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Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
Using A Mediated Environments Reference Model To Evaluate Learning
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Using A Mediated Environments Reference Model To Evaluate Learning

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A review of the conceptual framework developed as part of my PhD and being used to evaluate the Theatron project

A review of the conceptual framework developed as part of my PhD and being used to evaluate the Theatron project

Published in: Economy & Finance, Education
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  • 1. Using a Mediated Environments Reference Model to evaluate learners' experiences of Second Life Mark Childs Institute of Education, University of Warwick
  • 2. Using a Mediated Environments Reference Model to evaluate learners' experiences of Second Life Mark Childs Institute of Education, University of Warwick
  • 3. Outline <ul><li>The Theatron Project </li></ul><ul><li>The Mediated Environments Reference Model </li></ul><ul><li>Preliminary Evaluation </li></ul><ul><li>Reflections </li></ul>
  • 4. Epidavros
  • 5. Theatre of Pompey
  • 6. Added Learning Content
  • 7. Mediated Environments Diagram from Steuer ,1992; 8 “ mediated environments” enable participants that are separated by distance to communicate synchronously through a mediated shared space Zhao, 2003; 445 “ information is not transmitted from sender to receiver; rather mediated environments are created and then experienced” (Steuer, 1995; 37)
  • 8. Why a MERM? <ul><li>The need </li></ul><ul><li>To make sense of the literature </li></ul><ul><li>To structure the evaluation </li></ul><ul><li>To communicate the findings </li></ul><ul><li>The issues </li></ul><ul><li>No map </li></ul><ul><li>Multiple disciplines </li></ul><ul><li>Inconsistent terminology </li></ul>
  • 9. Newman (2005) de Freitas and Oliver (2006; 253) Zeltzer (1990) Sheridan, 1992; 121-122 Steuer (1995; 40) Naimark, 1990 Dreyfus (2000; 57) Kim and Biocca 1997 Garrison, Anderson and Archer, 2000 Becker and Mark (2002; 29) IJsselsteijn (2005; 9) Biocca, 1997 Knudsen, 2004; 43 Bailey, 2007; 24 Prensky, 2001;2 Heeter (1995; 200) Badique et al (2002, 1157) Darken and Peterson, 2002; 494 Bowman, 2002; 283 Bennett and Peachey, 2007 Bennetsen (2006) Mor et al (2006) Salmon (2004) Heeter, (1992) Savin-Baden (2008)
  • 10.  
  • 11. Experience
  • 12.  
  • 13. Learning activities
  • 14. Characteristics of learner
  • 15. Initial impressions <ul><li>Copresence with other performers </li></ul><ul><li>Conveyed through voice (≡ radio) </li></ul><ul><li>Develops as experience of other performers increases (more so than platform?) </li></ul><ul><li>Social presence of performers </li></ul><ul><li>Conveyed through voice (and ability) </li></ul><ul><li>Enhanced through gestures </li></ul>
  • 16. Initial impressions <ul><li>Presence </li></ul><ul><ul><li>Limited by responsiveness of avatars </li></ul></ul><ul><ul><li>Limited by delay (compensated by experience) </li></ul></ul><ul><ul><li>Moving one’s avatar ≡ puppetry </li></ul></ul><ul><li>Works for performances where technology foregrounded (cf. telematic performance) </li></ul>
  • 17. Reflections <ul><li>MERM useful for </li></ul><ul><ul><li>developing terminology </li></ul></ul><ul><ul><li>Structuring questions and responses – a “mediating form of representation” </li></ul></ul><ul><li>Need to consider more </li></ul><ul><ul><li>Distinction in learning activities between whether or not technology is foregrounded </li></ul></ul><ul><ul><li>Relationship between participant and avatar (degree of automation) </li></ul></ul>
  • 18. Conclusion (so far)
  • 19. Conclusion (so far) <ul><li>Reference models are essential, but this one needs a bit more work </li></ul>
  • 20. Contact details <ul><li>eportfolio: http://go.warwick.ac.uk/ep-edrfap </li></ul><ul><li>Slides: http://www.slideshare.net/markchilds </li></ul><ul><li>Email: [email_address] </li></ul><ul><li>Blog: http://blogs.warwick.ac.uk/markchilds </li></ul><ul><li>Machinima: http://youtube.com/user/arcp59 </li></ul><ul><li>SL Name: Gann McGann </li></ul>

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