ten years old. From dotty eight bit graphics on my first Vic 20 to the Pentium 4 powerhouses and monster video cards on my home network today, I'm a technology junkie of the highest order. A simple decision by my parents set me down the path of intelligent adoption early in my experience: I begged for an Intellivision, they got me a Vic20. Suddenly I'm programming instead of mind numbing button pushing - I'm a creator not just a user. Twenty years later I'm working as a systems trainer and technician.
From that brief biography I give you my reaction to the documentary called "First Person Shooter" I saw on CTV last Sunday (http://www.firstpersonshooter.tv/index.html), created by Robin Benger, a TV producer and film maker. Rather than simply trying to scare you while appearing to keep a semblance of veracity and professional indifference, I'll try and unpack all of the assumptions and the real intent behind this lightly veiled propaganda. In its desperate attempts to stay on top I find the current popular media (and in this case medium of television itself) taking poorly researched, rather desperate shots at the latest distractions. In the case of "First Person Shooter" the father of a child deeply addicted to a game called "Counter Strike" uses his own medium (he is a television producer and film maker) to analyze and ultimately criticize his child's dependency on media.
The general issue of addiction can be dealt with in fairly specific terms. Game playing, even in its most chronic form certainly can't be quantified as a physical addiction. At best it can be described as a reinforced behaviour. What reinforces the behaviour of a chronic player, a need for control, expression, respect? Online playing is not just the wave of the future any more, it is here today. Community, interaction and team building are a huge part of the modern online gaming experience. A child addicted to this is a child addicted to a need to belong; not exactly a damning statement; and one that prompts the question: why are these things so lacking in his non-virtual existence?
What is especially laughable about Mr. Benger's documentary is that he uses his medium of television to debunk a new and competing medium for media. I wonder if he is more upset that his child is having trouble prioritizing his life or that he isn't supporting Mr. Benger's own media infatuation. The question of what benefits television has in attacking a competing medium must be an integral part of this examination.
There is a small step between an addictive personality and an obsessive one and in either case they can lead to amazing, expression or discovery. The price people pay for this kind of infatuation can also lead them to depression and ultimately make them unable to support their need. In short if you're shooting for a small target like genius you will often miss and the results aren't pretty. If a child becomes so infatuated something that it consumes their lives, it seems to me the best way to push through it is to assist them in swallowing too much. They'll eventually force themselves away from it and in doing so their rejection of the infatuation will surely be more meaningful.
In the meantime we've got something like video games, that many older people simply don't accept. They find it threatening, difficult to understand and so place a low value on it. As a gamer (with a fine arts background and an honours degree in English and Philosophy) that gaming has been churning out exceptional pieces of art for many years now. As the technology continues to improve the media presented on it will only become more immersive and meaningful. Whereas once printing allowed for the widespread, sedentary activity of reading for the masses, and movie and television furthered the trend towards sedentary, cerebral entertainment, video gaming has reintroduced the entertainee as an active participant in the process. In doing so it promises to further enhance our ability to express and understand our selves and the reality around us; the goal of any media.