The successful sale and onboarding of a new client to a payroll management company requires teamwork between the Sales and Operations(i.e., Enrollment, Implementation, Client Services) teams. On the Sales side, sales representatives build relationships with bankers who then refer potential customers to them. The sales representative works with customers to find solutions that meets their payroll needs. Once a sale has been made, the sales representative works with the customer to complete a complicated packet of documents called an enrollment kit. On the Operations side, the Enrollment team ensures that the packet is complete. If anything is “pending,” they working with both Sales and the customer until the kit is complete. Implementation works with the customer until their first payroll has been processed at which point Client Services assumes responsibility for the ongoing management of the customers’ payrolls.
Because Sales and Operations are charged with managing different parts of the customer experience, their priorities can diverge causing misunderstandings between team members. Although both teams understand that the customers’ needs are the top priority, their measures for success and the nature of their work environments are very different. Sales representatives work independently. Their compensation depends on whether they make a sale. Simply put, “You sell, you stay. You don’t sell, you go.”
In contrast, Operations work in a highly structured environment where they are expected to satisfy the client while respecting fairly rigid payroll procedures. Their performance, including any interactions with clients, is closely monitored. Their success criteria are more complex than that of the sales representative.
The differences in the day-to-day lives of Sales and Operations team members can create a gulf between the two teams. When a relationship with a customer is damaged, fingers often get pointed across the divide. Building trust between Sales and Operations will help bridge the gap between the two teams. The closer the two teams become, the higher the likelihood that the customer will have a smooth and pleasant experience with the company.
The HIVE (Highly Interactive Virtually Environment) “In the Field” is designed the help reduce misunderstandings between Sales and Operations by building awareness in Operations of the challenges and motivations faced by Sales on the job. The HIVE is not aimed to teach a team member how to be a sales representative. No explicit technical knowledge is required to complete the tasks. Rather, the HIVE is designed to bring the Operations team member “into the field” so that they can experience the frustrations and satisfactions of a sales representative.
The players’ success in the HIVE will be measured in the same way that the success of Sales is measured: Making the sale. If they can build a relationship with the banker, convince the customer of the value of the payroll product, and manage the customer through the enrollment kit process, they will succeed. These three key points in the sales process will be marked in the HIVE by a specific interaction. If the player fails to successfully navigate their way through each interaction, they will lose the game.
The first version of “In the Field” will be treated as a prototype. If the players react favorably to the game in an online survey, I will include more sophisticated visuals, interactions and reward mechanisms (e.g, different levels of increasing difficulty, a more sophisticated scoring mechanism). Future iterations of the HIVE will include, “In the Call Center” aimed at Sales Rep and a more immersive version of “In the Field” designed to simulate the sales process for new members of the Sales team.
See Storyboard DRAFT HERE.
Tuesday, December 8, 2009
Sunday, November 29, 2009
Bank Rush
Industry Masters offers single-user and real-time, multiplayer simulations developed by Industry Masters for use by business schools, business competitions and corporate events. The multiplayer simulations allow you to run your own business and measure its success against the businesses of your competitors from all over the world. The single-user games such as Bank Rush, Mastering the Credit Crisis and Rescue Detroit (aimed at the automotive industry) are also grounded in real global economic conditions.
Although my knowledge of business principles is limited and my interest minimal, I decided to test myself by playing Bank Rush. Watching the computer-generated narration of the introductory video, I learned that the mission was to manage a bank through the financial crisis that began in 2007. I was given a brief overview of the trends and regulatory decisions which affect a bank’s direction. Each month I was made aware of the current state of financial affairs and then expected to base my decisions about things such as raising or lowering interest rates. My success was measured against other players’ performance.
As a part of a blended solution, I think that Bank Rush would certainly help business students learn to apply principles they’ve reviewed in lecture. The games themselves seem quite relevant and the videos do bring the descriptions of scenarios to life in a way that a written description wouldn’t. As a standalone game, I think that players without the support of an online or real classroom community might get overwhelmed by the abundance of information and the limited guidance offered.
What struck me while playing Bank Rush was whether it’s be possible for a game to engage a player in a topic that isn’t inherently engaging for them to begin with. Can superior game elements outweigh the inherent dullness of subject matter? If Bank Rush, for example, added more of a narrative to the game, would I have found it more compelling?
The goal I'm setting for myself in the development of games designed to educate on the payroll industry is to use narrative to draw someone into the game who isn't interested in payroll to begin with. We'll see how it goes.
Although my knowledge of business principles is limited and my interest minimal, I decided to test myself by playing Bank Rush. Watching the computer-generated narration of the introductory video, I learned that the mission was to manage a bank through the financial crisis that began in 2007. I was given a brief overview of the trends and regulatory decisions which affect a bank’s direction. Each month I was made aware of the current state of financial affairs and then expected to base my decisions about things such as raising or lowering interest rates. My success was measured against other players’ performance.
As a part of a blended solution, I think that Bank Rush would certainly help business students learn to apply principles they’ve reviewed in lecture. The games themselves seem quite relevant and the videos do bring the descriptions of scenarios to life in a way that a written description wouldn’t. As a standalone game, I think that players without the support of an online or real classroom community might get overwhelmed by the abundance of information and the limited guidance offered.
What struck me while playing Bank Rush was whether it’s be possible for a game to engage a player in a topic that isn’t inherently engaging for them to begin with. Can superior game elements outweigh the inherent dullness of subject matter? If Bank Rush, for example, added more of a narrative to the game, would I have found it more compelling?
The goal I'm setting for myself in the development of games designed to educate on the payroll industry is to use narrative to draw someone into the game who isn't interested in payroll to begin with. We'll see how it goes.
Friday, November 27, 2009
WolfQuest
Wolfquest is an immersive downloadable game developed by the Minnesota Zoo to "change players' attitudes towards wolves and habitat conservation in the real world by creating a strong emotional connection between players and wolves. " In addition to the game and a community forum, there is a section of the website devoted to wolf education, including classroom activities, videos Supported by a grant from the National Science Foundation, the first release of the game, Amethyst Mountain was in 2007 and the next release, Slough Creek, is slated for the end of 2009.
The game has both single and multiplayer modes. In each, the player assumes the form of a wolf avatar, selects its most important traits, and travels through the mountains of Colorado in search of a mate. Along the way, he or she (depending on what the player chooses) howls, runs, jumps and bites while encountering elk, coyotes, hares and even grizzly bars. The wolf can howl, run, jump, and eat. Short, written guidelines are offered when needed (e.g., Notifying you that you're in another wolf's territory) and a help function is always available charting the different keyboard functions. Additionally, in the multiplayer online mode, the player can chat with other players using a specific wolf lexicon of 5,000 words and also work together in a pack to take down an elk.
Clark Aldrich discusses game elements as "techniques that motivate people to want to engage an experience, outside of any intrinsic motivation." And WolfQuest has those elements in abundance. The mountain landscape is beautiful and the soundtrack by Tim Buzza is haunting and beautiful. I honestly enjoyed the experience of running through fields as a wolf with the forest surrounding me. I was a half hour into the game before I realized how much time had passed and began wondering why I couldn't find a mate. I started to feel a bit insecure about what I thought was quite a lovely pelt.
I think the game succeeds in its mission of encouraging the identification of players with wolves. Rather than anthropomorphize the wolves as a novel inevitably would (If anyone has read the Warriors series or Watership Down, you'll know what I mean), the player does, I think, get a sense of what it might be like to run wild and free through the forest driven by very basic needs. It also I'm not sure how many players it's attracted as a standalone game. As lovely as it is, it doesn't have the high production values and more complex narratives of games like World of Warcraft. Luc definitely thinks its cool, but he'd rather play Assassin's Creed (which by the way he claims has taught him about the Knights Templar and all kind of other religions). Nevertheless, I think it would make an excellent component of a Science class and really help engage students in the study of conservation issues.
The next release, Slough Creek, looks even more engaging in that you not only assume the form of a wolf but you also have a litter of pups that you must fend for. I can't wait to see how Luc handles a family of his own.
The game has both single and multiplayer modes. In each, the player assumes the form of a wolf avatar, selects its most important traits, and travels through the mountains of Colorado in search of a mate. Along the way, he or she (depending on what the player chooses) howls, runs, jumps and bites while encountering elk, coyotes, hares and even grizzly bars. The wolf can howl, run, jump, and eat. Short, written guidelines are offered when needed (e.g., Notifying you that you're in another wolf's territory) and a help function is always available charting the different keyboard functions. Additionally, in the multiplayer online mode, the player can chat with other players using a specific wolf lexicon of 5,000 words and also work together in a pack to take down an elk.
Clark Aldrich discusses game elements as "techniques that motivate people to want to engage an experience, outside of any intrinsic motivation." And WolfQuest has those elements in abundance. The mountain landscape is beautiful and the soundtrack by Tim Buzza is haunting and beautiful. I honestly enjoyed the experience of running through fields as a wolf with the forest surrounding me. I was a half hour into the game before I realized how much time had passed and began wondering why I couldn't find a mate. I started to feel a bit insecure about what I thought was quite a lovely pelt.
I think the game succeeds in its mission of encouraging the identification of players with wolves. Rather than anthropomorphize the wolves as a novel inevitably would (If anyone has read the Warriors series or Watership Down, you'll know what I mean), the player does, I think, get a sense of what it might be like to run wild and free through the forest driven by very basic needs. It also I'm not sure how many players it's attracted as a standalone game. As lovely as it is, it doesn't have the high production values and more complex narratives of games like World of Warcraft. Luc definitely thinks its cool, but he'd rather play Assassin's Creed (which by the way he claims has taught him about the Knights Templar and all kind of other religions). Nevertheless, I think it would make an excellent component of a Science class and really help engage students in the study of conservation issues.
The next release, Slough Creek, looks even more engaging in that you not only assume the form of a wolf but you also have a litter of pups that you must fend for. I can't wait to see how Luc handles a family of his own.
Wednesday, November 25, 2009
Little Big Planet
I'm one of those parents of young gamers who is always on the lookout for something remotely edifying video games. If an article suggests that the hours your child spends in the "flow" will help him become brighter and more successful, I'll read it. (I know, I know. It's such an unplayful attitude). And as I've mentioned before I'm jealous of video game designers who can capture the minds of young learners. For those reasons it should be no surprise that I'm drawn to Katrin Becker's examination of commercial video games in the "Pedagogy in Commercial Video Games" chapter of Games and Simulations in Online Learning. Rather than simply dismiss video games as violent, mindless trash, she looks at video games through the learns of popular learning theories and styles.
Intrigued by Becker's approach, I applied Gagne's Nine Events to one of my son's favorite games, "Little Big Planet" and recorded some of my notes. I chose LBP from his ever-growing collection rather than something more violent like Call of Duty: Modern Warfare 2 for a couple of reasons: 1) It has a sense of humor 2) The plot doesn't turn on the extermination of an evil, alien race, 3) Luc laughs a lot when he plays it and 4) The music is cool.
Gaining Attention: The game opens with a video involving a wonderful mix of animation and live action shots of people dreaming. We're told that LBP by a narrator with a wonderful British accent that the game has been built from the imaginations of people. The video seemed to promise creative play in a whimsical world which was very appealing. And, as I mentioned, a whimsical tune seems to just float through the air.
Informing Learners of the Objective: The playful tone was carried into the introduction in which the objectives of the game were laid out and tutorials on basic navigation skills were offered. Basically, we are expected to make our way through different cartoon-like worlds governed by a host of unique laws while acquiring nifty stickers and costumes along the way. What I liked about the introduction was that rather than offer a boring list of objectives, we actually learned the objectives through beginning the play immediately. For example, we'd travel down a path and then pause to watch a short video of how to use the controller to move around.
Stimulating Recall of Prior Learning (Retrieval): After discouraging my son from barking out orders to me on what to do, I had amploe opportunity practice the skills I had learned (such as jumping and running at the same time). On different levels I was asked to do slightly different things and even add a few skills along the way (like taking a picture of my son and myself). By activating a "pop-it" box I was able to do things like add stickers to objects (which is actually super fun). Hint bubbles were available just in time to remind me how to do things like apply the sticker.
Presenting the Stimulus (Selective Perception): What drove me forward through the different levels was a desire to make it through to the end of each journey acquiring as points as possible while having as much fun as possible, jumping, falling, and dressing up my rag doll body with all kinds of costumes. My son, the experienced player, also enjoys begin able to create his own levels for other players to enjoy by publishing them online.
Providing Learning Guidance (Semantic Encoding): Just as the opening "tutorial" was embedded within the game itself, all guides and hints seemed very organic to the game. When I needed to know how to activate something in my pop-it box, a hint would appear just in time. What I find particularly interesting, however, is how social the game can be when played collaboratively. When my son plays with his friends, their "tutorials" consist of shout outs to each other, "What the crap? Why aren't you doing this? DO THIS NOW!!! Want me to show you how to do this?" And if his buddies were online, I'm sure the same kind of peer to peer learning would be going on virtually.
Eliciting Performance (Responding): As Becker indicates, interactivity is one of the hallmarks of a video game. Without it, there is no game. Even when not playing collaboratively, players feel as if the world around them is alive. Every cause has an effect. If I can't jump far enough, I fall into nasty water and have to find my way out. What I find great about LBP was that there was always a safety net. If I got stuck, I was shown right away how to escape and get a second chance.
Providing feedback (Reinforcement): In LBP the player can clearly see when they reach the end of a level, how many points they've accumulated and how many objects they've acquired. In the online version players are encouraged to offer their feedback on levels created by other players.
Assessing Performance: Along with a running score visible at the end of each level, LBP keeps a tab of all the levels that have been completed. Making it through every level certainly drove my son and I did have to hear more than one complaint when I shut the game down without him having saved and the game recording his accomplishments for the day.
Enhancing Retention and Transfer (Generalization): In the world of the game itself, it's clear that the more tricks the player learns in LBP, the more fun he has on each level and the more creativity he shows when creating his own levels. But on a more general level, I can see that what I've learned about navigation and game play will probably help me when I try out other games.
Honestly, I think I could die happy if I could build a game for my company that met each of Gagne's requirements as effectively as LBP. i'd also be much happier if all the games Luc enjoyed were as imaginative and joyful as LBP. Maybe I could get him to try out Flower?
Intrigued by Becker's approach, I applied Gagne's Nine Events to one of my son's favorite games, "Little Big Planet" and recorded some of my notes. I chose LBP from his ever-growing collection rather than something more violent like Call of Duty: Modern Warfare 2 for a couple of reasons: 1) It has a sense of humor 2) The plot doesn't turn on the extermination of an evil, alien race, 3) Luc laughs a lot when he plays it and 4) The music is cool.
Gaining Attention: The game opens with a video involving a wonderful mix of animation and live action shots of people dreaming. We're told that LBP by a narrator with a wonderful British accent that the game has been built from the imaginations of people. The video seemed to promise creative play in a whimsical world which was very appealing. And, as I mentioned, a whimsical tune seems to just float through the air.
Informing Learners of the Objective: The playful tone was carried into the introduction in which the objectives of the game were laid out and tutorials on basic navigation skills were offered. Basically, we are expected to make our way through different cartoon-like worlds governed by a host of unique laws while acquiring nifty stickers and costumes along the way. What I liked about the introduction was that rather than offer a boring list of objectives, we actually learned the objectives through beginning the play immediately. For example, we'd travel down a path and then pause to watch a short video of how to use the controller to move around.
Stimulating Recall of Prior Learning (Retrieval): After discouraging my son from barking out orders to me on what to do, I had amploe opportunity practice the skills I had learned (such as jumping and running at the same time). On different levels I was asked to do slightly different things and even add a few skills along the way (like taking a picture of my son and myself). By activating a "pop-it" box I was able to do things like add stickers to objects (which is actually super fun). Hint bubbles were available just in time to remind me how to do things like apply the sticker.
Presenting the Stimulus (Selective Perception): What drove me forward through the different levels was a desire to make it through to the end of each journey acquiring as points as possible while having as much fun as possible, jumping, falling, and dressing up my rag doll body with all kinds of costumes. My son, the experienced player, also enjoys begin able to create his own levels for other players to enjoy by publishing them online.
Providing Learning Guidance (Semantic Encoding): Just as the opening "tutorial" was embedded within the game itself, all guides and hints seemed very organic to the game. When I needed to know how to activate something in my pop-it box, a hint would appear just in time. What I find particularly interesting, however, is how social the game can be when played collaboratively. When my son plays with his friends, their "tutorials" consist of shout outs to each other, "What the crap? Why aren't you doing this? DO THIS NOW!!! Want me to show you how to do this?" And if his buddies were online, I'm sure the same kind of peer to peer learning would be going on virtually.
Eliciting Performance (Responding): As Becker indicates, interactivity is one of the hallmarks of a video game. Without it, there is no game. Even when not playing collaboratively, players feel as if the world around them is alive. Every cause has an effect. If I can't jump far enough, I fall into nasty water and have to find my way out. What I find great about LBP was that there was always a safety net. If I got stuck, I was shown right away how to escape and get a second chance.
Providing feedback (Reinforcement): In LBP the player can clearly see when they reach the end of a level, how many points they've accumulated and how many objects they've acquired. In the online version players are encouraged to offer their feedback on levels created by other players.
Assessing Performance: Along with a running score visible at the end of each level, LBP keeps a tab of all the levels that have been completed. Making it through every level certainly drove my son and I did have to hear more than one complaint when I shut the game down without him having saved and the game recording his accomplishments for the day.
Enhancing Retention and Transfer (Generalization): In the world of the game itself, it's clear that the more tricks the player learns in LBP, the more fun he has on each level and the more creativity he shows when creating his own levels. But on a more general level, I can see that what I've learned about navigation and game play will probably help me when I try out other games.
Honestly, I think I could die happy if I could build a game for my company that met each of Gagne's requirements as effectively as LBP. i'd also be much happier if all the games Luc enjoyed were as imaginative and joyful as LBP. Maybe I could get him to try out Flower?
Sunday, November 22, 2009
Colon-ization: The Legacy of Time Spent in the Academy
After writing my last blogs, I realized that my years as a graduate student has left me dependent on colons. I can't resist them. Why did this happen? Is it that I can participate in a discussion I initiate? Pose and answer a question? Is it because I can tease out irony in a topic? I guess you can take the woman out of the Humanities, but you can't take the Humanities out of the woman.
Gadgets, games and gizmos for learning (part 2)
Another nifty slogan from the book is to "Become a strategy guide" rather than aspire to be a "boss" or a "know-it-all dictator." He offers some general techniques to help facilitate the management of those gamers accustomed to boverthrowing "bosses" in their games: 1. Make rules, parameters, and goals explicit. 2) Allow for trial and error 3) Build a support and knowledge community 4) Encourage research 5) Assign multiple tasks to a gamer 6) Make tasks meaningful. As is the case with his advice on learning strategies, I think the techniques can be applied to the management of of many boomers and Gen X'ers.
After discussing ways to recruit gamers into the workplace (which is just a bit depressing given the current un and underemployment of college grads), Kapp offers advice on how best to sell gadgets, gizmos and gaming strategies for knowledge transfer to management. He offers three approaches: 1) Business case 2) Make gadgets and games look more corporate and 3) Slowly introduce games and gizmos into an organization so that no on realizes that you've been playful. No matter which approach is taken, it's important to focus on what is attractive to your organization's culture and know at what point in the "Games and Gadgets adoption continuum" , from pragmatist to connector to visionary,employees are located. I found this chapter particularly useful and liked the inclusion of data points designed to enhance business cases although they all could probably be updated by now.
Kapp ends his book with a discussion of Knowledge Requirements Planning, a process designed to ensure the translation of strategic knowledge goals into measurable learning objectives. He takes care to take into account the differences between boomers and gamers throughout the process.
Practicing what he preaches, Kapp turns his final chapter into a cheat sheet by summarizing the methods for making the knowledge transfer process between boomers and gamers more effective discussed in the book. I'll definitely use it as a quick reference guide.
After discussing ways to recruit gamers into the workplace (which is just a bit depressing given the current un and underemployment of college grads), Kapp offers advice on how best to sell gadgets, gizmos and gaming strategies for knowledge transfer to management. He offers three approaches: 1) Business case 2) Make gadgets and games look more corporate and 3) Slowly introduce games and gizmos into an organization so that no on realizes that you've been playful. No matter which approach is taken, it's important to focus on what is attractive to your organization's culture and know at what point in the "Games and Gadgets adoption continuum" , from pragmatist to connector to visionary,employees are located. I found this chapter particularly useful and liked the inclusion of data points designed to enhance business cases although they all could probably be updated by now.
Kapp ends his book with a discussion of Knowledge Requirements Planning, a process designed to ensure the translation of strategic knowledge goals into measurable learning objectives. He takes care to take into account the differences between boomers and gamers throughout the process.
Practicing what he preaches, Kapp turns his final chapter into a cheat sheet by summarizing the methods for making the knowledge transfer process between boomers and gamers more effective discussed in the book. I'll definitely use it as a quick reference guide.
Gadgets, games and gizmos for learning (part 1)
Karl Kapp, like Mark Prensky, has faith in the power of video games to transform education. He sees the rapture of his children when they immerse themselves in a game and he wants to tap into the power when building learning tools. He's also willing to argue that gameplay contributes to the rewiring of the next generations learning circuitry.
Although I firmly believe that organizations can learn from the success of video games, I don't agree with Kapp that we need to recast eLearning because gamers have radically different learning style. Like Ruth Clark, I think we should be paying attention to the principles of multimedia design when creating designing eLearning rather than adapt to the learner's apparent inclinations. I also think we should keep in mind the importance theories of "play" and "flow" when creating learning.
Even though as a non-gamer, I may not see video games as significant as Kapp, I appreciate his passion and his willingness to really think about how discussions of gaming can improve education.
Kapp begins his discussion by exploring frame games and simulations. He uses Gagne's knowledge hierarchy to categorize learning objectives and he offers suggestions for appropriate games. For example, he suggests using a word search to teach declarative knowledge and a more complex game like Jeopardy for concepts and rules. Higher-order knowledge requires the greater complexity provided by simulations. As was the case with frame games, he offers a neat, useful categorization of simulation types.
In the fourth chapter, Kapp shifts his focus to the gadgets that gamers (and I would even venture to say a large percentage of men of all ages) adore such as ipods and cell phones. He smartly recognizes how useful such tools can be for sharing those chunks of knowledge that people want to be able to access at their fingertips.
Continuing to use gamers' preferred learning techniques as his guide, Kapp discusses the value of cheat codes, search engines and Web 2.0 tools such as wikis and blogs. Although I think gamers' learning preferences belong to a much wider audience, Kapp drives home an important point for those of us in Corporate Learning and Development: Provide people with the right tools so that they can access the just the right information(nothing more) at just the right time (when they need to use it).
Chapter 8 contains one of my favorite slogans of the book: Don't educate, automate. Make a system as foolproof as possible using technology and you won't have to invest millions in technology to fix problems and/or train people. Written before Wii took off, he devotes part of the chapter to the improvement of the human-computer interface for learning. I was especially interested in the guidelines he sets forth for creating the illusion of conversation between human and machine: 1) Maintain pacing, 2) Create illusion of awareness and 3) Maintain illusion of awareness.
Although I firmly believe that organizations can learn from the success of video games, I don't agree with Kapp that we need to recast eLearning because gamers have radically different learning style. Like Ruth Clark, I think we should be paying attention to the principles of multimedia design when creating designing eLearning rather than adapt to the learner's apparent inclinations. I also think we should keep in mind the importance theories of "play" and "flow" when creating learning.
Even though as a non-gamer, I may not see video games as significant as Kapp, I appreciate his passion and his willingness to really think about how discussions of gaming can improve education.
Kapp begins his discussion by exploring frame games and simulations. He uses Gagne's knowledge hierarchy to categorize learning objectives and he offers suggestions for appropriate games. For example, he suggests using a word search to teach declarative knowledge and a more complex game like Jeopardy for concepts and rules. Higher-order knowledge requires the greater complexity provided by simulations. As was the case with frame games, he offers a neat, useful categorization of simulation types.
In the fourth chapter, Kapp shifts his focus to the gadgets that gamers (and I would even venture to say a large percentage of men of all ages) adore such as ipods and cell phones. He smartly recognizes how useful such tools can be for sharing those chunks of knowledge that people want to be able to access at their fingertips.
Continuing to use gamers' preferred learning techniques as his guide, Kapp discusses the value of cheat codes, search engines and Web 2.0 tools such as wikis and blogs. Although I think gamers' learning preferences belong to a much wider audience, Kapp drives home an important point for those of us in Corporate Learning and Development: Provide people with the right tools so that they can access the just the right information(nothing more) at just the right time (when they need to use it).
Chapter 8 contains one of my favorite slogans of the book: Don't educate, automate. Make a system as foolproof as possible using technology and you won't have to invest millions in technology to fix problems and/or train people. Written before Wii took off, he devotes part of the chapter to the improvement of the human-computer interface for learning. I was especially interested in the guidelines he sets forth for creating the illusion of conversation between human and machine: 1) Maintain pacing, 2) Create illusion of awareness and 3) Maintain illusion of awareness.
Monday, November 2, 2009
Learning Online with Games, Simulations and Virtual Worlds
When I read the Amazon email advertising Clark Aldrich’s new book, I thought it sounded like the perfect way to kick off my independent study on immersive Learning, especially since I had just picked up the textbook he co-edited, Games And Simulations in Online Learning: Research and Development Frameworks, and noted that it was chock full of tables and statistics.
I’m happy to report that I wasn’t disappointed in the book. In addition to providing an overview of different types of what he calls HIVES (Highly Interactive Virtual Environments), he offers very practical guidelines for choosing, implementing and “selling” the right HIVE strategy to senior management and participants. Even though his approach is straightforward, he doesn’t just present a list of shoulds and oughts. Rather he encourages readers to make their own decisions about issues such as determining how much support to provide participants during a session. I was impressed that Aldrich seems more concerned with making sure that people make thoughtful choices rather than pushing a specific agenda.
The book is divided into three sections. In “What are HIVES and why should I care?”, Aldrich discusses each aspect of the four elements that constitute a HIVE: 1) Simulation, 2) Game, 3) Pedagogical, and 4) Tasks and Levels. He then differentiates between virtual labs, frame games, branching stories, interactive stories , practiceware and mini-games. He also brings to light a number of participant behaviors that should be addressed like “back channel chatting” and the threshold to quit (i.e., How do you strike a balance between challenge and anxiety so that the participant moves smoothly between moments of frustration that characterize the early moments of learning and resolution?)
Part 2, “ Choosing and Using a Highly Interactive Environment”, centers on identifying the right HIVE for a particular issue and understanding what ‘s involved in selecting a HIVE. He then talks about piloting and deploying the HIVE, paying attention to the preparation and materials needed to make the deployment a success. He ends with offering a number of evaluation strategies that should be taken into consideration once the HIVE has been deployed.
Part 3 is a short but offers very useful advice on how to sell a HIVE to Management. I found myself sketching my own strategy while reading it.
My appetite has now been sufficiently whetted and I’m not only ready to dive into more materials but am already itching to design and implement my own HIVE.
I’m happy to report that I wasn’t disappointed in the book. In addition to providing an overview of different types of what he calls HIVES (Highly Interactive Virtual Environments), he offers very practical guidelines for choosing, implementing and “selling” the right HIVE strategy to senior management and participants. Even though his approach is straightforward, he doesn’t just present a list of shoulds and oughts. Rather he encourages readers to make their own decisions about issues such as determining how much support to provide participants during a session. I was impressed that Aldrich seems more concerned with making sure that people make thoughtful choices rather than pushing a specific agenda.
The book is divided into three sections. In “What are HIVES and why should I care?”, Aldrich discusses each aspect of the four elements that constitute a HIVE: 1) Simulation, 2) Game, 3) Pedagogical, and 4) Tasks and Levels. He then differentiates between virtual labs, frame games, branching stories, interactive stories , practiceware and mini-games. He also brings to light a number of participant behaviors that should be addressed like “back channel chatting” and the threshold to quit (i.e., How do you strike a balance between challenge and anxiety so that the participant moves smoothly between moments of frustration that characterize the early moments of learning and resolution?)
Part 2, “ Choosing and Using a Highly Interactive Environment”, centers on identifying the right HIVE for a particular issue and understanding what ‘s involved in selecting a HIVE. He then talks about piloting and deploying the HIVE, paying attention to the preparation and materials needed to make the deployment a success. He ends with offering a number of evaluation strategies that should be taken into consideration once the HIVE has been deployed.
Part 3 is a short but offers very useful advice on how to sell a HIVE to Management. I found myself sketching my own strategy while reading it.
My appetite has now been sufficiently whetted and I’m not only ready to dive into more materials but am already itching to design and implement my own HIVE.
Friday, October 16, 2009
Boy in the Balloon
Like so many other corporate slaves, I was pulled out of my cube into the break room yesterday to see a giant cupcake with silver frosting floating through the air on TV. When I heard what had happened, three thoughts entered my mind: 1) I'd be terrified if I were the parents. How could they let this happen? 2) What a great example for a creative thinking activity this would be! 3) I hope someone solves the problem and the balloon lands with the boy safe and sound so that tomorrow morning he can describe his adventures on the Today show. Imagine a 6-year old with such a childhood memory?
Like the balloon itself, my romantic ideas were burst this morning when I saw the headlines claiming that the whole affair might be a hoax enacted by a publicity-seeking family who regularly put their children at risk. Instead of joyfully describing his adventures with wild things of the air, the balloon boy vomited during an interview with Meredith Vieira.
Even though the children's story I had hoped for didn't pan out, there are still some very interesting questions raised by the boy's adventure. The one that interests me the most relates to the debate over whether we can overprotect our children. It was actually televised in a Wife Swap episode featuring the balloon boy's family of thrill-seeking scientists and a family focused on child safety.
I can see the merits of both sides of the debate, but I don't think it's always easy to find the balance between overprotection and risk taking. As cautious as I am, it's hard for me to let Luc fly without me even though I can see the joy he'd find in the air. And I'm determined not to let my own fears cage my child.
Helicopter parents would never let their children near a flying machine without supervision. it wouldn't be responsible. I can't argue with wanting to keep my children safe. But I also wonder what gets lost if our children never get the chance to take risks and fearlessly soar through the air?
Let the wild rumpus start!
Like the balloon itself, my romantic ideas were burst this morning when I saw the headlines claiming that the whole affair might be a hoax enacted by a publicity-seeking family who regularly put their children at risk. Instead of joyfully describing his adventures with wild things of the air, the balloon boy vomited during an interview with Meredith Vieira.
Even though the children's story I had hoped for didn't pan out, there are still some very interesting questions raised by the boy's adventure. The one that interests me the most relates to the debate over whether we can overprotect our children. It was actually televised in a Wife Swap episode featuring the balloon boy's family of thrill-seeking scientists and a family focused on child safety.
I can see the merits of both sides of the debate, but I don't think it's always easy to find the balance between overprotection and risk taking. As cautious as I am, it's hard for me to let Luc fly without me even though I can see the joy he'd find in the air. And I'm determined not to let my own fears cage my child.
Helicopter parents would never let their children near a flying machine without supervision. it wouldn't be responsible. I can't argue with wanting to keep my children safe. But I also wonder what gets lost if our children never get the chance to take risks and fearlessly soar through the air?
Let the wild rumpus start!
Tuesday, October 6, 2009
What is it be human?
It's probably pretty obvious that the question of what it is to be human is one of my favorite themes. I enjoy science fiction and horror so much because the definition of humanity is so often challenged. Blade Runner will always be a favorite movie of mine for that reason.
Although Zomblieland is a straight-up comedy, I did end up reflecting a bit on what it is to be human after watching it. In the movie, Tallahasse achieves a sense of "flow" while slaughtering zombies. It's his talent and he enjoys every zombie head he's busted and every zombie belly he's punctured. What always strikes me as a little disturbing is how much I enjoy seeing those zombies blown away. There's some kind of catharsis in seeing something inhuman destroyed in a wildly spectacular way.
Seeing humans devoured by zombies in an equally spectacular way at the beginning of the movie was, in contrast, extremely disturbing. Both zombies and humans are played by human actors. Both run madly around. It's true the zombies regurgitate black goo, shuffle and have green skin, but they look human. What marks them for me as inhuman? Is is the fact that they eat humans? I don't think that means I'd enjoy the killing of cannibals. Is it because they look half dead? I don't think it follows that I'd take pleasure in seeing the death of the mortally wounded in a hospital.
Although Zomblieland is a straight-up comedy, I did end up reflecting a bit on what it is to be human after watching it. In the movie, Tallahasse achieves a sense of "flow" while slaughtering zombies. It's his talent and he enjoys every zombie head he's busted and every zombie belly he's punctured. What always strikes me as a little disturbing is how much I enjoy seeing those zombies blown away. There's some kind of catharsis in seeing something inhuman destroyed in a wildly spectacular way.
Seeing humans devoured by zombies in an equally spectacular way at the beginning of the movie was, in contrast, extremely disturbing. Both zombies and humans are played by human actors. Both run madly around. It's true the zombies regurgitate black goo, shuffle and have green skin, but they look human. What marks them for me as inhuman? Is is the fact that they eat humans? I don't think that means I'd enjoy the killing of cannibals. Is it because they look half dead? I don't think it follows that I'd take pleasure in seeing the death of the mortally wounded in a hospital.
Sunday, October 4, 2009
EisenbergLand
In the past week, I've seen two movies that use an amusement park to trigger a young man's coming of age and both, Adventureland and Zombieland, feature Jesse Eisenberg. Like Michael Cera and John Heder, he's the smart, sweet but socially awkward character that you expect to see at the center of a huge romantic mess and love to see come out on top and get the girl against all odds.
Carnivals with their dangerous and transgressive allure are often the settings for such stories. They are places where the young can tap into emerging desire and play dangerously. (In fact, I just saw a trailer for The Vampire's Assistant which seems to chart the same kind of path) What's interesting about the two Eisenberg movies is that the young man's story is framed within 2 completely different genres.
Adventureland is a small, indie film in which Eisenberg finds himself forced to work in a seedy carnival before grad school. A luckless romantic he blindly struggles to forge a relationship with one of his edgy, pretty co-carnies. All set to very cool, appropriate 80s music. Like the seedy carnival and the awful carny job, it's a rather sad and small movie. You root for Eisenberg's character and you're happy when he gets the girl. But there's no real joy.
Eisenberg's character is just as neurotic in Zombieland, but the conversion of most of the human race into raging zombies gives him the opportunity to overcome his anxieties and save the girl in an orgy of cathartic violence. Needless to say, there's a heckuva lot more carnage in Zombieland but there's also a lot more laughter.
Carnivals with their dangerous and transgressive allure are often the settings for such stories. They are places where the young can tap into emerging desire and play dangerously. (In fact, I just saw a trailer for The Vampire's Assistant which seems to chart the same kind of path) What's interesting about the two Eisenberg movies is that the young man's story is framed within 2 completely different genres.
Adventureland is a small, indie film in which Eisenberg finds himself forced to work in a seedy carnival before grad school. A luckless romantic he blindly struggles to forge a relationship with one of his edgy, pretty co-carnies. All set to very cool, appropriate 80s music. Like the seedy carnival and the awful carny job, it's a rather sad and small movie. You root for Eisenberg's character and you're happy when he gets the girl. But there's no real joy.
Eisenberg's character is just as neurotic in Zombieland, but the conversion of most of the human race into raging zombies gives him the opportunity to overcome his anxieties and save the girl in an orgy of cathartic violence. Needless to say, there's a heckuva lot more carnage in Zombieland but there's also a lot more laughter.
Friday, October 2, 2009
Play on my mind
Since I've begun reading Play, I've been interpreting events through a playful lens. At work, I see conflict between colleagues arising from different notions of playfulness. I see management succeeding or failing in terms of how effectively they encourage playfulness among team members. At home, I see how all work and no play can make Jack a miserable spouse (and a homicidal maniac perhaps). On television, I watch Mad Men and think that perhaps all Don Draper needs is to learn to laugh at himself and the world around him. It's no surprise that the Age of Anxiety is followed by a time of rebellion that manifests itself in the eruption of play. When being adult means living the Drapers' lives , dancing around a maypole looks very appealing even if that feeling of innocence requires pharmaceutical assistance.
I've also been thinking about Luc's immersion in video games. Clearly, his play profile is that of a storyteller. He completely loses all sense of time when he's creating special wings that allow him to fly in an online world. It definitely reminds me of the hours and hours I spent reading The Lord of the Rings. But I worry that being shown the world will restrict his imagination. Then again, I thought the criticism of Legos movie-themed sets for the same reason was ridiculous.
I've also been thinking about Luc's immersion in video games. Clearly, his play profile is that of a storyteller. He completely loses all sense of time when he's creating special wings that allow him to fly in an online world. It definitely reminds me of the hours and hours I spent reading The Lord of the Rings. But I worry that being shown the world will restrict his imagination. Then again, I thought the criticism of Legos movie-themed sets for the same reason was ridiculous.
Wednesday, September 30, 2009
Dignitas
One of the reasons I enjoy Wired so much is that it reminds me that what I see in science fiction can often be found in the here and now. Among the ideas they cite as dangerous in their latest edition is to legalize assisted suicide. They describe a group in Switzerland called Dignitas which has become the destination for suicide tourism. For $10,000, they offer counseling to anyone considering suicide and if the counseling doesn't work, they'll not only guarantee a painless exit, they'll clean up the mess afterward.
In addition to the elegant name and its Swiss location, what makes the place so creepy for me is the fact that they don't have a web site. The discretion of the whole "service" lends itself to an international thriller. I can see a movie in which Matt Damon pretends to be a patient in order to uncover some elaborate conspiracy.
In addition to the elegant name and its Swiss location, what makes the place so creepy for me is the fact that they don't have a web site. The discretion of the whole "service" lends itself to an international thriller. I can see a movie in which Matt Damon pretends to be a patient in order to uncover some elaborate conspiracy.
Tuesday, September 29, 2009
Play
It's hard to resist a book that begins with an anecdote involving the joyous abandon of a yellow lab and well nigh impossible to resist one that continues with a tale of play dates between a dog and a starving polar bear that doesn't end with carnage. Stuart Brown is a fine storyteller and fortunately for readers, he has a meaningful story to tell about the significance of play in human development. He persuasively argues that play is hardwired into our brains and without it we wouldn't be able to adapt, learn and grow.
I'm only halfway through the book, but I already feel that my hunger for ideas has been satisfied. In addition to the stores about puppies, chimps and sea squirts, I appreciate his ability to illuminate different aspects of play. I'm familiar with the concept of homo ludens and realize that play has been written about many times before but Play is helping me see play in a different light. For instance, he emphasizes that play is a state of mind and goes on to discuss a playful attitude as being an ironic one. If we treat an idea, a person or an event ironically, we have space to bend, twist and change it/him/her.
One of the reasons why I think Brown's work stands out for me is that he doesn't discuss play in a rigid way. He sees play as a fluid concept, a state of mind rather than event. He describes 8 play profiles to explain why different people gravitate towards different types of play: The Joker, The Kinesthete, The Explorer, The Collector, The Director, The Competitor, The Artist/Creator, The Storyteller.
I will keep his Storyteller profile in mind as I begin to make my story game . . . .
I'm only halfway through the book, but I already feel that my hunger for ideas has been satisfied. In addition to the stores about puppies, chimps and sea squirts, I appreciate his ability to illuminate different aspects of play. I'm familiar with the concept of homo ludens and realize that play has been written about many times before but Play is helping me see play in a different light. For instance, he emphasizes that play is a state of mind and goes on to discuss a playful attitude as being an ironic one. If we treat an idea, a person or an event ironically, we have space to bend, twist and change it/him/her.
One of the reasons why I think Brown's work stands out for me is that he doesn't discuss play in a rigid way. He sees play as a fluid concept, a state of mind rather than event. He describes 8 play profiles to explain why different people gravitate towards different types of play: The Joker, The Kinesthete, The Explorer, The Collector, The Director, The Competitor, The Artist/Creator, The Storyteller.
I will keep his Storyteller profile in mind as I begin to make my story game . . . .
Monday, September 28, 2009
What fresh hell is this?
It's Sunday night on Showtime, home of deeply disturbed yet loving parents. In the spring and summer, I followed the downward trajectory of mothers who sought to protect their children from the havoc they wreak in Weeds and United States of Tara. Now that the seasons have turned it's the boys' turn.
Dexter and Californication's Hank are devoted to their children but certainly have funny ways of expressing their love. Awoken again by the cries of the adorable 4-month old insomniac, Harrison Dexter confides in his son that "Daddy kills people." I guess we should be reassured that he clarifies to little Harrison that he kills bad people. Sleep-deprived Dexter spends his days like many of us struggling to maintain balance between work,home and hobby. The only slight difference is that his passion is serial murder. In spite of some missteps like falling asleep in front of a bar while stalking his prey, Dexter's love for his son keeps him rolling around.
Although Hank may not be a serial killer, he possesses an uncanny knack for inflicting damage on anyone with whom he comes into contact. Within a 24-hour period, his daughter and her best friends get high on his stash. He injures the father of the best friend and, best of all, helps lead a raging alcoholic right back to the bottle
It's funny but after years of watching shows like The Sopranos, Deadwood, Band of Brothers, and Rome on Sunday nights, I confess that last week's double feature of HBO comedy felt strange and oddly dissatisfying.
Dexter and Californication's Hank are devoted to their children but certainly have funny ways of expressing their love. Awoken again by the cries of the adorable 4-month old insomniac, Harrison Dexter confides in his son that "Daddy kills people." I guess we should be reassured that he clarifies to little Harrison that he kills bad people. Sleep-deprived Dexter spends his days like many of us struggling to maintain balance between work,home and hobby. The only slight difference is that his passion is serial murder. In spite of some missteps like falling asleep in front of a bar while stalking his prey, Dexter's love for his son keeps him rolling around.
Although Hank may not be a serial killer, he possesses an uncanny knack for inflicting damage on anyone with whom he comes into contact. Within a 24-hour period, his daughter and her best friends get high on his stash. He injures the father of the best friend and, best of all, helps lead a raging alcoholic right back to the bottle
It's funny but after years of watching shows like The Sopranos, Deadwood, Band of Brothers, and Rome on Sunday nights, I confess that last week's double feature of HBO comedy felt strange and oddly dissatisfying.
Sunday, September 27, 2009
Flash Forward
Like Glee, Flash Forward has received plenty of hype. Their respective networks, Fox and ABC, have invested plenty of money in publicity campaigns and in the show themselves. I was happy that Glee had lived up to my expectations and I'm even happier to say that Flash Forward has as well. It's true that I am a huge Lost fan and the series is targeted for me. But I was prepared for a Lost knock off. Moreover, having invested in relationships with TV shows (most notably, Journeyman and Swingtown) and having been burned by network TV with little faith in their own shows, I was wary about being drawn into Flash Forward in spite of its high production values, a cast full of actors who I enjoy and its nifty premise.
Fortunately (or if it follow the same route as Journeyman, unfortunately), just as I was hooked with Lost from the very first moment so was I drawn into Flash Forward. It's probably no surprise since both begin in the disorientation following a major disaster and then begins feeding the viewer information so that they can fill in the blanks. The engagement required really enriches the viewing experience.
Another reason why I find Flash Forward so engaging is that its premise, for a little over 2 minutes almost the entire human race had a vision of their future, lends itself to so many interesting questions. In addition to practical ones like, What kind of disasters would befall us? There are the classic ones like: Is our future fated or do we have free will? Like all really good speculative fiction, we are asked to consider the way we live our own lives and the manner in which me make choices (if those choices do in fact exist). I must admit that I'll be in TV nirvana if Flash Forward achieves it potential and I can look forward to a Flash Forward, Lost double feature.
Just one reference to this week's episode of Glee: You can't tell me that football teams across the country won't be posting their versions of Singles Laides?
And one reference to Mad Men: The unfortunate incident with the riding lawn mower and the golden boy of advertising was the
Fortunately (or if it follow the same route as Journeyman, unfortunately), just as I was hooked with Lost from the very first moment so was I drawn into Flash Forward. It's probably no surprise since both begin in the disorientation following a major disaster and then begins feeding the viewer information so that they can fill in the blanks. The engagement required really enriches the viewing experience.
Another reason why I find Flash Forward so engaging is that its premise, for a little over 2 minutes almost the entire human race had a vision of their future, lends itself to so many interesting questions. In addition to practical ones like, What kind of disasters would befall us? There are the classic ones like: Is our future fated or do we have free will? Like all really good speculative fiction, we are asked to consider the way we live our own lives and the manner in which me make choices (if those choices do in fact exist). I must admit that I'll be in TV nirvana if Flash Forward achieves it potential and I can look forward to a Flash Forward, Lost double feature.
Just one reference to this week's episode of Glee: You can't tell me that football teams across the country won't be posting their versions of Singles Laides?
And one reference to Mad Men: The unfortunate incident with the riding lawn mower and the golden boy of advertising was the
Saturday, September 26, 2009
Learning changes
I wish I knew how to distill the excitement I feel after an inspiring lecture by a top-tier speaker. I'd then find a way to encapsulate it so that I could dose myself with it every morning. When I left the Metropolitan yesterday after listening to Elliot Maisie talk about learning changes, I thought my brain was going to explode as a result of the intellectually energy generated without the possibility of release. (I prefer attending events with a colleague so that we can chat during the ride back to work, but I was solo yesterday.)
Maisie's objective was to emphasize the importance of design when thinking about not just elearning but learning in general. In order to accommodate the changing L&D landscape, educators need to be agile. They need to understand what their learner needs and find the best tool to satisfy those needs. It could be an app on an iPhone, a blog, online coaching, a help function, or a social network. Whatever the solution, it shouldn't be shaped by the tool. The tool should always be chosen after the design. The reason he's so adamant about this point is that he sees the majority of online training as being rigid and unimaginative shaped by a linear, slide by slide tool that only serve to compress the boredom of classroom training into a smaller chunk of time.
I don't think anyone was shocked by what Maisie had to say and I think probably everyone agreed. But what made his voice so powerful was the fact that even though he is considered one of the "fathers" of elearning, he's willing to keep his understanding of elearning broad and flexible. He's as agile as he wants others to be.
Another reason for his significance as a speaker is that he's tuned into the White House agenda. He told us that the next dialogue initiated by the White House after health care will be about Reskilling. Maisie, and my guess the President, believe that we'll be seeing an employment crisis. We simply won't have the right people with the right skills at the right time. Anyone who cares about learning needs to take part in the dialogue about what education needs to look like.
When all is said and done, it's not Maisie's message which sets him apart from other speakers. It's his gift as a storyteller. He recognizes how important a good story is for anyone with something to teach.
The story that won me over was one I"m sure he's told a thousand times to illustrate not only his disdain for powerpoint (which he believes should be regulated by the FDA and removed from the desktops of all senior executives), but also his willingness to "tell it like it is."
Maisie told of a conversation he had with Melinda Gates at a party full of IT hotshots. He set the stage for the story with the statement that Melinda was the creator of the much-loathed Clippie, that evil paper clip who appears when you need help in MS Office. During the meal, Melinda leaned over to Maise and asked him the loaded question, "What is the most important training software tool on the market?" Maisie said he could see the "P" forming on her lips and he paused. But not being one to curb his tongue, he blurted out "Google." He said that the "P" and some food practically fell out of her mouth as response. I guess they then had a lively and intelligent discussion. Isn't that great?
Maisie's objective was to emphasize the importance of design when thinking about not just elearning but learning in general. In order to accommodate the changing L&D landscape, educators need to be agile. They need to understand what their learner needs and find the best tool to satisfy those needs. It could be an app on an iPhone, a blog, online coaching, a help function, or a social network. Whatever the solution, it shouldn't be shaped by the tool. The tool should always be chosen after the design. The reason he's so adamant about this point is that he sees the majority of online training as being rigid and unimaginative shaped by a linear, slide by slide tool that only serve to compress the boredom of classroom training into a smaller chunk of time.
I don't think anyone was shocked by what Maisie had to say and I think probably everyone agreed. But what made his voice so powerful was the fact that even though he is considered one of the "fathers" of elearning, he's willing to keep his understanding of elearning broad and flexible. He's as agile as he wants others to be.
Another reason for his significance as a speaker is that he's tuned into the White House agenda. He told us that the next dialogue initiated by the White House after health care will be about Reskilling. Maisie, and my guess the President, believe that we'll be seeing an employment crisis. We simply won't have the right people with the right skills at the right time. Anyone who cares about learning needs to take part in the dialogue about what education needs to look like.
When all is said and done, it's not Maisie's message which sets him apart from other speakers. It's his gift as a storyteller. He recognizes how important a good story is for anyone with something to teach.
The story that won me over was one I"m sure he's told a thousand times to illustrate not only his disdain for powerpoint (which he believes should be regulated by the FDA and removed from the desktops of all senior executives), but also his willingness to "tell it like it is."
Maisie told of a conversation he had with Melinda Gates at a party full of IT hotshots. He set the stage for the story with the statement that Melinda was the creator of the much-loathed Clippie, that evil paper clip who appears when you need help in MS Office. During the meal, Melinda leaned over to Maise and asked him the loaded question, "What is the most important training software tool on the market?" Maisie said he could see the "P" forming on her lips and he paused. But not being one to curb his tongue, he blurted out "Google." He said that the "P" and some food practically fell out of her mouth as response. I guess they then had a lively and intelligent discussion. Isn't that great?
Friday, September 25, 2009
Deconstruction and Top Chef
When I was in graduate school reading Derrida on deconstruction, the last thing I would have expected is to hear the terms used by judges in a cooking competition. As is usually the case when popular culture adopts a theoretical construct, the concept has been simplified to the point of becoming almost unrecognizable. Whereas we were taught that deconstruction reveals oppositions and contradictions at the heart of every text, foodies take the term literally. The chef was expected to take apart the components of a dish and reconfigure them in a new way.
Although the Top Chef contestants were not working with the same theories as we grad students were, deconstruction functions in a similar way. It allowed the contestants to present food in a new way just as it allows graduate student to read a classic a new way and even rewrite it. Moreover, just as there were some grad students who couldn't grasp the concept of deconstruction so were there contestants who couldn't understand how or even why you'd take apart a classic.
Although the Top Chef contestants were not working with the same theories as we grad students were, deconstruction functions in a similar way. It allowed the contestants to present food in a new way just as it allows graduate student to read a classic a new way and even rewrite it. Moreover, just as there were some grad students who couldn't grasp the concept of deconstruction so were there contestants who couldn't understand how or even why you'd take apart a classic.
Wednesday, September 23, 2009
Connections
Aside from having Baron Baptiste's 40 Days fall out at my feet this morning, I haven't encountered any texts whose narrative threads beg for unraveling. But what has struck me today is how tightly the lives of people are woven together. In spite of all the evidence to the contrary, the number of people who still affirm the myth of the rugged individualist beholden to none amazes me.
Ayn Rand is an author who enables this kind of romantic, delusional thinking. When i was a teenager, I remember embracing her novels. I saw her heroes as passionate and creative, exactly the type of person I thought I could become. The thought of becoming someone as strategic as Dagny Taggart or as creative as Howard Roark thrilled me. Now I see the characters as damaged, miserable people. As I grew older, I began to recognize the importance of collaboration. I began to believe that originality is a myth and that the collective mind is something to be frightened of. Instead, I learned respect for all those who gave to those according to their need. The idea that a small group of separatists could start a community in the mountains of Colorado and actually succeed seems ludicrous.
What I really need to do is reread The Fountainhead. I honestly don't think that I could handle Atlas Shrugged again without completely skipping through the "philosophy," especially John Galt's infamous rant (I mean speech).
Ayn Rand is an author who enables this kind of romantic, delusional thinking. When i was a teenager, I remember embracing her novels. I saw her heroes as passionate and creative, exactly the type of person I thought I could become. The thought of becoming someone as strategic as Dagny Taggart or as creative as Howard Roark thrilled me. Now I see the characters as damaged, miserable people. As I grew older, I began to recognize the importance of collaboration. I began to believe that originality is a myth and that the collective mind is something to be frightened of. Instead, I learned respect for all those who gave to those according to their need. The idea that a small group of separatists could start a community in the mountains of Colorado and actually succeed seems ludicrous.
What I really need to do is reread The Fountainhead. I honestly don't think that I could handle Atlas Shrugged again without completely skipping through the "philosophy," especially John Galt's infamous rant (I mean speech).
Tuesday, September 22, 2009
House, Homicide and a little Bourne
As I type this, I'm also flipping through the channels wondering how people could prefer Dancing with the Stars over So You Think You Can Dance? A lot of bad dancers, bad cover tunes, and terrible costumes vs. stellar dancing, imaginative choreography and cool music? But I come not to bury Dancing with the Stars (as much as I wish I could), I come to praise House.
When my House-hating colleague mocks the series formulaic nature, I really can't argue. It's true that House usually acts like jerk while trying to solve a medical mystery while offending as many colleagues as possible. Typically though the formula works just fine for me. Tonight's show, although predictable, went in a different direction and I really enjoyed it.
At the end of last season, House has bottomed out and ends up committing himself. At the beginning of this season, we're shown a montage of House going through detox. Once he's sweated all the narcotics out, he wants to leave but the chief doctor won't let him. That's because the chief doctor is Andre Braugher who has the acting chops to battle it out with Hugh Laurie and a battle of wills is inevitable. To sweeten the mix, the offbeat, sexy, real Franka Potente plays Hugh Laurie's love interest.
In addition to seeing two of my favorite actors again, what I enjoyed about this week's episode was that it offered a commentary on the myth of the romantic, tormented genius who needs his pain in order to stay creative that ended up being a commentary on the series itself. I found myself asking, "Can the House formula work if House is actually happy?" I look forward to finding out this season.
When my House-hating colleague mocks the series formulaic nature, I really can't argue. It's true that House usually acts like jerk while trying to solve a medical mystery while offending as many colleagues as possible. Typically though the formula works just fine for me. Tonight's show, although predictable, went in a different direction and I really enjoyed it.
At the end of last season, House has bottomed out and ends up committing himself. At the beginning of this season, we're shown a montage of House going through detox. Once he's sweated all the narcotics out, he wants to leave but the chief doctor won't let him. That's because the chief doctor is Andre Braugher who has the acting chops to battle it out with Hugh Laurie and a battle of wills is inevitable. To sweeten the mix, the offbeat, sexy, real Franka Potente plays Hugh Laurie's love interest.
In addition to seeing two of my favorite actors again, what I enjoyed about this week's episode was that it offered a commentary on the myth of the romantic, tormented genius who needs his pain in order to stay creative that ended up being a commentary on the series itself. I found myself asking, "Can the House formula work if House is actually happy?" I look forward to finding out this season.
Monday, September 21, 2009
Laughing in the Dark
I'm beginning to think I no longer represent a cross-section of the TV watching public. It's not because I don't enjoy reality TV. Right now, I have Project Runway, Survivor and Top Chef scheduled to record. It's not because I wouldn't daytime TV if I didn't work. I've plopped myself in front of the TV to watch Oprah and The Bold and the Beautiful on more than one occasion. I'm even willing to watch an episode of The City on my TV. Yep, I can waste my time with the best of them.
My problem is with sitcom comedies. Even shows as great as The Office and 30 Rock do make it on my "Scheduled to Record." If they do, I don't watch them. I'm trying to figure out why they don't draw me in because I fully appreciate a good laugh. But I realized that I generally prefer to laugh when the jokes are framed in a twisty and dark narrative (or as is the case with Glee rocking musical numbers). Rescue Me will bring tears to my eyes from laughter, but 30 Rock, most of the time, will just elicit an amused and appreciative smile (except for that scene with Alec Baldwin playing all the members of Tracy's family during a therapy session).
Another reason I don't follow sitcom comedies is because generally the narrative thread doesn't compel me as do those twisty dark shows or, I hate to even write the word, dramedies do. Ally McBeal sucked me in not because Fish was hilarious but ultimately I wanted to know where Ally's story was going to take her.
I guess I should be thankful that there is something on the TV spectrum that doesn't appeal to me. Otherwise, I'd have an even fuller TV plate than I can handle.
My problem is with sitcom comedies. Even shows as great as The Office and 30 Rock do make it on my "Scheduled to Record." If they do, I don't watch them. I'm trying to figure out why they don't draw me in because I fully appreciate a good laugh. But I realized that I generally prefer to laugh when the jokes are framed in a twisty and dark narrative (or as is the case with Glee rocking musical numbers). Rescue Me will bring tears to my eyes from laughter, but 30 Rock, most of the time, will just elicit an amused and appreciative smile (except for that scene with Alec Baldwin playing all the members of Tracy's family during a therapy session).
Another reason I don't follow sitcom comedies is because generally the narrative thread doesn't compel me as do those twisty dark shows or, I hate to even write the word, dramedies do. Ally McBeal sucked me in not because Fish was hilarious but ultimately I wanted to know where Ally's story was going to take her.
I guess I should be thankful that there is something on the TV spectrum that doesn't appeal to me. Otherwise, I'd have an even fuller TV plate than I can handle.
Sunday, September 20, 2009
The Faces of Glee
There's no denying Glee's wit. The dialogue is playful and smart, offering adult pleasure without disturbing the kids. But I realized last night how much I enjoy the reaction shots. The characters are so delightfully quirky that they all they need to do is raise an eyebrow to crack me up.
Another reason I appreciate the faces is that the members of the Glee club are not played by attractive actors with horn-rimmed glasses, messy hair, bad clothes and no makeup. Just as the vertically challenged choreographer pointed out, they have more than their share of flaws. But there's no doubt that they are the stars.
After just a few shows, my perspective about what makes a star has shifted so much that I'm actually shocked when the hot cheerio or football player shows that they have talent. Yet I wasn't surprised at all to see that the coach, the thumbless shop teacher or the janitor could so smoothly transition into a boy bad.
I can't wait to see where Glee is going to go. I only hope it involves a musical number with Jane Lynch. She's truly divine.
Another reason I appreciate the faces is that the members of the Glee club are not played by attractive actors with horn-rimmed glasses, messy hair, bad clothes and no makeup. Just as the vertically challenged choreographer pointed out, they have more than their share of flaws. But there's no doubt that they are the stars.
After just a few shows, my perspective about what makes a star has shifted so much that I'm actually shocked when the hot cheerio or football player shows that they have talent. Yet I wasn't surprised at all to see that the coach, the thumbless shop teacher or the janitor could so smoothly transition into a boy bad.
I can't wait to see where Glee is going to go. I only hope it involves a musical number with Jane Lynch. She's truly divine.
Friday, September 18, 2009
Glee, Sons of Anarchy and my project
I just have to clap for Glee (or maybe with glee at Glee?). It's wonderful to be able to watch a family show with a wicked and sophisticated sense of humor. Chris and I often look at each other while watching and say, "Did she just say that?" We then look at Luc who is absolutely oblivious but enjoying the show nonetheless. I think we have Akiva Goldsman to thank for the mulitple levels. The writer of "Six Feet Under" is consciously writing a family show.
On the other side of the adult TV spectrum is Sons of Anarchy during which we ban Luc from the living room. It's the type of series that I Quentin Tarantino would appreciate. Last season they seemed to aim high trying to tell the story of Hamlet with bikers. It ended up being disappointing. I didn't stick with it long enough to figure out why. But I am pleased to discover that they've traded Shakespeare for Roger Corman. They've traded betrayal, indecision and ambition for gang rapes and porn. As much as I love reworkings of Shakespeare, believe it or not, it seems to be a wise choice. Bikers are just more fun when they're show mindlessly looting, pillagine and plundering.The show is a whole lot of fun.
At the beginning of the week I mentioned that I was blogging in an attempt to find the right project. What I think I'm going to do is continue writing fragments on appealing narrative threads for the next 33 days. On Day 40, I'll begin weaving them together into an online game that will act as a final project for an indepedent study I'm taking on Immersive Learning. At this point I'm thinking about some kind of story engine that will allow people to generate meaning from all kinds of textual threads and fragments.
On the other side of the adult TV spectrum is Sons of Anarchy during which we ban Luc from the living room. It's the type of series that I Quentin Tarantino would appreciate. Last season they seemed to aim high trying to tell the story of Hamlet with bikers. It ended up being disappointing. I didn't stick with it long enough to figure out why. But I am pleased to discover that they've traded Shakespeare for Roger Corman. They've traded betrayal, indecision and ambition for gang rapes and porn. As much as I love reworkings of Shakespeare, believe it or not, it seems to be a wise choice. Bikers are just more fun when they're show mindlessly looting, pillagine and plundering.The show is a whole lot of fun.
At the beginning of the week I mentioned that I was blogging in an attempt to find the right project. What I think I'm going to do is continue writing fragments on appealing narrative threads for the next 33 days. On Day 40, I'll begin weaving them together into an online game that will act as a final project for an indepedent study I'm taking on Immersive Learning. At this point I'm thinking about some kind of story engine that will allow people to generate meaning from all kinds of textual threads and fragments.
Thursday, September 17, 2009
Homme fatal, Mad Men and Mad Women
This morning I thought that I'd be writing about the powerful silences in Mad Men. Some of my favorite moments in one of my favorite series take place when the camera cuts to what is supposed to be a reaction shot of Don Draper's and we are witness to his gorgeous blankness. However, later in the day a colleague asked why I thought Don appealed to so many female viewers and i realized that what I find attractive about him is connected that gorgeous blankness. Don Draper functions as a screen onto which women project their desire. In other words, he is an homme fatal.
Look, for instance, at how Sally teacher's so quickly falls for him. She's a wounded woman looking for a father figure and she sees Don as a sensitive man for whom children come first. (Of course, later in the episode we see that he barely begrudged his wife half a day while she was delivering their new son) For Betty, Don is a tall, dark Prince Charming but she's ended up a princess in a rather frightening suburban castle. For Peggy, Don is the perfect father, husband and breadwinner.
Like a classic femme fatale, Don is pure surface who only gives an illusion of depth. He's appears to be a self-made man, but he's actually someone who has stolen and embellished someone else's identity. Ultimately, one of the reasons I think that the Mad Women are such well rounded characters is that we see them in relation to the flatness, the blankness, the void that is Don.
Look, for instance, at how Sally teacher's so quickly falls for him. She's a wounded woman looking for a father figure and she sees Don as a sensitive man for whom children come first. (Of course, later in the episode we see that he barely begrudged his wife half a day while she was delivering their new son) For Betty, Don is a tall, dark Prince Charming but she's ended up a princess in a rather frightening suburban castle. For Peggy, Don is the perfect father, husband and breadwinner.
Like a classic femme fatale, Don is pure surface who only gives an illusion of depth. He's appears to be a self-made man, but he's actually someone who has stolen and embellished someone else's identity. Ultimately, one of the reasons I think that the Mad Women are such well rounded characters is that we see them in relation to the flatness, the blankness, the void that is Don.
Wednesday, September 16, 2009
Outbursts
With the coverage of Serena Williams reaction to a foot fault call, Kanye West's comment at the VMA's and Joe Wilson's "No liar," it seems that all kinds of outbursts are making their way into the news. In fact , 2 of the 3 have even pulled in the President one way or another into the fray. As someone who's said plenty of stupid things only to regret them later, I have sympathy for those caught on tape behaving badly. What interests me more than the outbursts themselves is the outrage over the outbursts.
People have always been amused by others doing dumb things. The ongoing popularity of reality shows certainly testifies to that. Seeing someone make a fool of themselves often reassures people that their own flaws are perhaps not that bad. So it surprises me a little that people aren't more blase about the outbursts. I wonder if the outrage is somehow connected to an anxiety over the possibility that impulsive behavior can be recorded, stored and broadcast so easily. In the past, getting caught on tape and seeing that the tape made its way into the public eye on a wide scale was no easy task. It seemed that it was only people who actively sought fame would be humiliated in public. The rest of us could feel safe in our anonymity. Now with cheap, easy-to-use cameras and free social networking tools readily available, all of us, no matter what race, class or gender, can conveniently embarrass ourselves on a grand scale.
I wonder if we'll reach a tipping point with fame (and/or infamy). At some point, will fame will be so easily attainable that it will no longer be alluring? Has technology made it so easy to communicate that being famous no longer holds value? Or is it the case that the need to be seen, heard and known will end up overriding the need for privacy for more and more people.
People have always been amused by others doing dumb things. The ongoing popularity of reality shows certainly testifies to that. Seeing someone make a fool of themselves often reassures people that their own flaws are perhaps not that bad. So it surprises me a little that people aren't more blase about the outbursts. I wonder if the outrage is somehow connected to an anxiety over the possibility that impulsive behavior can be recorded, stored and broadcast so easily. In the past, getting caught on tape and seeing that the tape made its way into the public eye on a wide scale was no easy task. It seemed that it was only people who actively sought fame would be humiliated in public. The rest of us could feel safe in our anonymity. Now with cheap, easy-to-use cameras and free social networking tools readily available, all of us, no matter what race, class or gender, can conveniently embarrass ourselves on a grand scale.
I wonder if we'll reach a tipping point with fame (and/or infamy). At some point, will fame will be so easily attainable that it will no longer be alluring? Has technology made it so easy to communicate that being famous no longer holds value? Or is it the case that the need to be seen, heard and known will end up overriding the need for privacy for more and more people.
Tuesday, September 15, 2009
What is it to be human?
One set of narrative threads that haas struck my fancy today comes from "True Blood." Although I think I represent a cross-section of the American public, I can't claim to know for certain why the series has captured America's attention. But I wouldn't be surprised if some of the threads that appeal to me may appeal to others.
As I type this, I realize that I've already found one of the connections between District 9 and True Blood: The theme of being human. Just as 2 non-humans showed the most humanity in District 9, so did the inhuman Sookie, Bill and Sam assume the roles of heros. In fact, they went on to save humanity which I'm afraid we might not see Wikus and Christopher doing in "District 10."
Those characters in both True Blood and District 9 who are hybrids of one sort or another are clearly troubled. In the case of True Blood, it looks as if next season will focus on their inner turmoil At the end of True Blood Sookie hesitated committing to Bill because of an identity crisis triggered by Maryanne's comments. Sam went in search of his real parent. As for District 9, I have no idea how Wikus will end up feeling although we know that he still remains connected to the human world.
During the course of the next few weeks, I'm going to rest content with pulling narrative threads from my favorite TV shows, movies, books and iTunes lectures (a revived interest). I don't know what I'll do with what I gather, but I trust that I'll be inspired to create something interesting.
As I type this, I realize that I've already found one of the connections between District 9 and True Blood: The theme of being human. Just as 2 non-humans showed the most humanity in District 9, so did the inhuman Sookie, Bill and Sam assume the roles of heros. In fact, they went on to save humanity which I'm afraid we might not see Wikus and Christopher doing in "District 10."
Those characters in both True Blood and District 9 who are hybrids of one sort or another are clearly troubled. In the case of True Blood, it looks as if next season will focus on their inner turmoil At the end of True Blood Sookie hesitated committing to Bill because of an identity crisis triggered by Maryanne's comments. Sam went in search of his real parent. As for District 9, I have no idea how Wikus will end up feeling although we know that he still remains connected to the human world.
During the course of the next few weeks, I'm going to rest content with pulling narrative threads from my favorite TV shows, movies, books and iTunes lectures (a revived interest). I don't know what I'll do with what I gather, but I trust that I'll be inspired to create something interesting.
Monday, September 14, 2009
Bricolage
The moment I heard the distinction made between a bricoleur and an engineer back in grad school, I knew that I was the former. What has given me the greatest pleasure over the years has been completing projects in which I pull together text and images scavenged from all types of cultural artifacts. In high school, I composed a Shakespearean comedy using pieces from Shakespeare's comedies. As an undergrad, I took a actress playing a bag lady, a little Miles Davis and a dance solo to choreograph a final project. In grad school, I worked with wonderfully creative colleagues to craft a video essay that was a commentary on star quality in place of a conference paper.
Given how much material is available on to work with and how easy it is to compose and present work using readily available tools, I ought to be able to weave stories together in a way that makes them matter to people. I ought to be able to design some kind of story engine (Thank you Guillermo del Toro for that concept) or at least gather some people together who'd like to try to make it. For some reason, I think that applying the rules of digital alchemy will help me do this, but I haven't yet worked out exactly what those rules are. I know they have something to do with distilling ideas from a variety of scavenged materials and transforming them into something valuable, but I just haven't figured out how to make it work. What I think I need to do is just start weaving together my current favorite narrative threads into some kind of text and stick it on my web site.
Given how much material is available on to work with and how easy it is to compose and present work using readily available tools, I ought to be able to weave stories together in a way that makes them matter to people. I ought to be able to design some kind of story engine (Thank you Guillermo del Toro for that concept) or at least gather some people together who'd like to try to make it. For some reason, I think that applying the rules of digital alchemy will help me do this, but I haven't yet worked out exactly what those rules are. I know they have something to do with distilling ideas from a variety of scavenged materials and transforming them into something valuable, but I just haven't figured out how to make it work. What I think I need to do is just start weaving together my current favorite narrative threads into some kind of text and stick it on my web site.
Sunday, September 13, 2009
District 9
I would love to be part of the team of writers in charge of fleshing out a sequel to District 9. There are so many open questions whose answers can lead in very interesting directions. First and foremost, will Christopher Johnson return in 3 years? And will he be pissed? Will he transform Wikus back into a human?
Like the majority of critics, I thought District 9 was original and compelling. But for me it wasn't the social context that was the most interesting, but it was the fact that I could end up seeing a giant cat-food loving Prawn as the most human character in the movie, rooting for him knowing that he could very well bring back a fleet of pissed-off brethren to destroy our civilization. Moreover, it was a human's transformation into something completely Other that redeemed him. To me, the sight of Wikus as a prawn creating a metal flower out of junk was very hopeful. (Then again I thought the ending of No Country for Old Men was hopeful.) One of the things I enjoy most about sci fi is that it shows us that being human as nothing to do with a genetic code.
As far as my search for something meaningful to create goes, I'm always stopped by a voice saying, "That's useless. That's trivial."
Like the majority of critics, I thought District 9 was original and compelling. But for me it wasn't the social context that was the most interesting, but it was the fact that I could end up seeing a giant cat-food loving Prawn as the most human character in the movie, rooting for him knowing that he could very well bring back a fleet of pissed-off brethren to destroy our civilization. Moreover, it was a human's transformation into something completely Other that redeemed him. To me, the sight of Wikus as a prawn creating a metal flower out of junk was very hopeful. (Then again I thought the ending of No Country for Old Men was hopeful.) One of the things I enjoy most about sci fi is that it shows us that being human as nothing to do with a genetic code.
As far as my search for something meaningful to create goes, I'm always stopped by a voice saying, "That's useless. That's trivial."
Saturday, September 12, 2009
40 days
I realized that one of the reasons I don't consistently blog is the same reason I'm not following my north star (yeah, Martha Beck does inspire as does Oprah. I'm not ashamed to admit that). I suffer from an anxiety of influence that is exacerbated by the interweb (I'm kind of digging that term). When I sit down to blog or try to figure out a plan for making digital alchemy a reality, I pull away thinking: What do I have to say that hasn't already been said or will be said? What can I create that's not derivative, mediocre or just plain redundant? What can I build that's valuable? But in spite of my anxieties, I can't seem to repress my need to build something that has value. I want to sit at a spinning wheel and turn straw into gold. I want to explore all the different ways there are to tell stories.
So I'm just going to set my anxieties aside and just start spinning. Because I've had success before with a 40-day plan, I am committing myself to spending at least 20 minutes each day trying to turn straw into gold. Part of my plan includes daily blog entries as well as daily meditation. On October 21st, I'll see reevaluate, maybe recommit and hopefully rejoice because I found a way to stay on my path.
So I'm just going to set my anxieties aside and just start spinning. Because I've had success before with a 40-day plan, I am committing myself to spending at least 20 minutes each day trying to turn straw into gold. Part of my plan includes daily blog entries as well as daily meditation. On October 21st, I'll see reevaluate, maybe recommit and hopefully rejoice because I found a way to stay on my path.
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