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.
In 2021, Trinity College, located in Adelaide, undertook a pilot study to explore how junior secondary students could create a 360° virtual reality learning resource on the science of energy for primary (elementary) school students. This collaborative project was important because there are very few studies on how school students can become VR content creators and use the power of the technology for authentic learning. Authentic learning involves actively demonstrating content mastery for real world applications – in this case using the new media of VR to teach younger peers about the wonders of science.
The team learnt a lot during the study with the main factor impacting the project being time due to curriculum constraints rather than secondary student creativity and engagement. Secondary female students were graded highly on the virtual world content creation task indicating that VR content creation can promote good learning outcomes and interest in emerging educational technology for girls.
Younger students generally found the VRTY platform easy to use and most enjoyed experiencing the 360° learning resource produced by their older peers. While the content knowledge of primary school students did not increase after using the learning resource, the project did provide promising results in shifting the current emphasis away from passive VR consumption in secondary school classrooms to active VR content creation by students, for students.
A research paper from the project will be presented at the 2022 IEEE VR KELVAR Workshop: K-12+ Embodied Learning through Virtual and Augmented Reality. The accepted version of the paper ‘School students creating a virtual reality learning resource for children’, is available in the University of Newcastle’s NOVA repository – http://hdl.handle.net/1959.13/1430150
To cite this paper:
Southgate, E., Grant, S., Ostrowski, S., Norwood, A., Williams, M. and Tafazoli, D. (2022). School students creating a virtual reality learning resource for children. Proceedings 2022 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW).
This research is conducted in collaboration with, and funded by, the Association of Independent Schools of South Australia (AISSA).
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
In late August 2021, the VR School study celebrated 5 years of ground-breaking research. Associate Professor Erica Southgate highlights three key findings from research so far:
Research papers and teaching resources are available on the VR School website under the Resources tab and there is a book for those who are interested:
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.
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
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 risk||Mitigation 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
In our previous post we introduced a project at Dungog High School where they are using the 3D drawing program Tilt Brush in drama class. In this post, Head Teacher Louise Rowley responds to 4 key questions on her learning journey and how to use VR in drama in a curriculum-aligned way.
What is the VR project about?
The Year 11 students were creating a Director’s Folio for a contemporary Australian play called Ruby Moon. They traditionally have to create a director’s vision and explore this in their set box and costume designs. [Syllabus outcome P1.4: understands, manages and manipulates theatrical elements and elements of production, using them perceptively and creatively.] For this project, we included the VR and the program Tilt Brush for them to explore and create an audience experience of their Director’s vision. This really led to more engagement with the atmosphere and audience experience. [Drama Stage 6 Syllabus outcome P2.1: understands the dynamics of actor-audience relationship.]
They were working in groups to create their designs and needed to understand, manage and manipulate theatrical elements and elements of production. They were charged with the task of using them perceptively and creatively and this was taken to a new level of creativity in the VR space. We had been inspired by the National Theatre in the UK who created an immersive experience for their audience based on their director’s vision. This takes the audience to a completely new place and extended the idea of theatre as an immersive art form. [Syllabus outcome P1.4: understands, manages and manipulates theatrical elements and elements of production, using them perceptively and creatively.] The process of taking their Director’s vision into the VR space allowed them to think more about the audience’s experience and really immerse themselves in the director’s role. It allowed them to demonstrate their directorial vision in the immersive virtual world as well as in the physical world. [Syllabus outcomes P2.2: understands the contributions to a production of the playwright, director, dramaturg, designers, front-of-house staff, technical staff and producers; P2.3: demonstrates directorial and acting skills to communicate meaning through dramatic action.]
The project also aligns with key competencies in Drama with students collecting, analysing, organising information, and communicating ideas and information in new and creative ways their Director’s folio and in the VR space. Students were also planning and organising activities and working with others and in teams. The level of collaboration, which developed throughout the project, was a key achievement. Students were discussing ideas like Directors and helping each other to master the new software. They had no experience with the technology before they started and were able to unleash their creativity and I saw students who were less confident really growing in their confidence and ability to take a role in the group.
Using the VR deeply engaged the students in their learning. The project involved enquiry, research, analysis, experimentation and reflection contributing to the development of the key competency solving problems. Students had the opportunity to develop the key competency using technology in the study of new approaches to Drama and Theatre and dramatic forms. VR is a completely new technology and we are already exploring more ideas on how to link more programs together within the Tilt Brush software.
Why use this technology?
In the design process there is a lot of experimentation and collaboration required. Tilt brush has endless features that allow this to occur. Sketches could be saved, videoed, gifs made and photographed, and this process of documenting their ideas helped the students reflect on their ideas more. The quality of their ideas developed further. The Tilt Brush program was an endless space, which incorporated many amazing creative features. Designs could be instantly erased and then re-created quickly. It was not messy and did not waste materials. It had many resources that we do not usually have in the Drama room. Endless colours and brushes, backgrounds, models to be imported and guides to draw around. Sketches could be made smaller or bigger in an instant. It allowed all students to be equal. Once in the technology they were able to each contribute in a very really and tangible way to the group idea. It also allowed our rural students to have access to quality programs, which can sometimes not be available to them because of location.
What is the biggest learning curve?
We had to learn how to use the technology and how to program the classwork to make sure other tasks were being completed at the same time. This was fairly painless and the students were great. As the teacher, I had to take a risk with new technology and not be frightened of not knowing absolutely everything about the software. After a while, the students were teaching each other and me.
What advice would you give to teachers?
Just do it! It isn’t scary and you don’t have to know everything. I have given advice to others in my school about trying new technology. There is so much to learn is can be quite overwhelming but is can be a lot of fun. I am now helping other teachers try a few new technologies. So the effect has been good.
Feature Image: Head Teacher Louise Rowley experimenting in Tilt Brush
Picture in text: Students discussing virtual set design features.