Collaborative E-Learning Techniques

Various features of multiuser virtual environments (MUVEs) make them promising and, potentially transformational, contexts for the development of second language (L2) skills. While there has been a surge of interest in the use of MUVEs for language learning, there is still a relatively small body of empirical evidence that supports our understanding of how these immersive spaces can best be utilized for second language education. After a brief introduction to relevant research on MUVEs and language learning, this chapter is divided into two primary sections. The first section describes one component of a larger empirical study of the first MUVE built specifically for learning Spanish pragmatics. The following section utilizes the empirical findings, combined with lessons learned from classroom implementation, to suggest design considerations for those wishing to implement MUVEs in the language classroom. While the specific focus of the chapter is language learning, the findings are intended to be generally applicable in other disciplines as well.

There is growing interest in the use of virtual gaming worlds in education, supported by the increased use of multi-user virtual environments (MUVEs) and massively multiplayer online role-playing games (MMORPGs) for collaborative learning. However, this paper argues that collaborative gaming worlds have been in use much longer and are much wider in scope; it considers the range of collaborative gaming worlds that exist and discusses their potential for learning, with particular reference to higher education. The paper discusses virtual gaming worlds from a theoretical pedagogic perspective, exploring the educational benefits of gaming environments. Then practical considerations associated with the use of virtual gaming worlds in formal settings in higher education are considered. Finally, the paper considers development options that are open to educators, and discusses the potential of Alternate Reality Games (ARGs) for learning in higher education. In all, this paper hopes to provide a balanced overview of the range of virtual gaming worlds that exist, to examine some of the practical considerations associated with their use, and to consider their benefits and challenges in learning and teaching in the higher education context.Keywords: virtual environments; game-based learning; constructivist learning environmentsDOI: 10.1080/09687760802526756

Cultural capital having sway in establishing authority in educational fields, including architecture, has been prevalent in scholarly work discussing the traditional studio setup. With the growing use of multi-user virtual environments (MUVEs) in architectural education, some studios, their occupants, and artifacts moved to the new medium. Such change places those studios in a precarious position vis-a-vis traditional architectural pedagogy, problematizing cultural capital and authority. This research examines the relationship between cultural capital and authority, focusing on MUVE-mediated studio peer crits. It adopts a quasi-experimental approach, where twenty-four participants with varying design proficiencies in diverse peer compositions completed a timed design task. The research employs linkography for analysis and Pierre Bourdieu's theoretical framework for interpretation. The findings suggest that MUVEs have a transformative effect on exogenous cultural capital, potentially disrupting previously established norms and hierarchies in architectural pedagogy and creating new hierarchical models, which add nuances to the existing models in the literature. A MUVE-mediated studio has the potential to present the studio as a new exploratory ground not weighed down by pre-established notions of studio culture "habitus."

The Proposed paper is related to use of active and collaborative learning techniques in the course digital communication of Electronics and Telecommunication Engineering branch at Rajarambapu Institute of Technology, Rajaramnagar where large population of students is from rural areas. Although many researchers have confirmed that active and collaborative learning techniques are very useful in improving learning, motivating students, bringing critical thinking skills in the students, we need to develop special strategies for students with rural background. In this study, initially the learning styles of the students are obtained using Felder's learning style index survey. The active and collaborative learning techniques are implemented for this class and found that irrespective of the background of learners active and collaborative learning techniques are very beneficial to students for their learning. Only challenge is that instructor has to take some additional efforts.

Wikis have potential for facilitating learning in the online environment but studies have identified \nvarying degrees of success. The implementation of a new learning management system at the university provided a \ncontext for course instructors to explore the potential of web2.0 tools to facilitate collaborative learning. This \nresearch sought to understand teacher education students’ experiences of working collaboratively using a wiki as the \nparticipatory technological web2.0 tool. The research study involved pre-service education teachers enrolled as \neither on-campus or distance (flexible) students in a compulsory first year curriculum paper. A quantitative and \nqualitative methodology was used to determine learner perspectives on working within a collaborative learning \nspace. Working collaboratively using a wiki as a participatory technological tool was new to most pre-service \nteachers. Results from this study indicated that their experiences towards collaborative learning remained positive \ndespite a number of challenges. Whilst each group’s experiences varied, we identified three contributing factors to \npre-service teacher’s use of wiki as a collaborative learning tool. The student experiences were discussed in relation \nto the three factors supporting the development of collaborative learning: positive relationships, the role of the \ncourse instructor, and the web2.0 technology.

This paper discusses the proposed model of the collaborative virtual learning system for the introductory computer programming course which uses one of the collaborative learning techniques known as the “Think-Pair-Share”. The main objective of this study is to design a model for an online learning system that facilitates the collaborative learning activities in a virtual environment such as online communications and pair or small group discussions. In order to model the virtual learning environment, the RUP methodology has been used where it involves the data collection phase and the analysis and design phase. Fifty respondents have been randomly selected to participate in the data collection phase to investigate the students’ interest and learning styles as well as their learning preferences. The results have shown the needs for the development of online small group discussions that can be used as an alternative learning style for programming courses. The proposed design of the virtual learning system named as the Online Collaborative Learning System or OCLS is being depicted using the objectoriented models which are the use-case model and class diagram in order to show the concise processes of virtual “Think-Pair-Share” collaborative activities. The “Think-PairShare” collaborative learning technique that is being used in this model has been chosen because of its simplicity and relatively low-risk. This paper also presents the proposed model of the system’s architecture that will become the guidelines for the physical development of OCLS using the web-based applications.

This study aims to compare the social presence and motivation of students taking a database II course using either the virtual world Second Life (SL) or the Enocta learning management system (LMS)/Adobe Connect. The study group consisted of 60 undergraduate sophomore students enrolled in a fully online computer programming program. Students were divided into two groups of 30. The first group was the experimental group taking the course on Second Life and the latter was control group taking the course through the Enocta LMS/Adobe Connect. A matching-only pre- and post-test control group design was applied. The data were collected through the Perceived Sociability Scale of Computer-Supported Collaborative Learning Environments (Sociability Scale) and the Motivated Strategies for Learning Questionnaire (MSLQ). The results of the study showed significant differences in motivation and social presence scores in favour of the students taking the course through Second Life.

Computer-based concept mapping combined with learning management system use: An explorative study under the self- and collaborative-mode

This paper describes how computer assisted, collaborative learning techniques can be used to improve distance learning courses which use two-way compressed video. With these methods, students spend most of their class time working in groups on problems or interactive demonstrations. The approach provides an active learning experience and sharply reduces the amount of information which must be sent through the video system. The methods also increase interaction between students and the instructor and raise student motivation to overcome obstacles in the course. This paper also discusses many of the practical issues that are involved in distance education for classes using either collaborative learning or lecture based methods.

3D multi-user virtual environments (MUVE) bring new opportunities to foreign language teaching and learning as a platform for teaching practices. Due to immersive and interactive nature of 3D MUVE, these tools have gained popularity in the field of foreign language learning and teaching. The power of virtual learning environments lies in creating immersive 3-D spaces that give users a sense of learning by doing. Moreover, the environment is interactive and is much the same as real world interaction. MUVE provides strong support for synchronous collaborations, interactions, and immersive environments for experiential and constructivist learning settings. Some key features of the virtual worlds comprise the ability to construct 3D environments that simulate real world situations, as well as the ability to have a virtual identity to create a cross-cultural self and the ability to have participants from around the world acting virtually in designated roles that convey new types of learning within this environment.

Learning management systems (LMSs) are significant in offering highly collaborative, widely accessible, and manageable learning solutions. It is feasible that learning solutions stakeholders pursue an in-depth understanding of the LMS and the vulnerabilities surrounding technology-enabled learning and teaching. The over 300 types of active LMSs, proprietary or open source, are not off limits to hackers. Past research shows that hackers compromise technology systems to ascertain personal identifiable information and interfere with the integrities of post-secondary institutions. Stakeholders must understand how to safeguard the LMS. To address LMS cybercrime concerns, this text reviews vulnerability information on over 12 LMS features. After reading this text, stakeholders will gain increased insight into their works to thwart security related LMS incidents. This text can support stakeholders' knowledge in actions to take prior to the LMS reaching unacceptable vulnerability levels. Researchers and practitioners will benefit from this text's perspective on the LMS and mitigating risk.

Supporting learning in synchronous collaborative game design in virtual worlds: A synergy between technological and pedagogical considerations

The purpose of the small-scale qualitative research study was to examine the use and perceived value of integrating collaborative learning techniques at teleconferences at the School of Humanities of the Hellenic Open University (HOU). Qualitative semi-structure interviews with tutors from the School of Humanities at the HOU were conducted in order for the research plan to be fundamentally heuristic and generate original results. Purposeful sampling was chosen for the data collection process, cross-sectional organization for the data classification and thematic analysis for the data analysis. The results of the present research study indicate the parameters need to be taken into account in order for the tutors to use collaborative learning techniques at teleconference teaching at HOU. Adequate teleconference platform, tutors’ training on distance collaborative learning and group dynamics, and a common understanding regarding distance learning and group dynamics in e-learning environments are some of the most significant findings derived from this research study. The role of students, as well as the role of the distance-learning provider, in integrating and adopting distance collaborative learning strategies is also highlighted by the results.

Jigsaw technique is a collaborative learning technique that can be used as an alternative to conventional teaching methods. Basically this technique boosts group work cohesion since each member of the group is in charge of one part of the learning objective of the whole group. This work shows the experience of using the jigsaw technique in an undergraduate course named “Innovation and Competitiveness”. The learning objective of the activity consists of highlighting the most important ideas of the “Oslo Manual” which is a reference manual in innovation concepts. The process is divided into five steps: (1) initial groups of five students are formed; (2) professor gives five parts of the “Oslo Manual” and the group decides which member will be the “expert” of each part; (3) experts of each part work together to understand and summarize main concepts; (4) experts come back to the initial group and transmit their expertise to the rest of the group; (5) professor asks for a “one minute question” regarding one concept or idea of the Manual. Results from this experience show that students feel that they are not only responsible for their own learning but also for the learning of the rest of the group. The inclusion of the “one minute question” after the process further enhances this feeling. Furthermore, it is known that sharing our knowledge with other people requires a deep understanding of the topic. As a conclusion, this experience improves not only the self-confidence of the student, but also the communicative competence and group work performance whilst students work and assess important concepts related to the course.

Sometimes a particular concept—a simple term—is the spark to a series of ideas. It might be ostentatious and perhaps hubristic that the editors of an issue on persona might imagine that their choice of the term persona has provided this intellectual spark. Fully aware of that risk, we want to announce that it has. The response to the call for papers related to persona was our first sign that something special was being initiated. The sheer number and interdisciplinary breadth of the abstracts and ultimate submissions was evidence that the term ‘persona’ was the catalyst to an explosion of ideas. As the responses flowed into the journal and to us, we became aware of the meme-like qualities of the many interpretations and history of the term, each with its own idiosyncratic coding of patterned similarity. The reality of this development is that it was not entirely unexpected. The editors have been developing the concept of persona and persona studies over the past four years, and persona studies has emerged from a congruence in our collective research interests as an interdisciplinary investigation of the presentation of the self in the contemporary moment. Together, we have been involved in the development of the Persona Celebrity Publics Research Group (PCP) at Deakin University. Within that group, we have concentrated ourselves in the Persona Research cluster, made up of a group of 15 or so academics along with another smaller group from other institutions. Emerging from our work is the forthcoming book entitled Persona Studies: Celebrity, Identity, and the Transformation of Public Culture (forthcoming Wiley 2015). Both the book and the research group are intent on exploring what has been altering in our worlds, our cultures, and our communities that make us think the new intensified play of the personal in public needs closer scrutiny. The impetus for us as a team of scholars is quite clearly linked to the uses of online culture and how greater aspects of our lives are now involved in public displays, mediated displays, and a peculiar new blend of interpersonal and presentational constructions of identities and selves. Persona as a specific area of inquiry has emerged from the close study of the public self. Its immediate intellectual past has its strongest links with research on celebrity. In the Celebrity Studies Reader collection, Marshall began forming the idea that a new public self was emerging through new media (New Media). In subsequent work, Marshall identifies celebrity culture as one of the pedagogic sources for how the wider population presented itself in online culture and social media (Marshall, Promotion). Barbour and Marshall expanded their thinking about the presentation of the self through a closer study of online academic persona and the different strategic ways individuals were managing and building reputations and prestige through these techniques. Terms such as the ‘comprehensive,’ ’networked’, and ‘uncontained’ self, mapped the various kinds of public personalities that were emerging through the most prominent academics (Barbour and Marshall). In a similar vein, Barbour’s research has looked closely at the online and public personas that fringe artists—specifically tattoo artists, craftivists, performance poets and street artists—produce and maintain in the contemporary moment (Hiding; Finding). Her work has advanced the concepts of “registers of performance” (Registers), where a closer analysis of how the personal, the professional, and sometimes the intimate registers are constructed and deployed to produce a public persona that demonstrates ‘artistness’. By analysing persona through registers of performance, Barbour is able to differentiate between the types of identity building activity that occurs online. This provides insight into the ways that impression management occurs in spaces that suffer from context collapse due to the intersection of friends, family, fans, and followers. Moore’s work (Hats; Magic; Invigorating) on the player’s assembly of a networked online ‘gamer’ persona considers the intersection of social media and video game culture and contributes analysis of the affective dimensions of player-oriented game objects and their public curation and display. His recent research visualising Twitter and Flickr data (Screenshots, forthcoming) advances an understanding of the accumulation and online presentation of the self through digital game artefacts, specifically video game screenshots. He is currently researching the interaction of social media activity, reputation management, and everyday identity ‘play’ within public game cultures and the larger dynamics of production and consumption of games and play in the video game industry. Most recently, Marshall called for what he titled a “persona studies manifesto”: the public presentation of the self demands a more extensive analysis of the play and deployment of persona in contemporary culture. Beyond popular culture, the development of reputation and persona and its intersection with online culture especially needs to be explored in those professions, disciplines and activities where this form of investigation has never been attempted (Marshall, Persona Studies). The initiative of persona studies then is in some ways turning the cultural studies’ approach to the study of the audience on its head: it is a study of agency and the processes by which agency has been individualized and assembled across contemporary culture, but highly privileged in online culture (Marshall, Personifying). Persona studies involves a close investigation of the personalized and negotiated presentation of the self. So, what is persona? The articles here assume different, but connected, understandings of the term, each with levels of deference to writers such as Jung, Goffman, Butler, and Foucault, along with some expected allusions to the ancient Greeks and Romans who coined the term. The Greek origins identify that persona is a mask and derived from performance and acting. From Hannah Arendt’s reading of the Greeks this mask of public identity was not seen in a derogatory way; rather it was natural to assume a public/political persona that was quite removed from the private and home sphere. A political persona defined by citizenry was a clearly conscious separation from the household of activity. Jung’s take on persona is that it was designed for collective experience and for the outside world and therapy would lead to an understanding of the individual that delved beneath the persona. The resurgence in interest in Goffman’s dramaturgical analogy allows us to consider persona as an everyday performance, where the purpose of the presentation of self is to convince the audience (and at times, the performer) that the performance is genuine and authentic. All of us know what it is like to act in a role, to wear a uniform or costume, to create a profile. More than a few of us know what it is to suffer through the ‘individualising’ categories of a social networking sign-up survey that do not adequately account for distinctions. Persona is all these things, or rather, through the various everyday activities of our work, social, and online selves we contribute to the accretion of the identity at the base of its structure. Persona functions like the construct or automated script that we assemble to interact with the world with on our behalf. This involves the technologies of computation and mediation and their interfaces that function to automate, produce and filter communication with us; email, blogs, Twitter accounts, and so on. These golems interconnect and can interact on their own in unpredictable ways on our behalf; connecting our Facebook account to a product, brand or petition; using Google as a portal to login into other web enabled services; or authorising an app to record our location. Then there are the traces that we leave scattered across digital networks, intranets, hard drives, and lost USB memory sticks, from scattered collections of digital photos to the contact lists of our mobile devices and the ‘achievements’ in our online gaming profiles. Persona can also be something that happens to us, as friends tag unflattering images via Facebook, or another Twitter user publicly addresses us with a unwanted, or unwarranted commentary, using the ‘@’ and the ‘#’ functions. We have an extensive degree of control over the ways we assemble ourselves online and yet the contemporary experience is one of constant negotiation with forces that seeks to disavow their responsibilities to us, and maximise the limitations under which we can act. Our personas serve as a buffer to these forces. We can strategically assemble our persona to participate in, influence and use to our advantage to transmit messages across the network and communicate a mediated form of ourselves. The many ways to account persona stands as a primary and apparently Sisyphean task for persona studies: no sooner than when we might assemble a complete topology of the many accounts, traditions, domains, methodologies and theories for account of for the self, we will have arrived at possibly entirely new way of conceptualising the presentation of online persona through some post-Facebook, Oculus Rift, or Google Glass augmented reality experience. One of the challenges of persona studies will be to provide a series of methodological and theoretical tools, as well as a common touchstone from which multiple perspectives may converge around the meme-like qualities of this dramatic term. It will be necessary to consider the future of the presentation of the self, as much as the past accounts for the understanding of the self and its compositions. In the contemporary moment we consider a series of common currents and features of the iterations of persona with which we might begin this endeavour. The collective objective of the ‘persona’ theme edition is to coalesce around th