Throughout 2022, we are focused on students as educational VR content creators. This includes students taking an active role in designing their own guidelines for safely using VR equipment. A visit to Trinity College at the start of their VR project saw Steve Grant, Director of Innovation and Creativity, facilitate a brainstorming session with Year 7 students where they worked together to come up with safety guidance for their project. In addition, students also worked as a whole class to develop ideas about good design in VR. At Southern Montessori School, teacher Toni Maddock led her middle school class through a similar co-design process. This video provides a great insight into the start of the project at Southern Montessori with students working together to develop their own safety instructions. As these teachers demonstrate, facilitating powerful VR learning experiences involves empowering students from the very first lesson.
Interested in students as virtual reality content creators? Check out this podcast from the VR School Study lead researcher A/Prof Erica Southgate. In the podcast, Erica discusses: selecting ‘sandbox’ applications that allow students to create virtual worlds without needing to code; pedagogical facilitation and curriculum development using this new media; and the evidence base for learning.
During 2022, the VR School Study will be reporting on research conducted in collaboration with the Association of Independent Schools of South Australia (AISSA) and their member schools — SEDA College, Pembroke School and Trinity College — located in Adelaide. The research is also a partnership with 360° VR company VRTY. The research will focus on students as VR content creators in junior secondary school STEM with occasional forays into primary (elementary) school. We will be exploring pedagogical approaches to leveraging VR in STEM classrooms for Deeper Learning and creativity, sharing curriculum ideas, and showcasing the 360° VR content students create for authentic audiences with their unique perspectives on learning through the technology. We will report on progress through numbered project updates from each school which will use the same cover image so that they will be easily identifiable as part of set. Look out for these as well as other posts that will pull together findings across schools. Let the VR School Study in 2022 begin!
Ever since Facebook announced its vision for their metaverse on 28 October 2021, including the company’s name change to Meta, there has been a buzz about what it might mean for the future of the internet and our digital (and real) lives.
Of course, this announcement was set against the recent warnings from a reputable whistle-blower about the harm the social media company is doing including to children and young people through its algorithms that shape user beliefs and behaviour, and inadequate moderation of harmful content.
This blog post unpacks the idea of the metaverse, taking into account Facebook’s vision but also extending beyond it, to understand its history and highlight some implications for teachers.
Where does the term metaverse come from?
English teachers – You Are Up!
The term metaverse was coined by Neal Stephenson in his 1992 cyber punk novel Snow Crash. It referred to a computer generated universe.
Snow Crash is a rollicking sci fi read that has fired-up the imagination of those interested in possible technology futures with its fascinating portrayal of the persistent immersive 3D digital world of the metaverse that can be jacked into through a personal headset or public booths that produce a lower grade, glitchy avatar. In fact, the novel popularised the word avatar. It also highlighted the dangers of corporate and government control of knowledge and its infrastructures, dreamt up a devastating hybrid DNA and digital virus, and featured deadly semi-autonomous weapons called ‘rat things’.
An aside: For an earlier version of the metaverse, but this one was called the ‘matrix’, see William Gibson’s (1984) Neuromancer, a dazzling tale about a VR universe inhabited by mastermind AIs that influenced the Matrix film trilogy (soon to be quadrilogy).
What will the metaverse be?
The idea of the metaverse extends beyond Facebook’s (proprietary?) influence and has been described as a spatialised interoperable version of the internet. At the moment no one really knows what the metaverse might be like although there are current smart glasses, persistent VR spaces and gaming sites that provide a window into social, commercial, communication and creative aspects of it. Users will probably connect with the persistent interfaces, spaces and layers of the metaverse using a VR headset or smart glasses or on a screen (or with some type of yet-to-be-invented hardware that can integrate aspects of these). There is also a future vision, and investment into research, for direct human brain-computer interface. The metaverse will be populated with people in avatar form and by AI-powered virtual characters in human and other forms.
Here is a description of what the metaverse might be:
“The metaverse is the idea of a shared digital universe in the cloud created by merging virtual spaces that are physically persistent together with augmented reality (AR) layered over the real world. The metaverse is singular because the concept includes the sum of all virtual and online worlds along with all AR layers enhancing the physical world… Besides games and hangouts, it will include social media platforms, workplace tools, investing resources, online shops and much more. You’ll be able to immerse yourself completely in this spatial internet using virtual reality (VR) technology or just interact with bits of it that are layered over your physical space via AR. Instead of a profile picture, you’ll be represented by a complete digital avatar or persona. You’ll be able to meet up with your friends’ digital personas and wander around visiting virtual places and attending virtual events.” https://history-computer.com/metaverse-the-complete-guide/
For those interested in how Facebook’s metaverse might be designed in stages see this excellent article from Avi Bar-Zeev, veteran developer of and commentator on all things eXtended Reality (XR).
What does the metaverse mean for teachers and students?
1. Be curious but don’t believe the hype: There is a fair bit of publicity around the metaverse, and this will infiltrate the EdTech space – just remember that the metaverse isn’t here yet (at least in a scaled-up interoperable way), and some suggest it may never arrive. So, it’s good to be intrigued without buying into the hype.
2. Keep up with current research on immersive learning: We are still in the early days of building the evidence base for the effectiveness of immersive technologies for learning using headset-mediated VR and augmented reality experienced through glasses or via screen, especially in schools. Results are promising but ongoing rigorous research is needed so that we can confidently embed immersive learning into school classrooms in ways that make pedagogical sense and align with curriculum across subject areas. Asking questions about the evidence base and keeping up with the research on immersive learning is vital as knowledge about this will allow us to ask the right educational questions as the metaverse evolves.
3. Get interested in the (dry) but important areas of privacy law, digital legislation and regulation, and AI ethics: The idea of the metaverse only amplifies existing concerns regarding the automated harvesting, sharing and use of data without user consent including biometric data which is about and of the user body (facial recognition, pupil dilation, gaze and movement tracking etc.) and which can be highly identifying. There are many different forms of biometric data and plenty of biometric harvesting tools available and so we need to watch this space carefully. Automated nudging of behaviour and the affective moods of users will be diffused through the metaverse as current visions see this as a place to advertise and sell products to us as well as collect our personal data in ways which will be highly embodied and emotional. The inclusion of cameras in smart glasses and VR headsets adds another layer of complexity to maintenance of privacy. The Internet of Things will seamlessly fuse with the Internet of Bodies creating legal, ethical and social dilemmas for all of us, personally and professionally. Children and young people will be differently impacted at each stage of their physical, cognitive, moral, and social development. The teaching profession needs to ask who will regulate the metaverse, define its standards, and build and control its infrastructure and content, as this should inform decision making on procurement of technology for schools. No teacher wants to bring unethical technology into the classroom and so we need to start understanding and applying ethical frameworks now and into the future as the metaverse merges with aspects of our everyday lives in work, leisure and learning.
4. Empower children and young people to have a say in what the metaverse should be: Look for places in the curriculum where students can investigate and use the technologies related to the metaverse as well as explore public and industry discourse about its ethical and social implications. Such opportunities should expand the boundaries of digital literacy education to take in civics and citizenship, the environmental impacts of technology, ideas about human-machine relationships, and re-formed conceptions of learning, creativity and identity in the new machine age. Some industry doyens, such as the CEO of the child-targeted Roblox gaming platform which has 42 million daily users logins, suggest that children are already in a proto-metaverse and that one day such platforms will be pivotal to a metaverse providing everything from learning, shopping and business communication tools. Schooling systems rarely recognise the digital leisure life of children and youth, and yet industry is watching and factoring this into their plans for the metaverse. It is important that we as educators facilitate children’s critical engagement and agency in this space so that they are not viewed just as consumers or as data points. The voices and visions of children and young people should be integral to shaping a metaverse which upholds human rights including the rights of child.
The post bought to you by A/Prof Erica Southgate who is looking forward to having a snazzy Star Trek Borg avatar in the metaverse.
P.S. For those interested, here is the full Facebook Meta announcement.
Snow Crash novel cover featured in this post is from https://www.amazon.com/Snow-Crash-Neal-Stephenson/dp/0553380958
This post reports on Athelstone School teachers’ views on using VRTY, a 360° content creation platform, for learning Italian with primary (elementary) school students. To catch-up on the research go here and here.
Language teachers Jo Romeo and Angelica Cardone provided extensive reflections in video and written form throughout the study. They noted that most students were engaged in the learning task of creating their virtual tour of Italy and incorporate the mandated Italian directional language and greetings. Teachers were particularly pleased to see less technologically confident students gain skills by collaborating with their peers either in pairs to create one virtual world or through peer-to-peer interaction more generally.
Teacher written reflections suggested that throughout the unit of work students were developing the Deeper Learning capacities of effective communication and problem solving through self-directed learning and an academic mindset featuring persistence when confronted with a range of difficulties:
Throughout the research, teachers learnt about the potential of immersive storytelling for language learning and students learnt about this too, guided by a mix of instructional strategies and creative processes. Instructional strategies included explicit teaching, scaffolding of student independent research and student production of different types of interactive media in Italian and English to be embedded in the scenes of their virtual Italian tour. After students had created several interconnected 360° scenes, teachers encouraged them to make audio files of themselves (sometimes with peers) orally using the directional language central to the curriculum. These voice recordings were then embedded in appropriate places in 360° scenes along with other media students had sourced or created such as photo and text information pop-ups providing historical or cultural facts related to the scene.
Students exhibited joy when experiencing their 360° creations through a VR headset, as the teachers explain:
Longitudinal, deep teacher reflection is a key source of data for the VR School Study. Teacher reflections over time provide important insights in to growth in teacher professional learning, student learning and the success of different pedagogical strategies and curriculum planning approaches when using VR real classrooms.
Cover picture: Our last real-life team selfie before the Covid pandemic hit – Front: A/Prof Erica Southgate; Rear (Left to Right): Athelstone School language teachers Angelica Cardone and Jo Romeo, and Principal (and language teacher) Gyllian Godfrey. The study was funded through the South Australian Department for Education Innovative Language Program Grant.
The VR School Study has featured in an interview published by the Independent Schools Association of NSW (AISNSW). The interview covers areas such as leveraging the learning affordances of VR to develop deeper understanding, problem-solving and creativity with students. You can read the interview here.
How do children go about planning the content and experiences of virtual environments that they are creating to demonstrate learning mastery? How do they think about creating virtual environments for their peers to learn in? What are the special learning outcomes related to this? Not much is known about these areas.
The VR School Study is interested in students as virtual environment content creators. As part of the research, we collected data on the approaches students take when creating their own virtual worlds to demonstrate mastery of learning. This blog reports on interesting findings from the Athelstone School Innovative Languages project where primary (elementary) aged children are building their own 360° virtual tours to demonstrate mastery of the Italian language.
The students are using VRTY, a platform that allows them to plan and create their virtual worlds without needed to code. The platform provides easy-to-use tools with built in tutorials and a fun guide so that students can independently learn to use the platform after a couple of formal training sessions. Previous blog posts describe the VRTY platform and how it is leveraged through the teacher’s curriculum design. The first step, after training, is for students to research and plan their virtual tour. The planning involves storyboarding through VRTY. Students need to:
- Locate and choose the 360° photo scenes of Italy that best fit a tour narrative.
- Locate cultural and historical images that could be embedded in each scene.
- Create their own content to embed in the scene such as text and sound file that draw on the vocabulary mandated and reflect their research on cultural and historical information about Italy.
- Design a narrative through storyboarding in VRTY that reflects the story they want to tell and consider whether the tour experience should be linear or non-linear (the image below is of one student’s storyboard).
- Create each 360° scene and embed their content into it in an engaging way and place teleporter hotspots in the scenes so those experiencing the tour can move between scenes.
Fourteen students from a mixed ability class chose to be part of the project with 11 virtual worlds in total created – some students chose to work in pairs. Equal numbers of boys and girls participated. On average student virtual worlds comprised six 360° scenes. Overall, students created 187 pieces of content to embed in scenes in their virtual worlds, including 50 sound files and 137 information markers. The cover image to this blog post is a screen shot from the student tour ‘Journey around Rome’ which shows student created information and sound markers embedded into the scene.
Interestingly, 7 of the 11 worlds were structured according to a non-linear narrative. Non-linear narratives allowed those experiencing the tour to move back and forth between all or most 360° scenes. Students who developed a non-linear narrative storyboard explained that this allowed have the freedom to go back and check out aspects of a scene they might have missed or enjoyed. The image below is of a non-linear narrative storyboard developed in VRTY. The virtual tour was created by a female student who called it ‘Journey around Rome’ and it allowed the traveler to move between a number of historic sites with all sorts of images, text and sound files in English and Italian embedded into them which used the mandated vocabulary and other Italian. Best still the traveler could return to a hotel room and decide which day trip they might take next or they could go back and visit somewhere they had already been.
This sophisticated non-linear narrative approach to constructing a user experience was premised on creating a sense of agency for those experiencing the tour (or other learners). In choosing non-linear narratives some children were tapping into the strength of developing learner agency when designing their virtual worlds. Non-linear narratives were not essential for developing agency but, in many cases, were important to this.
The significance of developing agency in learning cannot be underestimated, as Williams (2017) explains:
“Students with agency develop a self-perception that is based on their abilities as independent thinkers. Our task as educators is not to tell them what to think but to help reveal their thinking by reflecting back to them what we are observing and noticing and naming their acts of problem solving. This feedback builds a metacognitive awareness that reinforces their identities as capable thinkers who are able to construct their own understandings. This mode of learning shifts the locus of power from the teacher to the student, thus setting up students as the experts in their own learning.” (p. 11).
The Athelstone School VR project illustrates how many students themselves understand the significance of agency in creating engaging and efficacious 360° learning environments.
Williams, P. (2017). Student Agency for Powerful Learning. Knowledge Quest, 45(4), 8-15.
This post provides a snapshot of some of the ways the VR School Study researches the use of VR in schools, with the framework also applicable to other formal educational contexts. VR School is an ongoing multi-site study that employs a mixed-methodology (qualitative and quantitative) approach to research. The study is premised on a multi-perspectival conceptual of education with and in VR. The diagram below outlines some of the key areas that are explored in the research.
Each of these areas prompts a range of questions about virtual reality for education. The table below highlights some of these questions with associated methods for collecting data that might shed light on them.
|Pedagogy||How can teachers leverage the signature pedagogies of their subject areas/disciplines to ensure deeper learning through VR for their students?|
How can teachers leverage the learning affordances of VR for deeper learning?
What are the pedagogical principles or assumptions the are evident in VR applications?
|Curriculum||How can VR be woven into a unit of work which includes the normal range of conventional learning activities in a curriculum-aligned way?|
Can curriculum objectives be adapted to take advantage of the learning affordances of VR?
Teacher written and verbal reflection
Document (curriculum) analysis
|Assessment||How can VR be used to develop novel, engaging and authentic types of formative and summative assessment?|
How can student peer and self-assessment be built into VR projects?
How can VR be used to develop novel, engaging and authentic types of formative and summative assessment?
What are strengths and limitations of conventional assessment types in understanding learning?
|Teacher and student written and verbal reflection|
Document (curriculum) analysis
Student work sample analysis
|Student learning||How can students use VR to demonstrate content mastery, collaboration and communication skills, new conceptual understandings, problem-solving skills, metacognition and an academic mindset?|
What is the student experience of learning through and in VR?
How can students move beyond the novel effect of new technology to develop deeper learning?
Student work sample analysis
Student and teacher written and verbal reflection
Student talk and behavioural analysis
|Teacher professional learning||What is the teacher experience of learning to use an emerging technology in the classroom?|
What types of formal professional learning, expert and peer support do teachers require?
How do teachers learn from each other and students during VR projects?
|Teacher written and verbal reflection|
|Ethics and safety||What are the ethical, legal, safety and child development issues related to using VR in classrooms?||Document analysis|
Observation and testing
Surveys and experiments (cross-sectional and longitudinal)
|Organisational arrangements and culture||What are the technical, practical and organisational enablers and barriers to embedding VR in classrooms in a curriculum-aligned way?|
What conditions are required for pedagogical risk taking using an emerging technology?
How does the culture of the school support or impede innovation?
|Teacher and student written and verbal reflection|
While these are only some of the questions and approaches to data collection that the VR School study is exploring across primary and secondary schools and in different subject areas, it is worth noting that there is a commitment to participatory research: That is research with teachers and students, not on them. Elevating the knowledges of teachers and students will be key to understanding where VR fits best in education and in scaling up immersive learning in schools.
Cover image from Pexel.
An essential part of scaffolding digital learning when using emerging technology in schools is the provision of developmentally appropriate training on using platforms to meet learning objectives. While there is a lot of talk about generations Y and Z being digital natives, there is great variability in the capability of children and young people in using digital tools for learning, especially when it is comes to creating rather than consuming products.
Throughout the Athelstone School project we have thought carefully about training and supporting primary school aged students (11 – 12years) in using the 360° VRTY platform or content creation. In 2019 we did a pilot study using VRTY with Year 5 students which helped us hone the training approach. In this phase of the study student training was conducted via teleconference and lasted 40 minutes. VRTY personnel delivered the training, while the teachers and researcher were on hand to assist. This initial training involved a general introduction to using the platform to create virtual worlds in screen mode. We used a ‘sticky note’ exercise to evaluate the training where students writing down their comments on a post-it note about the training so that we could gauge the class’s training experience. This exercise revealed most students enjoyed the training but that some found it challenging as the examples below show.
In 2020, we expanded the training and support approach to include an additional teleconference session on how to save and share virtual content with others in screen and immersive modes. VRTY designed a special handbook for students on this step-by-step process. This handbook was printed out and put on each desk for easy referral. This supplemented to in-platform tutorials and information, providing an option for students who might prefer more conventional reference material to support learning. This in-class training was undertaken via conference which we already had practice with before the necessity of conducting such sessions due to COVID restrictions.
One of the learning objectives for the unit of work was that students could use the on-desk training handbook effectively for assistance to trouble-shoot issues as they arose. The evaluation indicated that all students met this learning objective.
Our experience shows that primary school students may need different training and resource approaches to build confidence and scaffolding them towards competence in using 360° content creation tools. The training response included provision of in-platform instructions and tutorials with a back-up paper-based manual available on student desks. Once confidence was developed, students played and learnt through this process too. Multi-pronged training approaches coupled with practice and play makes perfect.
This post bought to you by A/Prof Erica Southgate, the VRTY team Kingston Lee-Young and Sarah Lee and the teachers of Athelstone School.
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).
‘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.
- 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.
- 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.
- 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?
- Use directional language learnt in lessons and put them in their scenes.
- Portal markers will need to transport the visitors to the location.
- 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.
- 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)
- 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)
|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:
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
- 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
- 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