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Exploratory Learning Through Educational Games
Transcript of Exploratory Learning Through Educational Games
NAEA Conference / Fort Worth, TX / Sunday, Mar. 10, 2013 INTRODUCTIONS: University of Cincinnati
College of Design, Architecture, Art and Planning
Cincinnati, OH START FINISH ARTASTIC! Creators: Trélan Jones & Zach Sawan A Part of Art Creators: Jennifer Langhals & Monica Dick
“The game of hilarious observations and justifications” Roll the Dice Creators: Lele Lu & Katherine McCue Galleries & Critics Creators: Dan Couch & Alex Lonnenman KAZINGA! Creators: John Michael Bessey & Kelsey Downie PERFETTA! Creators: Joan Ruschman and Danielle Roberts What do you think when you hear the term educational games? The use of games and educational toys can be traced back to the 19th century.
Educators such as Maria Montessori, Frederich Froebel, and Elizabeth Peabody recognized the significant connection between play and learning. The name of the game
Educational objective of the game
Time required to play/number of players
A summary description of similar games already in existence
Learner description, i.e. appropriate grade level
A graphic showing of the game board, cards or other necessary components
A description of the game's effectiveness both in terms of motivation and learning
A reflection on the process of designing the game Documentation/Description: In "Galleries & Critics" students will role play as a character in an imaginary art world created by the students throughout the academic year. The game begins when the students create their character. "Perfetta" combines luck and skill; players collect matches of modern and postmodern principles. In "A Part of Art" players learn the role of artists and critics, challenge modernist ideals, and expand vocabulary. "Kazinga" is designed for art educators as a practical curriculum application. "Roll the Dice" offers students who have completed their work to have discussions with peers about artists featured in previous lessons. "ARTASTIC" challenges players to guide teammates in guessing the chosen subject without say five key terms. Existing games... “For many game players, games exist for entertainment, for passing the time, for fun. They are a diversionary activity, meant for relaxation or distraction—a “non-work” space where players are free to engage in fantasy narratives, amazing feats, and rewarding tasks. But what if certain games have become something more? What if some games, and the more general concept of “play,” not only provide outlets for entertainment but also function as means for creative expression, as instruments for conceptual thinking, or as tools to help examine or work through social issues?” (Flanagan 2009, p. 1) The audience
How to play Step 1: Identify the learning to be accomplised.
Step 2: Select the game structure.
Step 3: Keep the rules explicit. In the Future... References:
Flanagan, M. (2009). Critical play: radical game design. Cambridge, MA: The MIT Press.
Lieberman, J. (1977). Playfulness: its relationship to imagination and creativity. New York: Academic Press.
Katter, E. (1988). An approach to art games: Playing and planning. Art Education, 41(3), p. 46-48 50-54.
Sylva, K., Bruner, J., & Genova, P. (1976). The role of play in the problem solving of children. In Bruner, J.,, Jolly, A., & Sylva, K. (Eds.), Play: Its role in development and evolution. New York: Basic Books.
Wilson, B. (1974). The superheroes of J.C. Holz: Plus an outline of a theory of child art. Art Education, 27(8), p. 2-9.
Yawkey, T. (1979). More on play as intelligence in children. Journal of Creative Behavior. 13(4), p. 247-56. For more information