‘Persi in Citta’ unit of work for the Athelstone School VR project

Developing units of work that allow for student VR content creation involves: (a) sequencing and scaffolding learning for curriculum-mandated content and skill acquisition; and, (b) allowing time for students to develop new technology expertise via problem-solving, creative experimentation and collaboration.

In the Athelstone School VR project, primary (elementary) school students use the 360° VRTY platform to create a travel journey that demonstrates Italian language acquisition and knowledge of Italian culture. The learning objectives derive directly from the Australian Curriculum.

Below is the unit of work ‘Persi in Citta’ (Lost in the City), developed for the VR project by Athelstone language teacher Angelica Cardone and Jo Romeo. The unit of work was implemented this term with primary school students in Year 6 (11-12 years of age).

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‘Persi in Citta’ (Lost in the City) unit of work

Learning Intention – to use and develop directional language in the VR platform whilst creating different scenes in Italian cities.

Lesson 1

  • Introduce the booklets and go through it as a class (VRTY student handbook)
  • Re – familiarize themselves with the platform and look at where students were in Term 1 in terms of importing 360 degree images, information markers, portal markers and importing pictures etc.
  • Allow time to work on their world.

Lesson 2

  • Students to work on their information markers, limit to at least 4 per picture or scene.
  • Information marker must have information about the landmark they have chosen to use, information must be in English and have the Italian translation.

Lesson 3

  • After information markers have been used and checked by the teacher students to use portal markers so they can move through scenes.
  • Once portal markers have been used to move in and out of scenes directions will need to be written in to allow others to use the world as a new traveller to Italy. E.g. – Excuse me where is the Colosseum? Scusa dov’e` il Colosseo?

Lesson 4

  • Use directional language learnt in lessons and put them in their scenes.
  • Portal markers will need to transport the visitors to the location.

Lesson 5

  • Proposal to use the headsets and phones to view the worlds they have created in the VRTY platform. Proposal to use the 360 camera for producing own images to import into the VRTY platform.

Australian Curriculum Achievement Standards

Communication

  • Informing – Gather information from a range of sources (ACLITC043) and represent information appropriately for different audiences using a variety of modes (ACLITC044).
  • Creating – Create imaginative texts for different audiences such as digital stories using characters, places, ideas and events (ACLITC046)
  • Translating – Create simple bi lingual texts and discuss what translates easily or not (ACLITC048)

Understanding

  • Systems of Language – Use grammatical knowledge to interpret and create meaning in Italian (ACLITU052)
  • Language variation and change – Recognise that language use varies according to the context of situation and culture (ACLITU054)

Success criteria

 YesDeveloping
Can student import a 360 degree image correctly.  
Can student import an information marker and use effectively.  
Student can import a portal marker and use effectively.  
Student can use directional language appropriately to navigate through the scene.  
Was able to work collaboratively in pairs or small groups.  
Used the student handbook effectively for assistance if required.  

In addition to the Languages Curriculum outcomes the unit of work develops the following Level 4 General Capabilities from the Australian Curriculum:

ICT CAPABILITY

Investigating with ICT

  • Locate generate and access data and information: locate, retrieve or generate information using search engines and simple search functions and classify information in meaningful ways

Creating with ICT

  • Generate ideas plans and processes: use ICT effectively to record ideas, represent thinking and plan solutions
  • Generate solutions to challenges and learning area tasks: independently or collaboratively create and modify digital solutions, creative outputs or data representation/transformation for articular audiences and purposes

Communicating with ICT

  • Collaborate share and exchange: select and use appropriate ICT tools safely to share and exchange information and to safely collaborate with others

CRITICAL AND CREATIVE THINKING CAPABILITY

Inquiring – identifying, exploring and organising information and ideas

  • Identify and clarify information and ideas: identify and clarify relevant information and prioritise ideas
  • Organise and process information: analyse, condense and combine relevant information from multiple sources

Generating ideas, possibilities and actions

  • Imagine possibilities and connect ideas: combine ideas in a variety of ways and from a range of sources to create new possibilities

PERSONAL AND SOCIAL CAPABILITY

Self-management

  • Work independently and show initiative: assess the value of working independently, and taking initiative to do so where appropriate
  • Become confident resilient and adaptable: devise strategies and formulate plans to assist in the completion of challenging tasks and the maintenance of personal safety

Social management

  • Communicate effectively: identify and explain factors that influence effective communication in a variety of situations
  • Work collaboratively: contribute to groups and teams, suggesting improvements in methods used for group investigations and projects
  • Make decisions: identify factors that influence decision making and consider the usefulness of these in making their own decisions

VR safety and hygiene protocol for the Athelstone School Study

The VR School Study has always been concerned with safe and ethical use of immersive technologies especially with children and young people, and in schools. We were the first to create safety resources and procedures for teachers and students and, in the age of the Covid-19 pandemic, we continue to make safety and hygiene the top priority.

Hence, we have developed a safety protocol and set of related resources to address hygiene and safety for VR headsets that use mobile phones – this is the type of equipment we are using for the 360° VR content creation that is the basis of the Athelstone Italian language learning study. The resources were developed for training primary (elementary) school aged children in Year 6 (11-12 years old).

Context always matters when assessing and addressing risk including VR use in classrooms, especially during a pandemic. When undertaking risk assessment and development of protocols and resources to mitigate risk for VR (or any equipment digital or otherwise), each school must address their local conditions, follow expert advice on hygiene and safety, and develop their own risk assessment, protocols and resources.

For the Covid-19 state-of-play in South Australia (SA), where Athelstone School is located, see the SA government updates here – https://www.covid-19.sa.gov.au/home/dashboard and the SA Department of Education website on Covid-19 here – https://www.education.sa.gov.au/supporting-students/health-e-safety-and-wellbeing/covid-19-coronavirus. Our protocol and resources were developed in August 2020 when the Covid-19 situation was reflected in the snapshot from the government website below:

Here is a summary of the risks identified and the proposed mitigation strategies developed in relation to context:

Potential riskMitigation strategy
Covid-19 transmission through student sharing of VR headsets and phones– Assign each student their own headset, box for headset storage and phone
– Label headsets, storage box and phone with the name of the student to allow students and teachers to monitor the use of personally assigned equipment.
– Teachers train students in not sharing headsets, storage box or phones and to always return headset to its assigned box.
– Reinforce safety and hygiene messages and procedure in class at the beginning of the lesson and with a poster displayed at the front of the classroom and with a laminated version on each desk.
– Teachers in-class monitoring that students use their assign headset and pack headset into assigned box.
– For the duration of the research no other students or classes use equipment.  
Lack of compliance with Education Department Covid-19 advice for schools  – Principal does daily online checks of Department’s Covid-19 advice for schools to ensure compliance and that the project’s risk mitigation strategies do not contravene advice.
Poor VR headset and phone hygiene– At the beginning and end of each lesson students wash/sanitise their hands.
– At the end of each lesson students use disposable sanitiser wipes to clean their assigned headset (except for lenses) and phone at the end of each lesson and return VR headset to its assigned box.  
Teacher handling of phone after it’s been sanitised may put them at risk  – Teachers use disposable gloves to collect phones from students and connect these to charging station.
Desk contamination with from VR headset– At the end of the lesson and after wiping their headsets and phones, students use sanitiser wipes to clean their desk and the laminated safety poster which is on their desk.  
Improper disposal of used sanitiser wipes and gloves– At the end of each lesson students dispose of used disinfectant/alcohol cloths in plastic bag that has no tears or holes in it and this is tied shut by teachers who dispose of it directly into school skip bin.
– Teachers dispose of used gloves in plastic bag that has no tears or holes in it and this is tied shut by teachers who dispose of it directly in to school skip bin.  
Students experience cybersickness– Students trained to recognise signs of cybersickness or discomfort and to immediately take headset off and tell teacher.
– The training message is reinforced on safety poster displayed in classroom with a laminated version on each desk.
– Students buddy-up to check on each other during use of headset.
– Limit of 15 minutes per lesson in headset monitored by teacher and student-buddy.  
Students move out of seat with VR headset on and injury themselves or others– Students receive training on staying seated while they have the headset on.
– The training message is reinforced on safety poster displayed in classroom with a laminated version on each desk.
– Students buddy up to make sure each remains seated and teachers monitor this in class.  

Here are the teacher-delivered safety and hygiene training script for students:

Here is the teacher safety and hygiene classroom procedure:

The ‘Be VR Safe’ poster for display in classrooms and on student’s desks is a child-friendly version of the safety and hygiene procedure outlined in the training script.

All these resources can be downloaded from the resources section of this website.

On a related note – Since the beginning of the pandemic, the VR research and industry sectors have been working overtime to define and address safe use of high-end VR (where the computing is in the headset) and although there is no definitive advice this article covers some of the issues –  https://interactions.acm.org/blog/view/evaluating-immersive-experiences-during-covid-19-and-beyond

Until next time, stay safe.

A/Prof Erica Southgate

Cover photo by cottonbro from Pexels

Conceptions of VR + signature pedagogies = learning fit

In my recent book, I provide some explanatory frameworks on the pedagogical uses of VR. While much of the public discourse centres around technical differences between types of VR (i.e. the difference between 3 Degree of Freedom [DOF] vs 6 DOF) or whether 360° technology is ‘real’ VR, as an educator I think it is more important to focus on the pedagogical utility of the technology. One way of making pedagogical sense of VR is to conceptualise its different possibilities for learning with explicit connection to the signature pedagogies of disciplines (or school subjects derived from disciplines).

The diagram below (developed for the book) illustrates some key conceptions of VR for learning. VR applications can reflect one or more of these concepts.

When teachers are considering VR they should explore the learning experiences the application offers and how this might fit with the range of instructional strategies commonly used in specific subjects. For example, if you were teaching history you might ask if the software offers a means for transporting students to another place or time because this would fit well with the instructional repertoire usually deployed in the subject area. A core instructional strategy used in a subject is called a ‘signature pedagogy’ (Shulman, 2005). Signature pedagogies are important because they:

implicitly define what counts as knowledge in a field and how things become known…. They define the functions of expertise in a field. (Shulman, 2005, p. 56)

In the case of sparking the imagination through a historical re-creation experience (re-creation being a signature pedagogy of the discipline of history), a time-travel experience would traditionally be facilitated through the instructional use of text, maps, or video. Choosing a time-travel VR experience for history makes good pedagogical sense because it leverages or extends on the signature pedagogy of that particular discipline. Relatedly, this is why VR resonates with the types of place-based pedagogy used in subjects such as geography or in professional training simulations. The technology can be used to take the learner elsewhere and its spatial affordances (properties) fit with the signature pedagogy of geography which is the field trip or professions where situated learning in workplaces (placements) are key (such as clinical health or teacher education).

Let’s look at another example using the diagram. In order to teach science, an educator might want to  provide students with the opportunity to conduct experiments that are too complex or dangerous for a school laboratory – experimentation in labs being a signature pedagogy of the discipline of science. The teacher would therefore investigate if there was a total learning environment in the form of a virtual laboratory available so that experiments could be safely simulated.

A performing arts teacher might find that a virtual studio would be a great addition to the actual studio of the drama classroom because it offered a range of tools for her student to design sets and costumes. VR design studios allow for ease of prototyping (click of the controller for creating, erasing and changing elements) at actual scale and let students easily share design ideas for rapid feedback from the teacher and peers (the book has a case study on how a real teacher did this in a rural school).  In this case, the virtual environment offers tools to support the signature pedagogy of drama teaching which involve facilitating the creative processes through improvisation and iteration.

Finally, some VR applications enable student content creation – this might be through coding (using game engines such as Unreal and Unity for example) or with more accessible ‘no code create’ drag-and-drop software. In this pedagogical conception of VR, students use the technology as a form of immersive media that can tell a learning story. Students create their own worlds and tell their own stories to demonstrate mastery of learning outcomes and to communicate with, and teach, others.

This pedagogical conception of VR as media informs our latest research on using 360° content creation for second language learning at Athelstone primary school. The 360° platform, VRTY, offers ‘no code create’ opportunities for primary school students to create their own ‘surround’ worlds that acts as a foundation to embed other media into (other media includes gaze-activated pop-up text, sound files, photos, videos, gifs and animations). Students are required to demonstrate that they meet learning outcomes, such as oral or written mastery of Italian vocabulary, by creating a 360°world that is enriched with other digital content they have created. Students can link 360° environments together through gaze-activated portals. The many layers of media content creation entail students planning, experimenting, designing, and evaluating the story they want to tell in their virtual worlds. They then share their creations with peers and the teacher for authentic feedback. They are making media-rich narratives to educate others about the Italian language and culture while demonstrating content mastery.

One our key research questions involves understanding how language teachers can leverage their signature pedagogies to take advantage of the learning affordances of 360° media creation in ways that enhance student engagement and learning. Concentrating on the instructional utility of VR in direct relation to the distinctive pedagogies of the subject being taught – its signature pedagogies –  will yield theoretically rich and salient insights for teaching and curriculum design. You are invited to follow our adventure. Stay tuned.

Bought to you by A/Prof Erica Southgate on behalf of the Athelstone School VR School Team

References

Shulman, L. S. (2005). Signature pedagogies in the professions. Daedalus134(3), 52-59.

Southgate, E. (2020). Virtual reality in curriculum and pedagogy: Evidence from secondary classrooms. Routledge.

Using VRTY for language learning

In 2019, VRTY partnered with the Athelstone School and the VR School Study to investigate how primary school students could create 360° environments to enhance language learning, in this case Italian. VRTY was created in 2016 to help make virtual reality more accessible to educators and students. Its founders wanted to improve educational approaches by bringing-to-life 21st Century learning outcomes.

So what is it really? VRTY is a VR and interactive 360° content creation and sharing software platform. It lives in the cloud and its benefit is its ability to help anyone create their own virtual content. There’s no need to code because the platform provides its own easy-to-use tools to let the imagination run free, enact design thinking, problem-solve, prototype and create and share feedback with others.

Being cloud based, there are no specific hardware requirements to use the platform; all you need is a computer with Google or safari browsers and an internet connection. To share a newly created project, it can be shared via a QR code or unique web address (URL). When viewing a project, it can be viewed in 360°mode on any device with a google or safari browser; and to view in VR mode it can be viewed using a mobile and a VR cardboard or mobile headset.

Using VRTY 360° in education has the potential to

  • Increase student engagement;
  • Facilitate higher order thinking and collaboration;
  • Allow students to demonstrate content mastery through the creation of their own media-rich virtual environments;
  • Develop ICT capability area of the National Curriculum integrated across learning areas; and
  • Authentically share content that can be used across the education community.

VRTY provides online training on the platform and an in-class teleconference training session (which is pictured above). Founder, Kingston Lee-Young is enjoying the Athelstone School collaboration, offering the following insights:

“As software developers, we had a vision of creating something that would improve the learning environment and benefit both teachers and students. Partnering with the Athelstone School allows us to see our VRTY platform in action in the hands of Years 5 and 6 students learning Italian. Whilst the involvement of the VR School Study means we are being measured to see if we are truly adding value.”

The photo above shows Kingston and Sarah Lee (VR Producer at VRTY) providing online training to Athelstone School students.

For more information about VRTY or to see some of its shareable content please head to: https://vrty.io

New study on 360° VR for primary school language learning

The VR School Study is in a new partnership with Athelstone School, a South Australian primary (elementary) school. The Athelstone School research will investigate how 360° VR content creation can be used for learning Italian. Funded by the South Australian Department of Education’s Innovative Language Program Grants (ILPG) program, Year 5 and 6 students will use the VRTY platform to create and share their own virtual worlds guided by the Australian curriculum. This action research has already undergone a pilot phase that happened in the second half of 2019 and we are now entering into the first of  several research cycles in order to explore technical challenges, developmental appropriateness of 360° VR, and the efficacy and innovative potential of 360° VR content creation for learning another language.

The teacher co-researchers on the project are language teachers Angelica Cardone (far left behind) and Jo Romeo (left front on top image), and Principal Gyllian Godfrey (back centre) who is also a qualified language teacher.  Gyllian provided this reflection on the project:

“The ILPG has offered the opportunity to test the benefits of VR for students
learning languages at primary level and has also upped-the-ante by making
students the creators of their own content, by developing non-linear language
learning narratives for themselves and their peers.”

In our next blog, the folks from VRTY explain how students can use their platform for content creation and learning.  Stay tuned.

Bought to you by A/Prof Erica Southgate who is taking up a lot of room (right front) in the photo above.

Immerse + Imagine with James Calvert

Could you tell us about your professional background James?

I started an animation studio called the People’s Republic of Animation when I was 18 years old with a couple of friends. The studio grew over the next 15 years and was producing animated films for global clients. I was, and still am a director and storyteller at heart. In addition to animation, I started and ran a small video games company called Six Foot Kid. Life as an academic only began four years ago when I joined Torrens University Australia, in the design and creative technology faculty.

When did you first get interested in VR and why?

I was working with the ABC in 2017, trekking along the Kokoda Track in Papua New Guinea, capturing material for the educational VR experience ‘Kokoda VR’, when my interest in VR really kicked in. I was immediately drawn to VR as a storytelling and educational medium that could transport users to immersive virtual worlds.

2Landscape Phone

How do you currently use VR?

Primarily for telling stories. As a researcher, I am exploring how an immersive story or narrative can benefit education in schools.

What are your thoughts on VR and the creative process?

I’ve spent my entire professional career embedded in the ‘creative process’. VR poses some new challenges to the creative process, due to the newness of the medium. Tricks and techniques that have been developed for video games or film making, need some adjustment before applying to VR development. Motion sickness is the prime example here. A great idea that might have worked in games or film, would need rethinking if it causes motion sickness when experienced in VR. However, obstacles such as this are important to the creative process and can always be overcome.

What advice would you give teachers and students who are thinking about using VR for creative projects?

Go for it! But always test your ideas in VR. The capacity for VR to provide truly memorable embodied moments is incredible. As a tool for creative projects, it is a very rich playground.

Jame’s latest project, Thin Ice VR, weaves together Ernest Shackleton’s Antarctic survival story with a tale on the effects of climate change.

 

An educator’s advice on what to look for in a 360° platform

360° content creation platforms are gaining popularity in schools as a way for students to create their own virtual environments and narratives (linear and branching) to demonstrate mastery of learning objectives.

Professionally, I think that students should be creating and sharing this content and not teachers (we should be worrying less about whether students can make a ‘perfect’ product and more concerned about the many technical, thinking and social skills they are learning as the create and share virtual environments, especially if they do this collaboratively.

360° content creation is certainly developmentally appropriate for primary school children and can be great fun for primary and secondary school students. Students can import scenes and annotate them or, better still, create their own 360° photo or video scenes to use as the basis for learning task. Here are some of things I look for as an educator in a 360° platform:

  1. Intuitive no-code mainly ‘drag and drop’ or easy content creation tools with good tutorial and online/real-time support.
  2. The ability to put in your own 360° video or photo foundation environments which can house media-rich content that students can create (video, photo, text, animation/gif) and that can link though hot spots or portals to create linear or branching way (joining environments with different media).
  3. Options for sharing and publishing 360 creations from private class to public viewing.
  4. Clear intellectual property and privacy policies including consideration of biometric* data harvesting – demonstrated knowledge of privacy legislation is required.
  5. Accessible analytics which make sense for learning at content creation and viewing/interaction phases.
  6. Preferably linked or supported by a teacher professional learning community who can share creations, pedagogical experiences and curriculum material.
  7. Easy to manage school and student account arrangements.
  8. Simple to understand advice on and ways to manage network compatibility and bandwidth implications for your school (and if it is a streaming platform, if your school network can accommodate this).

*Biometrics can be defined as the automated recognition and collection of measurable data on biological and behavioural characteristics of individuals. Behavioural data includes vocal patterns, eye tracking/gaze attention, gait tracking or typing recognition.  For more information on biometrics and other legal and ethical issues related to VR and AR technologies see this report for educators.

– This post bought to you by A/Prof Erica Southgate.

Feature image: Screenshot from https://www.360cities.net/search/@tags-aerial

What can virtual reality do for learning?

In 1962, Morton Heilig, a cinematographer and inventor, produced a prototype machine called the Sensorama Simulator (pictured above). It was a machine that played 3D films enhanced by stereo sound and effects such as a fan-generated breeze and a series of chemical scents emitted from vents.  In the Sensorama you could feel like you were really riding a motorcycle! While the Sensorama did not make it past the prototype stage, it laid the foundations for some important thinking on what simulating reality (and creating new realities) might involve. This included the potential for technology to transport a person into another realm, elicit powerful feelings of ‘being there’ in that virtual environment, and allowing people to experience things that they might not be able to do in real life. These are some of the affordances of virtual environments.

Affordance is a tricky term because it can mean both how people use the properties of a technology for a particular purpose and how the actual properties of a technology allow for a range of uses (Hammond, 2010). So what are some of the affordances  of 3D virtual environments that can make it a valuable learning tool?  These include:

  • Allowing learners to enhance their knowledge of an environment or object through spatial interaction or manipulation in a fully-realised 3D way (Dalgarno and Lee, 2010). An example of this would be rotating a virtual human cell and resizing it to get a better or more detailed view of its specific structures and how these relate to each other. You might also put a simulation of a human cell beside a plant cell and interact and manipulate with these for comparative purposes.
  • Facilitating experiential learning for tasks or activities that are impractical, impossible or unsafe in the real world (Dalgarno and Lee, 2010). For example, it would not be safe or practical to experience an active volcanic eruption. A simulated virtual experience could allow you a close-up view of the event, provide a deeper understanding of the phenomena and explore its aftermath. Virtual reality, using head mounted displays (HMDS), has provided field trips through the human body to educate on health, been used to gauge the behaviours of children in road safety scenarios, and train astronauts in repairing equipment. At its best, the skills learnt in the virtual environment can be readily transferred to real world situations.
  • Increasing motivation and engagement in learning tasks through a ‘flow’ state that results from intense feeling of presence or ‘being there’  (Dalgarno and Lee, 2010). Using the plant and human cell example cited above, learners may become drawn into the immediacy and intrinsic interest of the task in cognitive and embodied ways. Indeed, there is increasing interest in immersive virtual reality as a tool to explore embodied cognition (Jang et al., 2017). Furthermore, if it is possible to interact with others to do the task in a virtual environment then the educational and social benefits of cooperative learning can become apparent.
  • Allowing profound flights of the imagination. Leaving aside the magic of virtual field trips on and off the planet and back in time, there are a growing number of tools that allow users to create in and customise virtual environments with extraordinary results (eg Tilt Brush). And, there are current explorations of immersive virtual reality as an ‘empathy machine’ that allow people to step into someone else’s shoes and perhaps even change their belief system (Maister et al., 2015). Another immersive technology, 360° video, has been used to provide a window into the lives of people living with autism.

The affordances of virtual environments have enormous potential to enhance learning but require more research on specific applications, groups of learners and in diverse educational settings. This is especially true of highly immersive virtual reality mediated though head mounted displays (HMDs). Some key questions are:

How do the affordances of highly immersive VR, mediated through HMDs, enhance, alter or add to learning experiences especially when compared to desktop virtual environments?

What are the pedagogical implications of these affordances and what should teachers know and do in relation to this?

These questions are central to the VR School project.

References

Dalgarno, B., & Lee, M. J. (2010). What are the learning affordances of 3‐D virtual environments? British Journal of Educational Technology41(1), 10-32.

Hammond, M. (2010). What is an affordance and can it help us understand the use of ICT in education? Education and Information Technologies15(3), 205-217. http://wrap.warwick.ac.uk/34602/1/WRAP_Hammond_9870626-ie-030511-hammondaffordancejuly09.pdf

Jang, S., Vitale, J. M., Jyung, R. W., & Black, J. B. (2017). Direct manipulation is better than passive viewing for learning anatomy in a three-dimensional virtual reality environment. Computers & Education106, 150-165.

Maister, L., Slater, M., Sanchez-Vives, M. V., & Tsakiris, M. (2015). Changing bodies changes minds: owning another body affects social cognition. Trends in Cognitive Sciences19(1), 6-12. https://neiljh.wordpress.com/2013/06/12/the-troublesome-concept-of-technological-affordances/

 

Erica Southgate, Associate Professor of Education and someone who wishes she could have tried the Sensorama!

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