¶ 2 Leave a comment on paragraph 2 0 The official reviewing period for this keyword has ended, and commenting is closed. You may also wish to read the description of the anthology, guidelines on how to comment, and the list of keywords.
¶ 3 Leave a comment on paragraph 3 0 Play is commonly thought to be the domain of children, or of adults engaged in child-like activities—games, performances, and other “not serious” pursuits that stand “outside ‘ordinary’ life,” as the Dutch historian Johan Huizinga put it in his classic study of play (13). Nearly twenty years later the French sociologist Roger Caillois expanded upon Huizinga’s theory of play, suggesting that play is defined by six key elements: play is voluntary, separate from other aspects of life, uncertain, unproductive, governed by rules, and simultaneously more or less dependent upon make-believe (9-10). When any one of these elements is violated, play is no longer play. It is work.
¶ 4 Leave a comment on paragraph 4 0 Learning, especially in secondary and higher education, is also deemed to be work. It is hard. It is not exactly voluntary. Learning, the thinking goes, requires correct answers, not uncertainty. There is a product—an essay, a project, an assignment—though that product may not necessarily contribute to the world of knowledge in any kind of productive way. Learning in higher education is governed by rules though, however arbitrary and make-believe those rules may be. Course objectives, learning assessments, grading rubrics, and so on. When it comes to the element of rules, learning is not so much the opposite of play as it is zombie play, a jerky, lurching automatic response devoid of vision, passion, and awareness.
¶ 5 Leave a comment on paragraph 5 1 A growing number of faculty, instructional designers, and learning professionals are challenging zombie play. They are centering play in the classroom, developing what could be called playful pedagogy. Playful pedagogy marks a serious departure from traditional pedagogy, from “serious” pedagogy. Playful pedagogy strives to infuse learning with the excitement and unpredictability of children’s play. Playful pedagogy aims to put learners in a flow state—that utterly absorbing state where, as Mihaly Csikszentmihalyi puts it, “nothing else seems to matter” (6).
- ¶ 7 Leave a comment on paragraph 7 1
- Process over product. Playful pedagogy, like play itself, emphasizes process over product. As a consequence, learning comes to be a series of pathways, different for every student, rather than a straight shot toward a desired destination.
- Low stakes over high stakes. Serious pedagogy is a high stakes pedagogy, high stakes which may in fact limit creative problem-solving. Playful pedagogy rewards risk-taking, and risk-taking itself is an end itself.
- Mistakes over Success. Play abounds with mistakes, failures, and most importantly, second chances. Every “Game Over” is also the start of a new game.
- Ambiguity over Certainty. As anyone who has played Euchre knows, once the outcome of a hand of cards is certain, the round is over, even if cards remain to be played. Certainty is the enemy of play, while ambiguity sustains it.
- Discovery over Objectives. With play, curiosity itself is an objective. Furthermore, playful pedagogy allows learners themselves to discover their own objectives—and to change them if need be.
- Divergent thinking over convergent thinking. Playful pedagogy recognizes that there is no single correct answer; rather there are always multiple approaches to a problem. In many ways, divergent thinking is similar to the concept of emergent play, a kind of play game designers hope to promote. Emergent play refers to the way creative and unpredictable gameplay emerges from a set of rules. Similarly, playful pedagogy uses rules as constraints that foster creativity, rather than stifle it.
¶ 8 Leave a comment on paragraph 8 0 This list of differences is incomplete and meant to be merely suggestive. The artifacts presented here share one or more of these characteristics, and then some. The artifacts are grouped according to several categories of playful pedagogy:
- ¶ 9 Leave a comment on paragraph 9 0
- Interventions. These pedagogical strategies are the most recognizable, for they begin with conventional pedagogies, but pivot upon an activist or constructivist intervention into that pedagogical principle, taking it into surprising directions. An example of an interventionist strategy is deformance—the deliberate misreading of a text or cultural artifact, such as reading a poem backwards (Samuels and McGann 29). Interventions such as these have a long history, but digital texts and digital tools have made them readily available (Ramsay).
- Crafting. Approaches to learning in which students create knowledge rather than merely absorb or duplicate knowledge have a history stretching back to Dewey (Richardson 1637). Constructivist pedagogies are nothing new. What is new is the range of tools that make them possible. The term crafting conjures up the core mechanic of games like Minecraft, but also signals a connection to pre-digital forms of making and construction. Whether it’s called crafting (Sennett 280), critical making (Ratto), carpentry (Bogost), or hacking (Hacker Ethos), crafting transfers the classical rhetorical values of argumentation and persuasion to domains beyond writing and language.
- Gaming. These artifacts represent the most literal meaning of play. The pedagogical value of games and simulations has long been known, but it was James Paul Gee’s What Video Games Have to Teach Us about Learning and Literacy that raised awareness about gaming’s potential as a pedagogical tool. The artifacts in this category either treat games as objects of study in their own right alongside literature, or provide examples of games as pedagogical tools.
- ¶ 11 Leave a comment on paragraph 11 0
- Artifact Type: Assignment
- Source URL: http://assignments.ds106.us/assignments/spreadsheet-invasion/
- Creator: Tom Woodward
¶ 12 Leave a comment on paragraph 12 0 The “Spreadsheet Invasion” is a playful intervention into the software conceit of productivity. This assignment asks students to animate cells in Excel, turning Microsoft Office into a playground. An inspiration for the more generalized Software Invasion assignment, the spreadsheet assignment is part of DS106, an immensely popular online companion to a digital storytelling course at the University of Mary Washington. The DS106 assignment bank is a ready-to-use collection of hundreds of other assignments that similarly demand critical and creative interventions into digital media. Assignment types include video mashups, remixes, photo collages, soundscapes, animated GIFs, and much more. The DS106 Assignment Bank should be the first place to look for innovative new media assignments, as well as illustrative examples of completed student work.
Glitching Files for Understanding
- ¶ 14 Leave a comment on paragraph 14 0
- Artifact Type: Tutorial
- Source URL: http://blogs.loc.gov/digitalpreservation/2012/11/glitching-files-for-understanding-avoiding-screen-essentialism-in-three-easy-steps/
- Creator: Trevor Owens (Institute of Museum and Library Services)
¶ 15 Leave a comment on paragraph 15 0 Written while Owens was a digital archivist at the Library of Congress, this tutorial introduces the idea of glitching—intentionally corrupting a digital artifact—as a kind of playful deformance. Such intrusive digital interventions can serve a forensics purpose by exposing underlying metadata, but they can also defamiliarize the digital media in question. Owens walks through the glitching of music and image files. This process could be easily expanded to include other media types, including audiobooks, PDFs, and EPUBs, all very much of interest in a literature classroom.
- ¶ 17 Leave a comment on paragraph 17 0
- Artifact Type: Classroom Game
- Source URL: http://ivanhoe.scholarslab.org/index.html
- Creators: Johanna Drucker, Jerome McGann, Bethany Nowviskie, and the Scholars’ Lab (University of Virginia)
¶ 18 Leave a comment on paragraph 18 0 Ivanhoe began as a turn-based game of textual interventions, in which students assume the roles of existing characters—or new characters—in a novel or other cultural artifact. Each player makes a “move,” describing an action or decision their character makes, and the next player makes a move in response. The students thus actively intervene in the original text, rewriting it in unexpected ways. The original Ivanhoe was Java-based, but that game environment no longer functions. In 2014 the Scholars’ Lab at the University of Virginia released a new version of Ivanhoe as a WordPress theme. One of the unique features of Ivanhoe is that the game doesn’t actually require any technology. For an example of digital pedagogy inspiring analog pedagogy, see Jason Jones’ low tech adaption in Teaching Literature with Ivanhoe. Similarly, Chandler Sansing describes using Ivanhoe in a middle school classroom.
Hack for Humanities THATCamp Hackathon
- ¶ 20 Leave a comment on paragraph 20 0
- Artifact Type: Collaborative Project
- Source URL: https://docs.google.com/presentation/d/15t6hjDLGZR_slg-6ztVqDF21buk_1eeUmfqnBTph5VY/pub?start=true&loop=false&delayms=5000#slide=id.p3
- Creator: Liss LaFleur (University of North Texas)
¶ 21 Leave a comment on paragraph 21 0 Hackathons are discrete crystallizations of maker culture, and they have become quite common in community makerspaces, coding camps, and so on. The idea is simple: a disparate group of people with varying skills assemble and in the space of a day or weekend, come up with a “hack”—a hastily assembled yet elegant solution to a problem, and not necessarily a digital problem. Liss LaFleur’s presentation and guidelines for a “Hack for Humanities” at a THATCamp is both an excellent introduction to the idea of a hackathon and a set of concrete instructions for a specific hackathon theme. In “Hack for Humanities,” students must craft an innovation that augments our kindness, compassion, or empathy, thereby using technology to make an argument about social justice.
How to make a Twitter Bot with Google Spreadsheets
- ¶ 23 Leave a comment on paragraph 23 0
- Artifact Type: Classroom Activity
- Source URL: http://www.zachwhalen.net/posts/how-to-make-a-twitter-bot-with-google-spreadsheets-version-04
- Creator: Zach Whalen (University of Mary Washington)
¶ 24 Leave a comment on paragraph 24 0 Twitter bots are small autonomous programs that algorithmically generate tweets. Bots are most often associated with spam and online marketing, but they can also be creative endeavors that help understand texts, authorship, and originality more deeply. Zach Whalen provides a classroom-ready way for students to create bots, using only Google Spreadsheets. This method is not an introduction to programming so much as an introduction to playful thinking with words. Crafting is often associated with things, but disassembling and reassembling language through computer models reveals that crafting can also be performed with words. What is writing, after all, but a craft? Building a bot reveals the seams and stitches of that craft.
Teaching with Makey Makeys
- ¶ 28 Leave a comment on paragraph 28 0
- Source URL: http://www.slj.com/2015/04/opinion/test-drive/slj-reviews-the-makey-makey-test-drive/
- Creator: Chad Sansing (Mozilla Foundation)
¶ 29 Leave a comment on paragraph 29 0 A Makey Makey is an inexpensive microcontroller that replaces typical computer inputs (mouse, arrows, keyboard controls) with any object that conducts electricity. YouTube abounds with videos of bananas turned into electronic piano keys, but such experiments only scratch the surface of Makey Makeys. For instance, Makey Makeys can be used to dramatize Donna Haraway’s still-important “Cyborg Manifesto” or to create alternative reading interfaces for poetry. In this article Chad Sansing explains why teachers might want to teach literature and the arts using Makey Makeys. Though framed for middle school students, the playful pedagogy highlighted here transfers well to higher education. In particular, Makey Makeys emphasize discovery and divergent thinking; working with these devices thrusts students into such unfamiliar territory, they have no choice but to approach problems from new perspectives.
Game Design Project
- ¶ 31 Leave a comment on paragraph 31 0
- Artifact Type: Assignment
- Source URL: http://courses.jamesjbrownjr.net/node/3372
- Creator: James Brown, Jr. (Rutgers Camden)
¶ 32 Leave a comment on paragraph 32 0 In a class called “Writing and Coding,” undergraduate students must design a game that makes a procedural argument about the book Blown to Bits (2008). The assignment builds on Ian Bogost’s concept of procedural rhetoric, the implicit or explicit argument a computer model makes about the world. Rather than using words like a book, or images like a film, a game “makes a claim about how something works by modeling its processes” (Bogost 2009). Brown’s assignment highlights the way an easy-to-use game design platform (Scratch, in this case) can be used to represent and complicate historical and cultural concepts. Brown has also shared some examples of student work from this assignment.
How to Make Games with Twine
- ¶ 34 Leave a comment on paragraph 34 0
- Artifact Type: Tutorial
- Source URL: http://www.auntiepixelante.com/twine/
- Creator: Anna Anthropy (Independent Game Designer)
¶ 35 Leave a comment on paragraph 35 0 Anthropy’s book Rise of the Videogame Zinesters (2012) launched what has come to be known as the “Twine Revolution” (Ellison 2013), in which indie game designers have used the open source platform Twine to create personally expressive and politically powerful hybrids of games and narrative. Twine is increasingly being used as a writing platform in literature and composition classrooms, and this introduction to Twine by Anthropy is a good place for students to begin. Anthropy explains the Twine interface, walks through the writing and linking mechanisms, and details the publishing process. Anthropy also highlights more advanced features, such as using images and variables. The latest version of Twine (2.x) runs entirely within a web browser, making the game design platform even more accessible to students.
Literature and Gaming
- ¶ 37 Leave a comment on paragraph 37 0
- Artifact Type: Syllabus
- Source URL: http://engl165lg.wordpress.com/
- Creator: Amanda Phillips (University of California-Davis)
¶ 38 Leave a comment on paragraph 38 1 Literature and Gaming is an undergraduate course at UC-Davis taught by Dr. Amanda Phillips. This syllabus makes connections between print-based narratives and video game-based narratives, explicitly questioning assumptions about the differences between the two. In particular, the students explore the five categories of play, narrative, space, time, and avatar across both media.
- ¶ 40 Leave a comment on paragraph 40 0
- Artifact Type: Syllabus
- Source URL: http://stephanieboluk.com/teaching/HMS540F13/blog/?page_id=2
- Creator: Stephanie Boluk (University of California-Davis)
¶ 41 Leave a comment on paragraph 41 0 Metagames is a course about games about games. While metafiction is a staple of postmodern literature, it is less common to think about videogames—and by extension, play—in these terms. Boluk’s syllabus provides a theoretical frame for thinking about play in unfamiliar contexts, including the practices and counter-practices of play. The reading schedule for Metagames calls attention to the playfullest of playful games, including avant-garde videogames, art videogames, and what Boluk calls “eccentric” games. A PDF version of the syllabus is also available.
¶ 42 Leave a comment on paragraph 42 0 Davies, Russell. “Playful.” 9 Nov. 2009. Web. 5 May 2010. http://russelldavies.typepad.com/planning/2009/11/playful.html.
¶ 43 Leave a comment on paragraph 43 0 Kee, Kevin, ed. Pastplay: Teaching and Learning History with Technology. Digital Culture Books. Ann Arbor: University of Michigan Press, 2014. Web. http://quod.lib.umich.edu/cgi/t/text/text-idx?cc=dh;c=dh;idno=12544152.0001.001;rgn=full%20text;view=toc;xc=1;g=dculture.
¶ 46 Leave a comment on paragraph 46 0 Phillips, Amanda. “Thoughts on Teaching Literature and Gaming.” HASTAC. 20 Oct. 2010. Web. 1 Oct. 2015. https://www.hastac.org/blogs/amanda-phillips/2010/10/20/thoughts-teaching-literature-and-gaming.
¶ 49 Leave a comment on paragraph 49 1 Salter, Anastasia Salter. “Games in the Classroom.” Profhacker. 2011. Web. 1 Aug. 2015. http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-1/35596, http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-2/36075, http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-3/36217, http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-4/36294.
¶ 51 Leave a comment on paragraph 51 0 Sheldon, Lee. “Gaming the Classroom Syllabus.” Indiana University, Bloomington. 2010. Web. 1 Aug. 2015. https://gamingtheclassroom.wordpress.com/syllabus/.
¶ 52 Leave a comment on paragraph 52 0 Abelson, Hal, Ken Ledeen, and Harry Lewis. Blown to Bits: Your Life, Liberty, and Happiness After the Digital Explosion. Upper Saddle River, NJ: Addison-Wesley, 2008. Print.
¶ 53 Leave a comment on paragraph 53 0 Anthropy, Anna. Rise of the Videogame Zinesters: How Freaks, Normals, Amateurs, Artists, Dreamers, Dropouts, Queers, Housewives, and People Like You Are Taking Back an Art Form. New York: Seven Stories Press, 2012. Print.
¶ 61 Leave a comment on paragraph 61 0 Davies, Russell. “Playful.” 9 Nov. 2009. Web. 5 May 2010. http://russelldavies.typepad.com/planning/2009/11/playful.html.
¶ 68 Leave a comment on paragraph 68 0 Kee, Kevin, ed. Pastplay: Teaching and Learning History with Technology. Digital Culture Books. Ann Arbor: University of Michigan Press, 2014. Web. http://quod.lib.umich.edu/cgi/t/text/text-idx?cc=dh;c=dh;idno=12544152.0001.001;rgn=full%20text;view=toc;xc=1;g=dculture.
¶ 69 Leave a comment on paragraph 69 0 LaFleur, Liss. “Hack for Humanities.” THATCamp Piedmont. 2014. Web. 1 Aug. 2015. https://docs.google.com/presentation/d/15t6hjDLGZR_slg-6ztVqDF21buk_1eeUmfqnBTph5VY/pub?start=true&loop=false&delayms=5000#slide=id.p3.
¶ 70 Leave a comment on paragraph 70 0 Owens, Trevor. “Glitching Files for Understanding: Avoiding Screen Essentialism in Three Easy Steps.” The Signal. 5 Nov. 2012. Web. 11 Oct. 2015. http://blogs.loc.gov/digitalpreservation/2012/11/glitching-files-for-understanding-avoiding-screen-essentialism-in-three-easy-steps/.
¶ 72 Leave a comment on paragraph 72 0 Phillips, Amanda. “Thoughts on Teaching Literature and Gaming.” HASTAC. 20 Oct. 2010. Web. 1 Oct. 2015. https://www.hastac.org/blogs/amanda-phillips/2010/10/20/thoughts-teaching-literature-and-gaming.
¶ 80 Leave a comment on paragraph 80 0 Salter, Anastasia Salter. “Games in the Classroom.” Profhacker. 2011. Web. 1 Aug. 2015. http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-1/35596, http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-2/36075, http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-3/36217, http://chronicle.com/blogs/profhacker/games-in-the-classroom-part-4/36294.
¶ 82 Leave a comment on paragraph 82 0 Sansing, Chad. “SLJ Reviews the MaKey MaKey.” School Library Journal. 17 Apr. 2015. Web. 31 July 2015. http://www.slj.com/2015/04/opinion/test-drive/slj-reviews-the-makey-makey-test-drive/.
¶ 86 Leave a comment on paragraph 86 0 Sheldon, Lee. “Gaming the Classroom Syllabus.” Indiana University, Bloomington. 2010. Web. 1 Aug. 2015. https://gamingtheclassroom.wordpress.com/syllabus/.
¶ 87 Leave a comment on paragraph 87 0 Woodward, Tom. “Spreadsheet Invasion.” DS106 Assignment Bank. Web. 1 Oct. 2015. http://assignments.ds106.us/assignments/spreadsheet-invasion/.
¶ 88 Leave a comment on paragraph 88 0 Whalen, Zach. “How to Make a Twitter Bot with Google Spreadsheets (Version 0.4).” zachwhalen.net. 17 May 2015. Web. 1 Aug. 2015. http://www.zachwhalen.net/posts/how-to-make-a-twitter-bot-with-google-spreadsheets-version-04/.