Recently in the Design Category

The Kindle e-book reader frees academics from having to carry around a huge collection of chunks of matter, but flipping from main text to footnotes is awkward, and the highlighting tool doesn't replace the bracketing, underlining, and commenting that we do between the lines.

In a few days, I expect to be the owner of a new Kindle DX (the full-page reader, designed for magazines and full-page PDF readings). I found the Kindle most useful when I was reading for pleasure.

I have to admit I am scared silly by the idea of a generation of students so alienated from material they are supposed to be immersed in that they rent digital textbooks that they do not intend to keep, cannot dog ear and underline, and otherwise feel totally alienated from. Even the current trend of students not underlining in books so as to preserve their resale value strikes me as appalling. Taking ownership of your education -- and indeed, just learning how to read closely -- means making your books part of your physical environment. In an era when you thought criminally overpriced textbooks full of uselessly pretty pictures and pre-chewed content was the absolute nadir of education, the Campus Full Of Kindles demonstrates we still have lower to sink. If, that is, the Kindles alienate students from their libraries rather than empowering them to immerse themselves in them. --Alex Golub, Inside Higher Ed

I hear students tell me that in some disciplines, individual textbooks cost $200. I don't think it's the Kindle that's done the alienating.

Update: MIke Arnzen invokes the Kindle in a good post on teaching creative writing in the digital age. His reflections parallel many of my own, as I contemplate my role as a teacher of journalism.

Awesome Flash animation from the University of Utah, showing relative sizes from a coffee bean to a carbon atom.

I wish it could also zoom out and show astronomical sizes, too, like this FSU slide show (not as smooth as the Utah one) or the famous Powers of Ten movie.

I just excerpted and linked to a story from the Huffington Post Blog, and after I checked my blog I found a strange link floating above all the rest of my text, making both my own text that was under the link and the link itself illegible.

I had already included a link to the HuffPo. I had to spend extra time locating and removing this extra crap that appeared in my clipboard buffer.

<div style="position: fixed;"><div id="new_selection_block0.017883485913577468" style="border: medium none ; overflow: hidden; color: rgb(0, 0, 0); background-color: transparent; text-align: left; text-decoration: none;"><br /><br />Read more at: <a href="http://www.huffingtonpost.com/lenore-skenazy/as-goes-halloween-so-goes_b_340163.html" target="_blank_">http://www.huffingtonpost.com/lenore-skenazy/as-goes-halloween-so-goes_b_340163.html</a></div>

I feel bullied, or at the very least treated with the assumption that anyone copy-pasting from HuffPo intends to steal the content.

The next time I think of driving traffic to The Huffington Post, I'll remember how their CSS trick messed up my layout, and I'll probably pass.

While much of the talk covered well-known libraries (SDL, OpenAL), game engines (Ogre, Irrlicht), physics engines (Bullet, Tokamak), and content creation tools (Blender, GIMP), there were a few surprises. One was how many open source game-creation systems I found (4, more than the zero I expected). These are Game Editor (2d with export to some mobile devices), Construct (2d, some 3d), Novashell (2d), and Sandbox (3d). Another surprise was the game Yo Frankie! (pictured above), which has very high quality animation and artwork, and was produced using Blender. --Jim Whitehead

Peter Mawhorter offers up a reading list on games:

For anyone curious about what I've been reading, here's the list of what I've read to get an introduction to this area:

• "Why We Play Games: Four Keys to More Emotion Without Story" by Nicole Lazzaro.
• "GameFlow: A Model for Evalucating Player Enjoyment in Games" by Penelope Sweetser and Peta Wyeth.
• "An Experiment in Automatic Game Design" by Julian Togelius and Jürgen Schmidhuber.
• A Theory of Fun for Game Design by Raph Koster.

One other thing that I've not yet read but am interested in is Mihaly Csikszentmihalyi's Flow: The Psychology of Optimal Experience. It's not targeted at games, and in fact looks at fun from a psychological perspective, but it's cited by most of what I've read so far, and is the product of some very thorough research.

I assigned book one of Maus: A Survivor's Tale to a "Writing About Literature" class, the designated writing-intensive course for our English majors.

The students discussed the abrupt ending, the use of ethnic stereotypes, and of course the comic book medium itself. One student's "Hearing through Yiddish... Seeing in Ink..." is particularly thoughtful.

About a third of the class went on to read book two, even though it wasn't on the syllabus; one student read the book aloud to her nine-year-old sister.

This weekend, Seton Hill is home to a conference sponsored by the National Catholic Center for Holocaust Education.  I'm canceling all my classes during one day of the conference.

Movie critics are sometimes asked why all movies cost the same to view, even though some may have cost $100 million to make, and others $500,000. It's a reasonable question. I suppose the reasoning is that you get about two hours of movie either way. Now 3-D has provided exhibitors with a subterfuge to force consumers to subsidise their upgraded projection facilities -- which is deceptive, because most theatres are upgrading to digital projectors anyway. This could be called the 3-D children's tax.

Do kids really care? --Roger Ebert, Spectator

Jaw-droppingly cool-- though it probably helps if you've ever worked with Flash.

Animator vs. Animation

In a bid to save money, the station is planning to reassign the technicians who operate the electronic prompters that feed scripted news copy to the anchors while they're on the air. Instead, the station wants its anchors to do the job themselves.

[...]

"Instead of orchestrating coverage, fact-checking, handling breaking news, paying attention to the [newscast], engaging reporters, questioning authorities, covering bad writing and technical mistakes, anchors will now spend most of their time" running the prompter, said one newsroom employee, who asked not to be identified because he's not authorized to discuss the change. "It's kind of like a literal one-man band -- singing, banging a drum, crashing cymbals, playing a trumpet and strumming a guitar . . . except we're not playing show tunes here." Washington Post

When people can more easily fire off all sorts of messages--from updates about their breakfast to questions about the evening's plans--being able to figure out which messages are truly important, or even which warrant a response, can be difficult. Information overload can lead some people to tune out messages altogether.

Such noise makes us even more dependent on technology to help us communicate. Without software to help filter and organize based on factors we deem relevant, we'd drown in the deluge.--Jessica E. Vascellaro, Wall Street Journal

The article is more about the rise of microcommunication tools than it is about the end of e-mail, but it does a fair job explaining the difference. 

Course management systems (CMSs), used throughout colleges and universities for presenting online or technology-enhanced classes, are not pedagogically neutral shells for course content. They influence pedagogy by presenting default formats designed to guide the instructor toward creating a course in a certain way. This is particularly true of integrated systems (such as Blackboard/WebCT), but is also a factor in some of the newer, more constructivist systems (Moodle). Studies about CMSs tend to focus on their ease of use or how they are used by faculty: their application, for good or ill. Few discuss the ways in which they influence and guide pedagogy, and those that do only note their predisposition for supporting more instructivist methods. Current research also ignores the fact that many of the new wave of online teachers are Web novices entering the field without a deep understanding of online technology. A closer look at how course management systems work, combined with an understanding of how novices use technology, provides a clearer view of the manner in which a CMS may not only influence, but control, instructional approaches. --Lisa Lane, First Monday

All kinds of awesome metatronics going on here.

A good collection, on a well-designed page.

www.readprint.com

Thanks for the suggestion, Josh.

>get text games

When the University announced its Kindle e-reader pilot program last May, administrators seemed cautiously optimistic that the e-readers would both be sustainable and serve as a valuable academic tool. But less than two weeks after 50 students received the free Kindle DX e-readers, many of them said they were dissatisfied and uncomfortable with the devices. --Fox News

I believe that the underlying facts about the Wikipedia phenomenon -- that the general public is actually intelligent, interested in sharing knowledge, interested in getting the facts straight -- are so shocking to most old media people that it is literally impossible for them to report on Wikipedia without following a storyline that goes something like this: "Yeah, this was a crazy thing that worked for awhile, but eventually they will see the light and realize that top-down control is the only thing that works."

Will the new, more gentle tool, be more widely used than protection was? I certainly hope so. We are always looking for ways to help responsible people join the Wikipedia movement and contribute constructively, while gently asking those who want to cause trouble to please go somewhere else.

Faced with the choice of preventing you from editing at all, versus allowing you to edit even though you might have bad intentions, we have erred consistently for the latter -- openness. The new tool, by making it a lot easier to keep bad stuff from appearing to the general public, is going to allow for a much more responsible Wikipedia that is, at the same time, a much more open Wikipedia. --Jimmy Wales, Huffington Post

Yes, I interact with students via e-mail and the Web. And computers can be great for teaching when it's difficult or impossible for students to get to a brick-and-mortar classroom. But for me, teaching involves f2f (there, you see, I've gone and used a computer term in a sentence). I want to listen to students talking to me, to one another, having a spontaneous conversation about the subject. It's fun. It's energizing. Online, I just don't feel that kind of electricity. It's probably just a personal preference.

But I do see some significant downsides to distance education. It's touted for all the wrong reasons. It's cheap: yes, perhaps, if you discount the price of the technology (it turns out that computers cost more than people, that computer techs cost more than entry-level instructors, and that software costs more, not less, than textbooks, and it must be constantly upgraded). --Dennis Barron

Google's FastFlip is the newest media toy.

The service is meant to duplicate the look and feel of perusing a printed publication. The stories are displayed on electronic pages that can be quickly scrolled through by clicking on large arrows on the side instead of a standard Web link that requires waiting several seconds for a page to load. Readers can sort through content based on topics, favorite writers and publications. --BusinessWeek

I did find myself flipping through more pages than I might otherwise have seen, but I didn't like that I had to click through in order to copy text or interact with the page in any way -- it's just an image that you're seeing, rather than an embedded page.

When I saw news.google.com for the first time, or Feedly, I got the sense that I had stumbled across something important.  I might return to the site the next time I'm bored and looking for something to blog about, but I don't see it as anything that will change my media habits.

Not as cleverly written as that video that has a line or two about each U.S. president (which I can't locate at the moment) but still very nicely done.

Top-down grading by the prof  turns learning (which should be a deep pleasure, setting up for a lifetime of curiosity) into a crass competition:  how do I snag the highest grade for the least amount of work? how do I give the prof what she wants so I can get the A that I need for med school?  That's the opposite of learning and curiosity, the opposite of everything I believe as a teacher, and is, quite frankly, a waste of my time and the students' time. There has to be a better way . . .
 

So, this year, when I teach "This Is Your Brain on the Internet," I'm trying out a new point system supplemented, first, by peer review and by my own constant commentary (written and oral) on student progress, goals, ambitions, and contributions.   Grading itself will be by contract:   Do all the work (and there is a lot of work), and you get an A.   Don't need an A?  Don't have time to do all the work?  No problem.  You can aim for and earn a B. There will be a chart.  You do the assignment satisfactorily, you get the points.  Add up the points, there's your grade.  Clearcut.  No guesswork.  No second-guessing 'what the prof wants.' No gaming the system.  Clearcut.  Student is responsible. 

But what determines meeting the standard required in this point system?  What does it mean to do work "satisfactorily"?  And how to judge quality, you ask?  Crowdsourcing. --Cathy Davidson, HASTAC

I've been sitting on a particular interactive fiction work-in-progress for ten years. Ten years! Every so often I dust it off and add a little more, but I still haven't finished the chore of converting it from Inform 6 to Inform 7.  And while hiding from this project, I went and released a different project that hinted at a sequel that I haven't even started on, seven years later. Seven years!

Clearly I need a bit of help finishing some of the creative projects that I start. Even during the summer, when I kicked my Blender3D skills up a few notches, I never got the 8- or 4-hour blocks of uninterrupted time that I used to depend on in order to develop a complex project.

Anyway, IF designer and gaming maven Emily Short explains how her own creative efforts have developed. Here's where her essay winds up:

Write the through-line first: come up with your setting and any prototype coding you need to do, and maybe make a list of puzzles/elements that you'd like to see in the finished game. Then create a simple outline design of the game and implement it so that you have something you can play (even if very quickly) from a beginning to the end, and which contains the most critical turning points of the plot. With that skeleton in place, consider what you like and dislike about the structure; you complicate the game incrementally, fleshing pieces out with new puzzles or improving on the simple puzzles/conversations that you used to start with. You may be drawing on the list of puzzles or situations you'd had in mind to start with, but you don't have to commit to a whole structure at the outset.

What's great about this: by the end of the first week or so you have a complete playable game. It is always in some sense "finished" -- oh, not in a state you'd want to release, certainly, but it has a clear enough shape that there's not a horrible anxiety-producing mystery about what will go in any part of it. The ending gets as much attention as the introduction, and isn't likely to be fundamentally different in style, theme, or implementation quality.

At the same time, you've got a process with a lot of flexibility, because you can add new elements to address design flaws you see. Too steep a learning curve? Fine; add a few more intermediate puzzles to the opening of the game. Not enough motivation for a major NPC? Add another conversation scene that sheds some unexpected light on her background. (A weird thing about IF: it's generally easier to add stuff than to take it out. If you've implemented a major feature or a complex puzzle it may have implications here and there throughout the whole code. Editing it back out is like kudzu eradication and may leave you with bugs.)

Finally, this process offers the best odds for return on investment. At any given phase of development you'll have something that you could stop, beta-test, polish, and release. Doing that early might produce a bite-sized mini-game with little story complexity; doing it late might produce a 15-hour masterwork; but the process of getting from what you have to a game you can release is always clear.

I bought my Olympia Monica S in Croydon, south London, from an office supply shop when I was 20. It was a decisive moment. I wanted to write and a typewriter was the essential tool of the trade, an instrument every bit as vital as a paintbrush is to a painter or a guitar to a guitarist. Longhand was never an option. Acquiring a typewriter, particularly if you had no plans to become a secretary, was a sign of identity, a declaration of commitment and intent. .. [T]he computer has never been a dedicated writing tool -- writing is the least of it -- and everyone uses them. They are somehow both more marvellous and more ordinary. That's why there isn't a shred of romance in the idea of a writer and his or her personal computer.--Rick Poynor

Teale Fristoe reviews The Great Flu.

In the game, the player acts as the head of the World Pandemic Control during the outbreak of an unknown flu.  As the game progresses, the player must take actions, such as dispatching research teams, dispensing medication and face masks, and closing schools and airports, in an attempt to control and ultimately defeat the virus.  As the pandemic intensifies, the player is given information about the history and science of epidemics through a series of newspaper articles and videos.  Eventually, if the player is successful, the game ends with a count of the number of people infected and killed over the pandemic's life span, and the money spent containing the virus.

I think the game succeeds in presenting players with a lot of information through the multimedia featured in the game, and by including hints in it, giving players incentive to absorb it.  Furthermore, it nicely illustrates the dangers of our highly connected world: there's nothing more jarring than fighting a virus raging in Central and North America only to glance at Europe and find the epidemic exploding half way across the globe.  However, the game does suffer from a few common pitfalls, and going over them might shed some light on some of the challenges with using games for education.

I just noticed that Jason Scott has redesigned the home page for his film website. Good things are worth the wait. I'm content to wait.

I was on the road (and away from a computer) for the past few days, on a little family outing.  My wife brought along a copy of Choose-Your-Own-Adventure #4 that she picked up cheap at a library sale.

The cover of this book, originally published in 1979, features a big-jawed space hero in a suit that sports a familiar color scheme.

My latest Blender 3D experiment.

Within five years:

(1) Many online journals and magazines now only publishing traditional text-based fiction and poetry will, as part of their online offerings, publish digital literature on a regular basis;

(2) Most major universities and many colleges (if they don't already) will offer courses in New Media, and those courses will cover/include digital literature;

(3) Accomplished scholars who assess the whole of digital literature by examining exemplary models from early hypertexts will be saying "oops!" and seeking a vocabulary that accepts the continual flux and explosive change of current practices in digital literature;

[...]

--Alan Bigelow, Netpoetic

I've blogged before about how much I dislike Adobe's arrogant use of popups that take over your computer while you are trying to do something else.

This morning, I set up the computer my kids use so that my son would be able to follow the simulated progress of Apollo 11 on wechoosethemoon.org.  That meant upgrading to Flash 10.  I made a mental note to make sure that the upgrade didn't overwrite my attempt to disable Adobe's auto-update feature (which pops up an aggressive, sticky box that demands far too much attention... I don't want my kids getting in the habit of clicking "Yes" to every box that pops up while they're on the computer), but I was on my way out the door to go to work, so I didn't have time to do check to make sure that Adobe hadn't reset all my preferences to "By all means, feel free to interrupt me as often as you like."

Taking a break at the office just now, I watched the simulation of the lunar descent and landing, and found the experience very moving. ("Tranquility base here... the Eagle has landed."  I did a fist pump and posted "W00t!" to my Twitter feed.)

As I was still poking around the site, listening to the audio from the surface of the moon, the phone rang. It was my 11yo son, his voice quavering.  He had been sitting at his computer, watching the same thing I'd been enjoying.  But on his computer, one of those intrusive, annoying, evil Adobe pop-ups had appeared, blocking the actual lunar landing. 

I had maximized the browser window (following the advice on wechoosethemoon.org), so it's probably the case that neither my son nor my wife knew that I had set them up to watch something that was on a website.  My son does know enough to "cancel" out of a dialog box, but the Adobe popups don't function like normal creatures. 

On the phone, he says he tried closing the box, but it wouldn't go away.  When he sent his sister to explain the problem to my wife, a miscommunication happened, and my wife ended up thinking that my son had closed the web browser himself, and thus was responsible for the interruption.  My son isn't very articulate when he's upset, and my wife is not exactly a techno-troubleshooter.  So, according to Peter, there was shouting and consternation, and what should have been a powerful educational experience was ruined.

Thanks a heap, Adobe.