Presentation delivered at an Erasmus+ Intensive Programme session. Venue: Universidade Aberta, Lisbon, Portugal.

1. Learning, Storytelling
& Digital Media
José Bidarra | Universidade Aberta | Portugal

2. The classroom today…
José Bidarra, 2018

3. • 8 AM
• 12 AM
• 2 PM
• 4 PM
• 7 PM
“ICTs are not mere tools but rather environmental forces that are
increasingly affecting us. For instance blurring the distinction
between reality and virtuality, and blurring the distinction between
human, machine and nature” (L. Floridi)

4. Classroom
Learning
Online
Learning
Mobile
Learning
4
Affordances
facilitating
b-learning
processes

5. WebTechnology 3D,AR,VRTechnologiesMobileTechnology
Smartphones and
tablets use is
widespread. Many
educational apps,
ebooks, and videos
are available.
These more advanced
technologies are now
coming of age with
new hardware and
software.
Inexpensive and user
friendly. There are
many educational
tools available online
and offline.
Trends Showcase

6. Classic Teaching Model
José Bidarra, 2018

7. Current Teaching Model
José Bidarra, 2018

8. Connected Learning
José Bidarra, 2018

9. Time-Space Matrix
(Bidarra & Rusman, 2015)
(application example based on Johansen, 1988)

10. Mobile Media
José Bidarra, 2018

11. Mobile Learning
• Basic model: SMS, MMS, images & text
• Responsive Web: accessible via browser (online)
• Educational Apps: installed in the device (offline)
• Educational eBooks: installed in the device (offline)
José Bidarra, 2018

12. Anytime, Anywhere
Information
Transfer
DecentralizedCentralized
Skills Transfer
EmpoweredControlled
Knowledge
Creation
Exchange
Seamless Work
& Learning
Open up time and place for
learning
Data and analysis where
and when you need it
(Mauro Figueiredo)
José Bidarra, 2018

13. M-Learning Research
(Aberdour, 2013)
José Bidarra, 2018

14. Moodle Mobile
José Bidarra, 2018

15. Responsive Web vs. Native Apps
A current product design decision: just make a web product “friendly” for
mobile screens or invest in developing a mobile application
Responsive Web:
• Requires an Internet Connection;
• Poor Performance (Browser Limitations);
• Lack of Natural Navigation;
• Lack of Push Notifications;
• Lack of Other Functionality (QR codes, voice recognition, AR, …).
José Bidarra, 2018

16. Responsive Web vs. Native Apps
Native Apps:
• Internet Connection Not Always Necessary;
• Better Performance;
• Increased Functionality;
• Enhanced Security for Users;
• Brand Awareness and Accessibility;
• High investment in time and money.
José Bidarra, 2018

17. Apps or eBooks?
José Bidarra, 2018

18. App & Platform
4500 students
3400 exercises and video resolutions
José Bidarra, 2018

19. • Use gamification techniques to engage students.
• Accommodate game mechanics that are two-
fold: complexity and detail.
• Use three different levels of problem complexity:
beginners, intermediate and advanced (colours).
• For each problem there are two levels of exercise
resolution: detailed and concise (video).
Objectives
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20. José Bidarra, 2018

21. José Bidarra, 2018

22. Hands on
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23. Hands on
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24. Augmented Reality (AR)
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25. Music Teaching (AR)
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26. Microsoft Hololens (MR)
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27. Virtual Reality (VR)
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28. Digital Storytelling
Storytelling is based on a set of
four elements that are still valid in
the digital age, namely:
• A narrator
• A plot
• A setting
• Characters
There is usually a conflict of some
kind. Some common types of
conflict may include:
• Conflict between one person
and another or between groups;
• Conflict between a person and
the natural environment;
• Conflict between an individual
and the society.

29. What are digital stories?
Digital artifacts that include a compelling narration of a story;
Elements that provide a meaningful context for understanding
the story being told;
Titles, images and graphics that capture and/or expand upon
emotions found in the narrative;
Voice, music and sound effects that reinforce ideas;
Mechanisms that invite thoughtful reflection from the audience.
José Bidarra, 2018

30. Organization & Structure
You can decide to tell your story in chronological order; Some
people call this a “linear narrative” because it seems to travel in a
straight line.
A story can also be told using a flashback technique. In this type
of structure, events are interrupted by a memory of something
that happened in the past.
A third way that a narrative can be constructed is by learning
about a series of events or a major happening from the points of
view of several characters.
José Bidarra, 2018

31. Narrators
First Person: The narrator says “I” when telling the story, as in “I
want you to know that everything I tell you is true.”
Third Person Omniscient: Omniscient means “all seeing”. The
narrator is not part of the story but describes the events that
happen to all the characters, as well as their thoughts.
Third Person Limited Omniscient: A Limited Omniscient narrator
can see all, but chooses to focus on a few things or people. In
this type of perspective, the narrator is also not part of the story
and can describe many events.
José Bidarra, 2018

32. Setting
Narratives are set in a specific time and place. These setting
details are usually identified at the beginning of the story in the
exposition.
Sometimes the setting is kept vague or poorly defined for a
reason.
Sometimes it is very specific with dates and real city names.
The setting, along with characters, are a writer’s best opportunity
to use rich descriptive language in her/his writing.
José Bidarra, 2018

33. Characters
Characters are most interesting when they are three dimensional
and have many sides of their personalities shown. These
characters have strengths and weaknesses. They seem alive
and real. They are dullest when they are one dimensional
stereotypes like “the hero”, “the villain”, “the best friend”, “the
know-it-all” or “the nerd”. Movies specialize in these types of
characters.
A story usually features a main character or protagonist that the
story follows. Sometimes there is a character that goes against
the protagonist. This character is called an antagonist and often
is the “bad guy”… José Bidarra, 2018

34. The Plot Diagram
José Bidarra, 2018

35. Narrative Sequence
Opening: also called the exposition, this part of the story
introduces the setting, characters and opening situation.
Conflict: also called the crisis, this single, sudden or special
event starts the story going because something changes.
Rising Action: the interest level increases usually due to
problems, setbacks or complications which are also called
crises.
Climax: the point of highest interest. Everything else that
happens is affected by the moment or event in the climax.
José Bidarra, 2018

36. Narrative Sequence
Falling Action: events unravel or unfold because of something
that happened in the climax. Think of dominoes that are sent
tumbling in a row.
Resolution: the final resolution of the plot in which some or all of
the loose ends of the plot are tied up.
José Bidarra, 2018

37. Storytelling Tips
1. Point of view (involves the communicator in making choices; a very
subjective exercise)
2. Dramatic question (creating conflict to be resolved later; e. g. how did I
survive the tsunami?)
3. Emotional content (challenge, frustration, humor, exhilaration, resignation,
etc.)
4. Narration (voice over information)
5. Soundtrack (music and sound effects)
6. Economy (time for the viewer to process, reducing the amount of
unnecessary elements)
7. Pacing (give your listener time to participate, to think, and to process your
story)
José Bidarra, 2018

38. Storyboard
A panel or series of rough sketches outlining the scene sequence and
major changes of action or plot in a production to be shot on film or video.
José Bidarra, 2018

39. Problem-based Storytelling (Jason
Ohler)
The “story core” breaks down in three parts:
First, a “central challenge” must be evident— “a question, a problem, an
obstacle, an opportunity, or a goal.” This “creates tension that gives the
story its forward momentum.”
Second, characters change as they wrestle with the problem. “Either life
or ‘the old you’ pushes back as new circumstances or ‘a new you’
struggles to emerge.”
Third, the problem receives closure: “solving a mystery, slaying a dragon,
reaching a goal, applying new academic knowledge or learning
processes, overcoming an obstacle. . . . "
José Bidarra, 2018

40. Narrative Trail
A narrative trail is not merely a linear path but ‘a chain of events organized
into a coherent schema from a personal perspective (i.e. that of the
narrator). And a narrator’s perspective brings to light intentions,
interpretations, and evaluations related to these events’. (Walker, 2006, p.
109).
Blogs are particularly relevant for examining narrative processes at work
within the social utilities offered by Web 2.0. Other processes of
structuring and meaning-making in unstructured and ill-defined
information systems may be found in the Facebook timeline.
José Bidarra, 2018

41. Facebook Timeline
José Bidarra, 2018

42. Transmedia Storytelling
José Bidarra, 2018

43. Content Gamification
"the use of game design elements in non-game contexts" (Deterding
et al., 2011, p.1)
• Points: points are fantastic motivators and can be used to reward
users/students across multiple levels or dimensions of a gamified activity
• Levels: these are often defined as point thresholds, so the students (or
users) can use them to indicate a higher status and have access to bonus
content.
• Challenges, badges, achievements, and trophies: the introduction of
goals in an activity makes students (users) feel like they are working toward
a goal.
• Leader boards: in the context of gamification, high-score tables are used toJosé Bidarra, 2018

44. Online Course on ICT
José Bidarra, 2018

45. Online Course on ICT
José Bidarra, 2018

46. Online Course on ICT
José Bidarra, 2018

47. Game Mechanics, Dynamics and
Emotions - MDE model
Badges Avatars
Votes
Leaderboards
Achievements
Boss Fights
Virtual GoodsGuilds Quests
Rewards
Progress Bars
Skill Trees
Experience Points
Stat Points
José Bidarra, 2018

48. Games and Simulations
José Bidarra, 2018

49. Sign Language Learning
Serious Game
José Bidarra, 2018

50. Translation through an
Avatar
Dynamic recognition of gestures
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51. Virtual Sign Game
1 - Finite Automata
2 - Algorithms for
Hierarchical
Classification
3 - Sequence
Alignment Algorithms
José Bidarra, 2018

52. Saving Lake Wingra (ARIS)
AR Game Mechanics
Play on locationPlay on location
Play on
handheld
Play on
handheld
collect clues and
objectives
collect clues and
objectives
Trigger game
objects
Trigger game
objects
For a $3.5M 2005-2008 STAR Schools
grant with Harvard and MIT, my doctoral
research group made location-based
games using MITʼs Outdoor Augmented
Reality platform. It was prety cool stuff.
José Bidarra, 2018

53. Saving Lake Wingra (ARIS)
José Bidarra, 2018

54. ARIS game engine
20
ARIS uses GPS to
show you where to go
http://arisgames.org
José Bidarra, 2018

55. GameBook: text + images
José Bidarra, 2018

56. GameBook: video + quiz
José Bidarra, 2018

57. GameBook: Google Maps
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58. GameBook: puzzle games
José Bidarra, 2018

59. Mindomo:
create a concept
http://mindomo.com/
José Bidarra, 2018

60. THANK YOU!
JOSE.BIDARRA@UAB.PT
UNIVERSIDADE ABERTA
21 FEBRUARY 2018