I started the course by reflecting upon my previous experience and engagement with games, gaming and play (see "Flashbacks of a Fool") that had largely seen me leave videogames and computer games back in the 1990s preferring the more traditional games that had a largely social element to them, i.e. playing games with family or friends. The course had literally thrust me back into the digital gamesphere (see "All work and no play?" and "The Agony and Ectasy of Social Gaming") using a range of game consoles like the Nintendo Wii, Microsoft Xbox, Apple's iPod Touch as well as my own PC.

I had reflected that some of the games currently on the market and online had "enchanted me and brought out a child-like wonder in me (not seen since 1999)". This "enchantment" extended to the papers written by Pat Kane and Brian Sutton-Smith on their notions of play (see "The Language of Play") which can be a catalyst for creativity, originality and new developments and should actually be incorporated in each and every one of our lives as normal as it is eating, breathing and sleeping. Howeve, this "enchantment" is a little offset by the "moral panic" that sets in whenever the popular press or eminent scholars and thinker have their tu'penny worth to say on the subject (see "Videogames: A moral panic?").

Inevitably, the course would eventually touch upon my favourite hobby horse (my thanks goes to the course leaders of the "Digital Environments" modules and my colleagues at work for introducing me to it) that being Marc Prensky and the "Digital Natives" / "Digital Immigrant" dichotomy (see "Digital Natives Revisited"). Given that Prensky works in the games industry and feels passionately that learning and games can go hand-in-hand. No arguments there, it's just the grand rhetorical statements backed up by hardly any empirical research that has turn this issue into something of a pathological obsession for me - I should learn to take Michael Winner's esure advice, though James Newman's paper riled me more than Prensky's papers (see "Videogames: A tug of war").

One of my interests is identity and the course has given me ample to think about and experience. From Second Life, using the voice activated feature within it with Iris Bosa had raised questions about voice modification, personalisation and identity (see "The Curious Case of Voice Identity"); to J.P. Gee's concept of the “tripartite” of identities and the notion of the "other" in games, was presented in a very compelling and original way (see "The Learner with a Thousand Identities") that is an interesting addition to the Identity literature.

The module also called for group collaboration to design a Google Earth game (see "The New Seven World Wonders Quiz - A Team 2 Production"); solve a WebQuest (see "WebQuest DSV"); and devise a role playing game for Second Life (see "Dragons' Lair RPG - A Team 2 Production") that saw some fantastic online collaborations using Skype and a Wiki which led me to comment that it was the "most amazing brain-storming, project management session ever conducted virtually. We went from an idea to a fully-realised project plan in 1.5 hours". I have rarely seen online collaborations work at this frenetic speed and intensity before, so thank you Team 2 for an exhilarating experience. The group tasks themselves could also have been envisaged as a "game" that involved overcoming a number of obstacles and difficulties to arrive at the finish line in time with a fully realised product.

J.P. Gee presents some rather interesting concepts of "affinity groups" and "affinity spaces" (see "The Affinity towards Groups, Spaces and Learning") which I could use in relation to my insitution's new £35m library and learning centre, Augustine House, in terms of how learning spaces are been used physically as well as virtually by the student corpus and the academic community; and would such learning spaces present opportunities for real learning to take place (see "The Four Horsemen")?

So for now, I bid Hamish, Fiona and the challenging "Digital Game-based Learning" course a fond and affectionate adieu.

Until next time gamers, until next time ...

It's astonishing to learn that for such a "simple" concept of "play", or at least perceived by many to be a "simple" concept, has academics from a multitude of disciplines trying to place "play" within some framework or other - indeed, I don't recall any of the theorists mentioned by Sutton-Smith taking an holistic and all-encompassing view of "play"; this is something that Sutton-Smith (1997, p. 6) sees as a weakness and Kane (2005, p. 40) also picks up on when he talks about the "third culture" or polymathism ("Homo Universalis") before the arts and sciences had a parting of the ways. I was also intrigued by Sutton-Smith's view that play "has temporal diversity as well as spatial diversity" when he talks about the likes of the World Cup and the Olympics. Sutton-Smith (1997, p. 9) offers "seven rhetorics", which Kane (2005, p.39) describes as:

"...ways of thinking and talking about play that express a certain vision of human nature and culture, and which can be deployed by everyone from teachers to generals, hackers to CEOs ... [which] imply both a very modern and a very ancient vision of humanity."

The "seven rhetorics" are:

1. The rhetoric of play as progress
2. The rhetoric of play as fate
3. The rhetoric of play as power
4. The rhetoric of play as identity
5. The rhetoric of play as the imaginary
6. The rhetoric of play as the self
7. The rhetoric of play as frivolous

Kane (2005, p. 48) makes an interesting statement whereby he says "the moment of play is identified as a generator of originality, energy and new development" that made me think of Google's European offices in Zurich and the "Homo Ludens" that occupy it.

Kane's "manifesto" is about a lifestyle, an attitude, a state of mind, a way at looking at the world and the people and artifacts in it that strips away the rigidity and drudgery that has been hampered by a mechanistic, industrial mindset of the Victorian age. Education is still built around this hidden curriculum of "preparing people for the workforce".

There's this wonderful allusion to Jean-Dominique Bauby's "The Diving Bell and the Butterfly" where Kane (2005, p. 46) quotes surrealist Luis Bunuel: "Somewhere between chance and mystery lies the imagination, the only thing that protects our freedom". Bauby suffered a massive stroke that left him with a condition called locked-in syndrome (the diving bell) and would use his imagination (the butterfly) to escape his biological prison.

Both Sutton-Smith and Kane position play not as a "trivial, frivolous, silly" waste of time; but as a powerful, natural human asset for learning and discovery through highly creative and imaginative interactions with the world and the people who live in it. Whilst the games industry has shown how people can become immersed in the world of games and are developing skills through experimentation, practice and from other players, so now Education needs to look at this phenomena and translate this into practical, everyday use fit for a classroom be it real or virtual.

Update

Have just learnt that Pat Kane is one half of the late 1980s, early 1990s pop duo Hue and Cry and maintains a blog called "The Play Ethic" and is using Twitter to share his thoughts and resources around his concept of the play ethic.

References

Gee, J.P. (2007). What Video Games Have To Teach Us About Learning And Literacy (Revised and Updated Edition). New York, Hampshire: Palgrave Macmillan.

Kane, P. (2005). The Play Ethic: A Manifesto for a different way of living. London: Pan.

Sutton-Smith, B. (1997). The Ambiguity of Play. Cambridge, Mass.: Harvard University Press.

"But all learning is ... learning to play 'the game'. For example, literary criticism and field biology are different 'games' played by different rules. (They are different sorts of activities requiring different values, tools, and ways of acting and thinking; they are different domains with different goals and different 'win states')" p. 7

I have only just finished chapter 2, but I was interested in his notion of "semiotic domains" which he describes as "an area or set of activities where people think, act and value in certain ways" (p. 19). These "semiotic domains" employ a range of modalities (or multimodalities in this case) which would encompass the following:

• oral or written language
• images
• equations
• symbols
• sounds
• gestures
• graphs
• artifacts, etc

These modalities are embued with specific meanings which are communicated in very distinctive ways - in some respects I see these as being very similar to the idea of transliteracy which Sue Thomas (of PART) defines as:

" ... the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks."

Transliteracy, then, becomes an umbrella term to include the likes of literacy, digital literacy, media literacy, information literacy, visual literacy and computer literacy (to name but a few). The idea of images and symbols that have become to represent real-world objects is as old as neolithic man and used by the ancient Egyptians in the form of hieroglyphics (we can include other cultures that made use of glyphics and pictograms here). It is interesting to see how symbols and imagery has come full circle with the power of the pixel and the ascension of nu-hieroglyphics like semacode and data matrix code which contain information tucked away within those barcode-like symbols and can now be captured and translated by mobile phone technology. What would the cognitive archaeologists make of these symbols in 2000 years time I wonder?

References

Gee, J.P. (2007). What Video Games Have To Teach Us About Learning And Literacy (Revised and Updated Edition). New York, Hampshire: Palgrave Macmillan.