Learning facts and rules

Facts are man-made, as the etymological origin ‚facere‘ suggests. The creation of this kind of knowledge, facts, follows certain meta-facts, called rules. One can see a vague anaologon to declarative and procedural knowledge, „knowing that“ and „knowing how“, both calling for different ways of transfer respectivly acquisition.

While a fact may be taught ‚as whole‘, a rule will stay in it’s dormant stage as just another fact if treated alike. This, too, is already known: To effectively teach or learn a rule, its application has to be an integral part of the fact.

Games and serious simulations both provide for the learning of rules with a „what if…?“ approach. But while a serious simulation approach in the end usually aims for a correct application of rules, games, due to their experimental and fun character, sometimes allow for or even challenge aberratic cognitive behaviour: Misusuing the game (cheating, changin of rules etc.) or enjoying unwanted or dismissed behaviour. While in a serious simulation the final goal may be to be able to safely land a plane, in a playful state-of-mind it may be to crash it in the most enjoyable way.

Compared to Ernst von Glasersfeld’s metapher of cognition, of a blind man who wants to get through a dense wood and bumps against unseen trees, learning with games resembles blindfolded playing tag and hide-and-seek within this very wood: Its character is more mapmaking than pathfinding.

Thus using games just to transfer facts – like in quiz games or linear adventure games, the mainstay of commercial edutainment – forfeits the possibility to present rules and render them experiencable as something cognitively ‚tangible‘.

Serious game „Tiebranimes“ to download

Nearly ten years ago I attended a seminar about „Kinderspiel – Kinderspiele: Theorie – Empirie“ („Children’s Play and Games: Theoretical and Empirical Views“), where one possible task was to create a learning game. I was flabbergasted that the three other groups came up with – quite adorable, I have to admit – variations of games similar to „Trivial Pursuit“ for pupils: Roll a die, draw a card, answer correctly and go on. This seemed to me like an unfortunately quite realistic representation of schooling.

Depressed and feeling slightly challenged, I and a co-student went to work on a game suitable for students of pedagogy: It should be usable to give new students an overview on historic and contemporary educators, but also deliver a tongue-in-cheek view on the study of educational science in the cogs and wheels of the university.

So, here’s a serious game about historic educators, where you can cook your fellow students‘ goose while competing for the scarce ressource of books in the department’s library. Testplayers enjoyed the game and found the short descriptions, categorisations and quotes on people like Comenius, Flitner, Socrates etc. quite helpful.

You may now download the card game (german texts, 88 cards, rules, and a nifty box to store the stuff) in 300dpi-print quality. This game was my first attempt on an educational card game, a labour-of-love as well as a proof-of-concept: You know, not all learning games have to work like quiz games!

By the way: „Tiebranimes“ can be read backwards, then it spells „Homework assignment“ in german.

First Faculty Research Day

This wednesday there will be a presentation of projects and initiatives stating research interests of members of our faculty. As it seems, my poster (german) will be up, too, to give a slight and very superficial overview on Game Based Learning and its implications, as expressive medium, ethical playground, experimental simulation, metagame and cultural mirror. The first feedback so far: Nice idea using Tetris. And having a certain yellowpress-appeal in its brutal bluntness. Well, one can do worse, I guess.

All initiatives can be found at
http://www.epb.uni-hamburg.de/de/forschungstag2009.

Topological Metaphors for Structuring Games (I): Storyspaces

Wey-Han Tan (April 2008)

StorySpaces

Stories give in-game experiences context and contingency. There are abstract games like „Tetris“ or „Add’em up„, which rely exclusively on game mechanism and aesthetics to hold the player’s attention. But in the end, a player of an abstract game can retell it to interested listeners just in terms of general adjectives, and not about the none the less exciting events and situations in it.

Connected to Situated Cognition, Anchored Instruction and Cognitive Apprenticeship, one can say that a gripping story that’s deemed worth to be retold by the player/learner, is also one most likely to be remembered – including the facts and skills contextualised with and situated in it. Weiterlesen

Topological Metaphors for Structuring Games (II): Rulespaces

This is a short summary on „Storyspaces and Rulespaces“ from the MA in ePedagogy Design I’m currently working on.
Wey-Han Tan (April 2008)

Rulespaces

Rules define the boundaries of the player’s actions and give them direction and jurisdiction. As shown in the ambivalence of games and toys (Sutton-Smith), they provide both limits and freedom, but also usually require unquestioned acceptance (Caillois) for the player to play a game.
As well as the method of teaching (see the learning paradigms) has repercussions on what is learned beyond the overt content, so does the use of certain types of rules affect the playing experience and the situating of skills and knowledge learned in-game. Weiterlesen

Creating cognitive tension – and then what?

I stumbled upon this entry in the great BoingBoing-blog, an excerpt from a longer Smithonian article: Steve Martin explaining a special method of eliciting laughter from the audience, in comparision to the usual comedian’s technique of creating tension and releasing laughter via a punchline.

Martin’s approach is different: Creating tension – and not to relieve it. Giving an unexpected anticlimax, not the expected ‚unexpected‘ exit. And then let the audience choose a point where to relieve the upbuilt tension. Steve Martin:

„What if there were no punch lines? What if there were no indicators? What if I created tension and never released it? What if I headed for a climax, but all I delivered was an anticlimax? What would the audience do with all that tension? Theoretically, it would have to come out sometime. But if I kept denying them the formality of a punch line, the audience would eventually pick their own place to laugh, essentially out of desperation. This type of laugh seemed stronger to me, as they would be laughing at something they chose, rather than being told exactly when to laugh.“

This seems to be a good approach, too, for educational gaming. In a usual, moderate constructivistic setting, you have the path of

[exploration] – [encounter of a task/test] – [correct solving of the task/test] – [reward].

What will happen if you constantly deny the learner the ‚punchline‘ as confirmation that he learned something he was meant to learn?

Three learning theories mini games

For my seminar „Games, Play and Education“ I’ve scraped together (via skinning, modding, recontextualisation) three minigames. These should serve as an intro to the three learning paradigms of Behaviourism, Cognitivism and Constructivism and their possible realisation in games via their very different gaming mechanisms.

The 32 cards and the rules can be downloaded as printable PDF (three pages) via this link: ThreeLearningTheoriesMinigames.

ThreeLearningTheoriesMiniGames

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Gaming: A cheat mode for reality

I’ve noticed that rubberbanding (aka levelled gameplay or dynamic game balancing) is a good metaphor to describe what Lev Vygotsky, a russian educational scientist, described as keeping a learner in the ‚zone of proximal development‚. This means that the environment – parent, teacher, virtual learning environment – keeps up a certain level of difficulty in its tasks, to further emerging abilities in the learner. Coincidentally – or not so – this goes quite well with theories (for example Brian Sutton-Smith) that play and game are the most fulfilling when experienced in a state of internal insecurity of the outcome.

Thus rubberbanding is a game designer’s meta cheat to keep the player in the game and the learner hooked to the knowledge.

It could be discussed whether any game, by artificially creating rules facilitating a fair, inherent meaningful and fulfilling gaming experience is a cheat mode for the game we call ‚reality‘ and a tutorial mode (or editor) for the game we call ’society‘.

A path unwanted: Impossibly realistic games

One of the distinctive criteria of games compared to ‚reality‘ is their loose connection to the latter, a worksafe simplification of rules and goals. This doesn’t mean that these games are simple to play, but that rules and metarules are stated or can at least be relied upon as unchanging background as long as we play the game.

The same two mechanisms, simplification and a stated stable background, are the cornerstones of politics, especially in times of war. Knowing the enemy, recognizing the enemy, destroying the enemy, all executed in an unerring, straightforward mode.

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A path less trodden: Realistic impossible games

There’s a category of games which deals with ‚the impossible‘ as main theme. This is an approach which takes an entirely different direction than the quest for more realism in gaming. Most mainstream games usually strive for physical, contextual or emotional realism: Realistically behaving objects and environments, relatable everyday settings, involving and intriguing characters.

Each of this categories has a counterpart, be it an M.C.Escher-like warped universe or a Black-White-Shift of invertible negative space of the same ilk, a Lewis Carroll-like twisted conception of reality’s relationships or the Oliver Sacks‚-like madnesses of people both strange and affectionate.

The german expression ‚verrückt‘ would fit well, meaning both ‚crazy‘ and ‚pushed out of place‘. It’s a radical change of view, both forced on the player and also a necessary precondition to understand and play the game.

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