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A cross-media narrative experience - paper presented at CELDA 2009

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  2. 2. Geodromo project <ul><li>Geodromo is a multimedia simulator platform and a Web site with a puzzle game aimed at teaching Geology, Climate, Biology and Archeology </li></ul>
  3. 3. partners <ul><li>City of Alcanena (Portugal) </li></ul><ul><li>Natural Park of Aire and Candeeiros </li></ul><ul><li>School of Technology and Management of the Leiria Polytechnic </li></ul><ul><li>Portuguese Open University (Universidade Aberta) </li></ul><ul><li>Center of Geology and the Museum of Natural History (Lisbon) </li></ul>
  4. 4. objectives <ul><li>introduce the Natural Park of Aire and Candeeiros Mountain Range </li></ul><ul><li>start a (virtual) journey of 175 Million years </li></ul><ul><li>show the origins of the Alviela spring </li></ul><ul><li>cover a large part of our planet’s history </li></ul><ul><li>simulate cosmic phenomena, geologic events and climatic change </li></ul>
  5. 5. context <ul><li>go beyond the usual point-click-watch </li></ul><ul><li>create a holistic sensorial experience </li></ul><ul><li>link a multimedia simulator and an online game </li></ul><ul><li>deal with pervasive techno-cultures </li></ul><ul><li>connect the real environment of nature with a virtual environment </li></ul>
  6. 6. design considerations <ul><li>build an immersive theater environment (with a robotic platform) </li></ul><ul><li>create 3D graphics to illustrate 175 Million years of earth history </li></ul><ul><li>shoot aerial images over the mountain range </li></ul><ul><li>get images of caves and speleological activity </li></ul><ul><li>record video of diving in the underground ducts of the Alviela river </li></ul>
  7. 7. robotic platform
  8. 8. design of animated 3D graphics
  9. 9. scientific validation
  10. 10. creation of a virtual world
  11. 11. - Travelling em tirolesa - Travelling em grua – apoio corredor da Plataforma - Travelling em grua – apoio topo do Caracol - Travelling em grua – apoio base da Sala Travelling Shots – Algar do Pena
  12. 13. appealing video narrative ambiguous situations were created to provoke curiosity and boost attention
  13. 14. technology and pedagogy <ul><li>information is now available mostly online instead of offline </li></ul><ul><li>printed book materials tend to be replaced by multimedia materials </li></ul><ul><li>learners are producers of multimedia materials </li></ul><ul><li>teaching is cross-disciplinary and cross-cultural </li></ul><ul><li>multimedia design must follow current scientific knowledge to be valid as learning resource </li></ul>
  14. 15. current problems <ul><li>exaggerated emphasis on the technical characteristics of multimedia (involving endless and useless routines of data manipulation) </li></ul><ul><li>many educational materials and websites full of rich content are deficient for instruction and usually follow high-tech entertainment options </li></ul><ul><li>often animations and videos presented have an excess of information that becomes difficult for a student to apprehend the right framework </li></ul>
  15. 17. twitter
  16. 18. Second Life
  17. 20. iTunes U
  18. 21. New digital media options New student profiles New learning models
  19. 22. a new approach
  20. 23. a cross-media narrative <ul><li>requirements: active engagement, participation in groups, interaction and feedback, and connections to real world contexts </li></ul><ul><li>cross-media narrative that evolves based on knowledge associated with a real world setting </li></ul><ul><li>the experience takes place in a physical space but it’s also a “virtual journey” </li></ul><ul><li>following up clues to locate particular information online (game play ) </li></ul>
  21. 24. strategic issues <ul><li>break away from the mainstream didactics of Geology, Biology or Archeology </li></ul><ul><li>shift curriculum focus from knowledge about things to knowledge significant to each learner </li></ul><ul><li>be able to graphically see and discuss abstract concepts related to the curriculum </li></ul><ul><li>acknowledge the value of emotions as a tool to be used in the cognitive dimension </li></ul>
  22. 25. emotional impact <ul><li>high emotional impact of the physical experience as the platform moves in synch with a video </li></ul><ul><li>potential for students to learn through intense interaction that builds on tacit knowledge </li></ul><ul><li>ability to engage the students in further gaming and learning activities </li></ul><ul><li>infusion experiences and other rich learning contexts may support activity in novel situations </li></ul>
  23. 26. rich learning contexts
  24. 27. emotion and cognition <ul><li>importance of emotions in cognitive processes and memory operations (Damásio) </li></ul><ul><li>shift the educator’s view on emotions - a dimension that co-exists with the intellect </li></ul><ul><li>multimedia and games as strategy to engage students and deliver part of the curriculum </li></ul>
  25. 28. ability to engage students
  26. 29. imagination factor <ul><li>capacity to create mental “images” enabled by techniques of representation and narration </li></ul><ul><li>creation of digital 3D models that can show a “new” reality (sometimes just educated guesses) </li></ul><ul><li>provide access to some curriculum subjects by means of digital technology </li></ul>
  27. 30. conclusion <ul><li>accomplished an innovative prototype of an educational multimedia resource </li></ul><ul><li>thousands of young people and general public were attracted by the robotic simulator platform </li></ul><ul><li>many teachers have been using both the platform and the online materials to engage students with formal curriculum and instruction </li></ul>
  28. 31. future concerns <ul><li>improve the integration of the “virtual reality” set in the theater with the online environment </li></ul><ul><li>game should be more complex and based on a simulation model </li></ul><ul><li>have a few levels of varying degrees of difficulty through which the players can move </li></ul><ul><li>puzzle game falling within the detective genre is justified only with financial constraints </li></ul>
  29. 32. Thank You! [email_address]