A wide variety of media can be used in learning, including distance learning, such as print, lectures, conference sections, tutors, pictures, video, sound, and computers. Any one instance of distance learning will make choices among these media, perhaps using several.

Multimedia in Learning

When natural scenes are viewed, a multitude of objects that are stable in their environments are brought in and out of view by eye movements. The posterior parietal cortex is crucial for the analysis of space, visual attention and movement 1 . Neurons in one of its subdivisions, the lateral intraparietal area (LIP), have visual responses to stimuli appearing abruptly at particular retinal locations (their receptive fields)2. We have tested the responses of LIP neurons to stimuli that entered their receptive field by saccades. Neurons had little or no response to stimuli brought into their receptive field by saccades, unless the stimuli were behaviourally significant. We established behavioural significance in two ways: either by making a stable stimulus task-relevant, or by taking advantage of the attentional attraction of an abruptly appearing stimulus. Our results show that under ordinary circumstances the entire visual world is only weakly represented in LIP. The visual representation in LIP is sparse, with only the most salient or behaviourally relevant objects being strongly represented.

The representation of visual salience in monkey parietal cortex

A. L. Kroeber and Clyde Kluckhohn, "culture: A critical review of concepts and definitions"

The purpose of this article is to critically deconstruct the term engagement as it applies to peoples' experiences with technology. Through an extensive, critical multidisciplinary literature review and exploratory study of users of Web searching, online shopping, Webcasting, and gaming applications, we conceptually and operationally defined engagement. Building on past research, we conducted semistructured interviews with the users of four applications to explore their perception of being engaged with the technology. Results indicate that engagement is a process comprised of four distinct stages: point of engagement, period of sustained engagement, disengagement, and reengagement. Furthermore, the process is characterized by attributes of engagement that pertain to the user, the system, and user-system interaction. We also found evidence of the factors that contribute to nonengagement. Emerging from this research is a definition of engagement—a term not defined consistently in past work—as a quality of user experience characterized by attributes of challenge, positive affect, endurability, aesthetic and sensory appeal, attention, feedback, variety-novelty, interactivity, and perceived user control. This exploratory work provides the foundation for future work to test the conceptual model in various application areas, and to develop methods to measure engaging user experiences. © 2008 Wiley Periodicals, Inc.

https://open.library.ubc.ca/media/download/pdf/52383/1.0107445/1

What is user engagement? A conceptual framework for defining user engagement with technology

Simulacra and Simulation

This paper describes an investigation into how real-time but low-cost biometric information can be interpreted by computer games to enhance gameplay without fundamentally changing it. We adapted a cheap sensor, (the Lightstone mediation sensor device by Wild Divine), to record and transfer biometric information about the player (via sensors that clip over their fingers) into a commercial game engine, Half-Life 2. During game play, the computer game was dynamically modified by the player’s biometric information to increase the cinematically augmented “horror” affordances. These included dynamic changes in the game shaders, screen shake, and the creation of new spawning points for the game’s non-playing characters (zombies), all these features were driven by the player’s biometric data. To evaluate the usefulness of this biofeedback device, we compared it against a control group of players who also had sensors clipped on their fingers, but for the second group the gameplay was not modified by the biometric information of the players. While the evaluation results indicate biometric data can improve the situated feeling of horror, there are many design issues that will need to be investigated by future research, and the judicious selection of theme and appropriate interaction is vital. Author Keywords Biofeedback, gameplay, horror, cinematics, shaders.

/pdf/please-biofeed-the-zombies-enhancing-the-gameplay-and-328lo5w5e3.pdf

Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback

How can we increase awareness and understanding of other cultures using interactive digital visualizations of past civilizations? In order to answer the above question, this book first examines the needs and requirements of virtual travelers and virtual tourists. Is there a market for virtual travel? Erik Champion examines the overall success of current virtual environments, especially the phenomenon of computer gaming. Why are computer games and simulations so much more successful than other types of virtual environments? Arguments that virtual environments are impeded by technological constraints or by a paucity of evaluation studies can only be partially correct, for computer games and simulations are also virtual environments. Many of the underlying issues are caused by a lack of engagement with the philosophical underpinnings of culture, presence and inhabitation, and there are few exemplars that engage the public with history and heritage using interactive media in a meaningful and relevant manner. The intention of Playing With the Past is to help designers and critics understand the issues involved in creating virtual environments that promote and disseminate historical learning and cultural heritage through a close study of the interactive design principles at work behind both real and virtual places. Topics discussed include the design of virtual environments, and especially virtual heritage environments, virtual place-making, cultural presence, the pros and cons of game-style interaction, augmented reality projects, and appropriate evaluation methods. Virtual heritage environments discussed in the book include projects from Antarctica, Australia, Mexico, Malta, Egypt, Babylon, the Netherlands, Cambodia, and India.

Playing with the Past

This paper surveys current notions of social and cultural presence as they may help the evaluation of cultural heritage projects. We argue that cultural heritage requires specialized evaluation, as key issues both connect and separate the aims of presence researchers and cultural heritage experts. To support this argument, three case studies of virtual heritage evaluations are summarized, and recommendations made as to how experimental design and evaluation may be improved for future projects.

Evaluating presence in cultural heritage projects

This book explains how designing, playing and modifying computer games, and understanding the theory behind them, can strengthen the area of digital humanities. This book aims to help digital humanities scholars understand both the issues and also advantages of game design, as well as encouraging them to extend the field of computer game studies, particularly in their teaching and research in the field of virtual heritage. By looking at re-occurring issues in the design, playtesting and interface of serious games and game-based learning for cultural heritage and interactive history, this book highlights the importance of visualisation and self-learning in game studies and how this can intersect with digital humanities. It also asks whether such theoretical concepts can be applied to practical learning situations. It will be of particular interest to those who wish to investigate how games and virtual environments can be used in teaching and research to critique issues and topics in the humanities, particularly in virtual heritage and interactive history.

Critical Gaming: Interactive History and Virtual Heritage

In recent years, Augmented Reality (AR), Virtual Reality (VR), Augmented Virtuality (AV), and Mixed Reality (MxR) have become popular immersive reality technologies for cultural knowledge dissemination in Virtual Heritage (VH). These technologies have been utilized for enriching museums with a personalized visiting experience and digital content tailored to the historical and cultural context of the museums and heritage sites. Various interaction methods, such as sensor-based, device-based, tangible, collaborative, multimodal, and hybrid interaction methods, have also been employed by these immersive reality technologies to enable interaction with the virtual environments. However, the utilization of these technologies and interaction methods isn't often supported by a guideline that can assist Cultural Heritage Professionals (CHP) to predetermine their relevance to attain the intended objectives of the VH applications. In this regard, our paper attempts to compare the existing immersive reality technologies and interaction methods against their potential to enhance cultural learning in VH applications. To objectify the comparison, three factors have been borrowed from existing scholarly arguments in the Cultural Heritage (CH) domain. These factors are the technology's or the interaction method's potential and/or demonstrated capability to: (1) establish a contextual relationship between users, virtual content, and cultural context, (2) allow collaboration between users, and (3) enable engagement with the cultural context in the virtual environments and the virtual environment itself. Following the comparison, we have also proposed a specific integration of collaborative and multimodal interaction methods into a Mixed Reality (MxR) scenario that can be applied to VH applications that aim at enhancing cultural learning in situ.

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Erik Champion

Papers

Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback

Playing with the Past

Evaluating presence in cultural heritage projects

Critical Gaming: Interactive History and Virtual Heritage

A Comparison of Immersive Realities and Interaction Methods: Cultural Learning in Virtual Heritage.