Teaching Philosophy and Rhetoric with Game-Based Learning


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I offered this workshop presentation on my game-based learning methods for teaching philosophy and rhetoric and composition.

Presented at e-Learning Consortium of Colorado (eLCC) 2014.

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Teaching Philosophy and Rhetoric with Game-Based Learning

  1. 1. Teaching Philosophy and Rhetoric with Game-Based Learning Sherry Jones Philosophy, Rhetoric, Game Studies e-Learning Consortium of Colorado (eLCC) April 17, 2014 sherryjones.edtech@gmail.com @autnes http://bit.ly/gbl2014
  2. 2. WHAT IS A GAME? ● A game, whether analog or digital, is a self- contained system or space designed for the purpose of play. ● Play is an activity that allows us to experiment, repeat behaviors without fear of failure, and make a series of possible choices to render an experience meaningful.Phoenix, the Ace Attorney, says . . .
  3. 3. WHAT IS GAME-BASED LEARNING? Game-Based Learning (GBL) is a teaching method that utilizes analog or digital games in instruction. GBL involves both instructional and participatory acts: 1. Instructional Act - Instructors reference self-contained systems in analog or digital games to teach concepts, theories, system-thinking, and design-thinking. 2. Participatory Act - Learners play games and create game systems for experiential learning.
  4. 4. WHAT GAMES CAN BE USED IN INSTRUCTION? Many educators believe that only educational or serious games, designed to be didactic, can be used in instruction. In reality, games from all genres can support instruction. Intentional or not, the design of game systems and game narratives is always referential to or builds upon existing ideologies, and principles of logic, mathematics, rhetoric, philosophy, psychology, physics, engineering, etc.
  5. 5. BEFORE WE PLAY . . . Given time constraints, we will only play short digital games that are rich with meaning in this GBL Workshop. I will share a few of my methods for teaching rhetoric and philosophy with digital games. LET’S GO!
  6. 6. LET’S PLAY STORY HERO Story Hero http://bit.ly/storyherogame
  7. 7. LOGOS OF STORY HERO Ex. Analyze the game’s logos (order, knowledge, reasoned discourse). 1. List the exact sequence (order) to activate keywords. Explain the logic. 2. What pairs of words are binary oppositions? Are the binaries stable or culturally contingent? 3. According to the game’s logos, what is a “hero”? “Deductive Reasoning Time . . .”
  8. 8. LET’S PLAY THE LAST NIGHT The Last Night http://bit.ly/thelastnight1
  9. 9. ETHOS OF THE LAST NIGHT Ex. Analyze the game’s ethos (character, guiding ideals, credibility). 1. Do research on the genre, “cyberpunk.” 2. Identify specific in-game elements that express the ideals of cyberpunk. 3. “Paratext” is type of text that frames the main text, and influences the audience’s reception of the main text. Identify paratextual elements that add to the game’s cyberpunk ethos. “Deductive Reasoning Time . . .”
  10. 10. LET’S PLAY! NOTHING YOU HAVE DONE DESERVES SUCH PRAISE Nothing You Have Done Deserves Such Praise http://bit.ly/praisegame
  11. 11. PATHOS OF NOTHING YOU HAVE DONE DESERVES SUCH PRAISE Ex. Analyze the game’s pathos (appeal to emotions, empathy, relatedness). 1. Provide verbal, audio, and visual examples that express the game’s pathos. 2. What is the main claim of the game? 3. Does the game’s pathos support the main claim? Explain. “Deductive Reasoning Time . . .”
  12. 12. LET’S PLAY! TRIHAYWBFRFYH TRIHAYWBFRFYH http://bit.ly/rapture1
  13. 13. EXISTENTIALISM IN TRIHAYWBFRFYH Ex. Jean-Paul Sartre’s Existentialism. 1. Sartre defines “facticity” as the givens (language, environment, previous choices, selves) that constitute our “situations.” What facticity does one face in the game situation? 2. How is one “condemned to be free” in the game? 3. “Bad faith” is to adopt false value and disown innate freedom. Explain the concept in terms of the game. “Deductive Reasoning Time . . .”
  14. 14. LET’S WATCH PERSPECTIVE Perspective http://seewithperspective.com
  15. 15. SEEING-THAT VS. SEEING-AS IN PERSPECTIVE Ex. Ludwig Wittgenstein’s “Seeing-As.” 1. Wittgenstein explains we perceive objects in two ways: Seeing-that (reporting what we see), vs. Seeing-as (noticing an aspect of what we see as something). Seeing-as involves recognizing the relation between the object with another object or narrative (i.e. context matters in perception). 2. How do aspects in the game affect our “seeing objects as” something else? “Deductive Reasoning Time . . .”
  16. 16. LET’S WATCH THE STANLEY PARABLE (2011 MOD) The Stanley Parable (2011 Mod) http://bit.ly/stanleyparable2011
  17. 17. FREEDOM & DETERMINISM IN THE STANLEY PARABLE Ex. Which view describes the level of Free Will in the gameplay (6 outcomes possible)? 1. Determinism - All events are determined by causal laws; freedom is an illusion. 2. Compatibilism - All events are determined by causal laws; humans can be free via internal motivations. 3. Indeterminism - Some events may be random; freedom is possible. 4. Libertarianism - Humans can exercise free will fully; freedom is possible. “Deductive Reasoning Time . . .”
  18. 18. ALL GAMES CAN BE DIDACTIC ● Games are unique artifacts that can be interactively experienced. ● Games possess similitude to other self-contained systems, real or conditional, and can be studied as models or analogies to concepts, theories, and systems. ● Games are emergent new media that pervade our lives, and their effects should be examined. ex. wearables, sensing machines, VR, AR.
  19. 19. QUESTIONS? COMMENTS? Sherry Jones Philosophy, Rhetoric, Game Studies Writings & Artifacts sherryjones.edtech@gmail.com @autnes Access This Slideshow - http://bit.ly/gbl2014