Category Professional Development

Aug 23 2010

21st Century Teacher Preparation Using VW

Prospective and veteran teachers have an opportunity to participate in a teacher preparation/training model using the virtual world of Second Life at West Virginia University.  The program at West Virginia University has found it to be particularly useful for math and physics training, an area of concern for schools across the US.

Universities in general seem to have explored VW technology more readily than the K-12 sector, perhaps the safety/security/liability concerns have something to do with it.  Their incoming students are over 18, certainly more tech-savvy than their predecessors, and professors are quickly becoming more digitally literate to support the student population they serve.  It seems that a pre-requisite for attending college today is a computer.  How this translates to the more cautious K-12 sector is still up to policy makers.  At the very least, the new teaching force will have a digital comfort and will use the digital environment to enhance their own content knowledge via learning strategies that seem to translate theory into application effectively.   The VW teacher preparation can also provide opportunities to learn teaching strategies that do not require digital methods.   Role playing in a “traditional classroom setting” can take place more frequently and without disrupting learning in an actual classroom.  Prospective teachers can pre-practice with avatars before actually practicing in an actual classroom with real children, thus honing skills and building confidence.

Change is not easy. Although K-12  teachers are currently using VW with their students for standards-based learning and 21st Century skill acquisition, the numbers are comparatively low.   Perhaps new teachers coming out of universities that use the technologies will help us to make some changes in the K-12 sector to update and benefit teaching and learning.

Aug 11 2010

Beyond Powerpoint: 2D to 3D in Virtual Worlds

In an in-world presentation, Lesley Scopes aka Light Sequent presented ‘Learning Archetypes as tools of Cybergogy: A structure for eTeaching in Second Life‘ to VWBPE 2010.  The presentation was worth watching  for the information that was presented, but of particular interest was the presentation method.  Lesley used 3D world tools to present rather than bringing the more frequently used 2D tool (PowerPoint) into the 3D world.  This made the presentation more engaging than presentations I typically attend.   The 3D models brought a unique physicality to the presentation that served to interest the audience.

A 3D representation is used to make a point

The presentation took advantage of tools not available in a 2D platform and perhaps demonstrates the evolution of 2D to 3D much like the evolution of overheads to PowerPoint was a few years ago.  Using the tools available in virtual worlds requires that the presenter have some skills in the area of building.  Light Sequent explained that the 3D items could contain scripts for additional interaction between audience and information 3D graphic. At the very least the presenter should be able to place the correct 3D object in front of the audience at the appropriate time but the actual building of the objects could be built by someone adept at building.

I look forward to using this method of presentation in the future, though I’ll need to label objects carefully so I don’t accidentally place a shoe or a silly gadget in front of my audience.

Aug 4 2010

What’s the distinction between Protection from and Prevention of the Net?

The topic of safety on the Internet and protecting children from the perils of the Internet, as well as protecting organizations from possible lawsuits, have been coming up more and more frequently. A few years ago I would encounter the “ACCESS DENIED” screen not more than once every couple of months.  I would even have participants in a training purposely type in a URL that would produce that same screen, to demonstrate the effectiveness of the system keeping children secure and I would also report a site for needed blocking, if I stumbled upon something that was clearly inappropriate.   When encountering ‘the screen‘, I would continue with my work  and possibly check the source I was looking for after hours from my home computer.

Today I encounter the “ACCESS DENIED” screen several times a day and my colleagues report a similar experience.  The firewall is becoming a barrier to research, learning, collaboration and  innovation.  Now I contact the appropriate department requesting adjustment of the site I am trying to get to and  inevitably get the answer that “there is nothing that we can do – the School Board will not allow this site as it is classified as______”.  Are there more inappropriate sites than there used to be?  Are we blocking more than we used to?  Are we screening effectively?  Are we effectively teaching the appropriate use of the Internet?  Has the firewall become a replacement for teacher monitoring and supervision?  Is there a difference between social networking and professional networking?  How are social networking and social bookmarking the same/different?

The advent of social networking and virtual worlds used by the working world have caused me to ponder these questions and push back a little at our well-meaning and disciplined “Internet Police”.  I wonder if the fear of what students MAY encounter has caused us to prevent encounters that could be useful and educational.  Can social networking sites and working in virtual worlds positively impact collaboration and learning?
A government site, http://www.onguardonline.gov/, provides information for parents to know what to look for and to discuss with children regarding safety on the Internet, including social networking and virtual worlds.  Could this be curriculum material for educators to use?   In an ISTE 2010 address Mario Armstrong referred  to school districts blocking of the Internet as the  Locked Net Monster.  Check out the learning today blog for some ideas on teaching digital safety in a k-12 school setting.

I am not suggesting we unlock the firewall to all that is available, just a more thoughtful approach to what could be useful.  An approach that includes academic review, intellectual curiosity and alignment with 21st century skills.  The approach would require diligent supervision by teachers and appropriate preparation for use of the tool that has become ubiquitous, except in the classroom.  In the meantime I’ll do like the kids – use my smartphone, call a friend or wait until I get home to look it up.

 

Aug 3 2010

From Virtual to Real- Second Life Community Convention Aug 13-15, 2010

Great to see that education and work with non-profits included in this real convention about the virtual world.  There are simultaneous RL and in-world meetings as well as great keynote speakers and SL musicians performing live – in RL.  I am hoping to be able to see recordings since Boston is not on my travel list this year.

Jul 27 2010

Virtual Visuals add to Authentic Engagement

The difference between participating in a cyber educational event via a webinar and one via a virtual world  is dramatic.  When I first started to explore the use of virtual worlds to determine potential use in education I asked, “why not just use an online meeting software package? A webinar allows voice, is in real-time, allows sharing and collaborating, includes chat and sidebar conversations as well as the benefits of not having to waste time in travel and logistics of a F-t-F event”.  The use of an avatar and mechanics of having to find the right outfit for her to wear, to have her transport, walk and sit in a virtual auditorium seemed a little silly.

Avatars attending a building Class at NCI on SL. Snoopy was a classmate.

Having participated in both types of events I can now say that, for me, the Virtual World experience is much more connected.  Even a ‘talking head’ presentation with a Powerpoint is more active in the 3D virtual world than participating in a 2D webinar.  I have observed that in a 3D environment the audience seems more likely to ask questions and provide commentary which adds to the information and addresses adult learning principles.  The chat texts I have saved from regular ISTE sessions are much longer and more interesting than the ones I have from Elluminate and Meeting-Place sessions I have attended.  They are also less formal, more natural.

When I attend a “flat” webinar I have a tendency to multi-task, to have the webinar on in the background while I do some other work at my desk.  Conversely, when sitting in an audience of avatars there is a feeling of presence.  I look around and see who else is there, I may chat with someone I know, introduce myself to someone I don’t know and contribute to the conversation in local chat for everyone’s benefit or chat privately on the issues being discussed.  I rarely do other work and concentrate on the topic at hand.   I am more engaged.

Virtual events that incorporate instructional strategies such as grouping participants, taking “field trips”, and interacting with content in the environment are even more engaging and push participants to participate.

A class getting ready to go on a field trip

The use of the virtual world medium is still evolving and it seems the majority of decision makers have yet to be convinced of potential educational merits.   I was not convinced until I had mastered some basic avatar communication and mobility skills and had participated several times in sessions that were of particular interest with skilled presenters.  I have paid more attention to the cartoons in virtual worlds than to an unattached voice and a whiteboard on my computer desktop.

Jul 11 2010

Visual Arts in The Virtual World

The virtual world is of course a visual art in and of itself, but there is potential to provide learning experiences in a virtual setting that would otherwise be impossible in the real world.  In my experience, the world of visual arts can be brought to students to consume in 4 ways.

First the traditional way of walking around a museum and looking at the art.  One of the most extensive museums in the virtual world that I have seen is the Dresden Museum on Second Life (Dresden Gallery 120,128,26), which houses 750 masterpieces of European art.  An avatar can walk around the museum  and see the famous art, clicking on it to get information as it is desired. This method of learning about the art mimics a strategy used in the real world.

An avatar floats down Rumsey's Map Museum tower

The second method takes the display and viewing of works to a different level, literally.  Here an avatar can view a large collection of artwork in a “museum”  that can be traversed only in a virtual setting.  A wonderful example of this is the Rumsey Map Museum on Second Life ( Rumsey Maps 2 (193,201,715)).  The avatar visiting this museum  can fly through a tower to view the extensive map collection, stopping to click on any of interest to get additional information.

The third method of  learning about art in a virtual setting involves becoming a part of the art.  Art Box (Klaw 5,21,46) on Second Life has selected pieces of artwork with human subjects.

An avatar becomes a part of a famous piece of art in Art Box.

Participants are provided an opportunity to choose a painting and then click on a poseball to become the subject in the art.  The owners offer props and costumes for some of the art work.  Laguna Beach California has a real life, annual art show reminiscent of this strategy of enjoying art.  Actors dress and pose while backdrops and lighting are used to duplicate a painting in real life.   In the virtual setting the participant gets to make the art selection and become a part of it.  Certainly more immersive than just looking at it.

Sitting in Van Gogh's room. The builder created an elongated room to ensure groups of visitors had a correct view.

Finally, an avatar can visit a location and be completely immersed in the art.  In the case of Arles (168,23,29) on Second Life.  This amazing sim allows avatars to walk around Vincent Van Gogh’s paintings as they may have been seen by the artist.  The paintings are a 3D form and allow complete interaction.  An avatar can climb one of the famous yellow haystacks, sit in a cafe and enjoy the “starry night”, or even sit in Van Gogh’s bedroom.

The many museums in the virtual environment  each have policies regarding the use of the images they display.  It is best to experience them by visiting the location.

The places described here are not available to students under 18 years of age, but the methods may be used to create art locations in the Opensim grids so that students may interact with art and thus learn about it.  Better yet, students may become the producers and create these environments with art work in the public domain or even their own art work.

Jul 2 2010

VW Learning Curve

Teaching and helping someone makes the teacher a better teacher – (perhaps a case for peer mentoring).  Helping others to participate in a Virtual World requires patience, thorough comfort with and knowledge of the virtual environment, and practice.  My advice to anyone seeking to encourage colleagues to use a virtual environment for education is to first become something of an expert and practice giving assistance to others whenever an opportunity arises,  it will make you a better instructor.  Good teachers know the answers and how to best instruct partly because they have heard the same questions so many times and they have had to explain to many students with a variety of learning styles and requirements.  There is a learning curve in using virtual worlds.  When individuals become frustrated they often want to quit, give-up.  To keep the frustration at bay the teacher/helper needs the solutions in the adequate amount at the correct time in the appropriate modality for the learner.  Adopting the use of virtual environments in education is going to take time.

Jun 28 2010

Pixel Performances

How can performing in a virtual setting help aspiring musicians? Performing in a virtual setting includes characteristics of a

A "live" musical performance in the virtual world

real life performance as well as some unique qualities available only in a virtual world. A musician on Second Life told me it was more like being in a sound studio, missing are the auditory and visual cues that a real audience provides. In a virtual environment, you must ‘read’ your audience through chat. Setting up equipment so that you can see the computer screen while you perform allows a performer to be able to read the chat and thus respond to audience cues. Typically the audience will respond with applause and commentary, the commentary does not disrupt the performance and is typically a conversation about the performance (the lyrics, historical references, personal reflections). Another unique trait of entertaining an audience of avatars is that you can see all their names and additional ID tags providing the performer with a supply of information for personal interaction with the audience.

Technical aspects of performing online require some hardware setup as well as software to enable audio streaming. A basic requirement is a high quality microphone and a quality sound card. Some software is available online for free and some have an associated cost. Setting up to a streaming server and entering IP addresses are part of the setup. Then of course the performing avatar must develop their stage presence including attire, hair, appropriate instruments and animations. The ability to create supernatural effects to enhance a performance brings an additional magic to a virtual show that could be cost prohibitive or simply impossible in the real world.

A student who is interested in performance as a future career may be able to learn a great deal by performing in a virtual setting. There are the technical and studio aspects as well as the “live” aspects. The virtual stage can provide a feeling of “being there” without some of the barriers of physicality and on stage jitters that often accompany new performers. In a recent LA Times article, Thriving Music Scene, a musician who regularly performs inworld, and makes money doing so, states that “…the interactive experience that the virtual platform provides can actually surpass that of traditional live gigs.” Perhaps this venue can provide a “training stage” to help prepare future performers, something for our performing arts instructors/schools to consider.