Tuesday 24 July 2018

What is immersive VR good for?


I’m coming to the view that online education has reached its climax state. As with Microsoft Word or the Apple iPhone, we’re at the stage where we don't expect the future to bring anything significantly different or game-changing; new versions and new products only improve the features that are already there, they don’t add whole new areas of functionality.

“What about virtual reality?” asked a colleague with whom I shared this view. “Isn’t that going to change anything?” I replied that I didn’t think it would, except perhaps in a few specific subject areas. Like most new technologies with a powerful visible impact, its transformative power has been hyped. If you can't get your students to pay attention and learn something in a real classroom, why should it be any different in a virtual one?

The key thing which virtual reality offers is a sense of immersion in a scene, a setting or a scenario, and while immersion can be critical to some kinds of teaching and learning you don't necessarily need high technology to achieve it. People can experience immersion through text; most of us who have grown up reading books have had the experience of being so engrossed in a story that it was a wrench to return to the real world. Films too can be immersive: the effect is enhanced by a darkened room and an image that fills the field of vision but these are not essential. What matter is how good the story is; if it gets you in its grip, you can be fully immersed even when watching on a small screen – and if the story fails to grip you, even an iMax screen won’t make any difference to your lack of involvement. Computer games too can create involvement and immersion on the small screen, the focus of attention on your game character and their actions putting you in the game scene to the exclusion of the real world around you; I’ve written elsewhere how clever interactive design can enhance character identification and emotional involvement in even a highly linear and cinematic narrative game.

It all comes down to the quality of writing and design, which in the context of teaching and learning means learning design. If your aim is to put your learner into a certain environment, the fundamental design question is (as I have previously noted): what aspects of that environment are you going to simulate? (The very concept of virtual reality is flawed, to the extent that one can never simulate reality in all its aspects; one has to choose which aspects you are going to privilege.) What kind of simulation you need depends on the learning outcomes you are trying to enable. What you want to represent authentically are your chosen tasks and difficulties, with a realistic possibility of success or failure or some kind of feedback on your learners’ actions. In almost all cases, those are things that can be done without virtual reality, and probably done better without it.

For example, ‘Could you lead an ethical investigation?’ is an example of a text-only simulation, based on multiple choice questions; the technology couldn’t be simpler, but the situation could hardly be more challenging. Based on Richard Feynman’s experience after the Challenger space shuttle disaster, it places you in the role of a scientific expert on a committee of inquiry investigating a major accident. It presents you with a number of situations and for each offers you a number of choices; for example, when the Chair says that one of the organisations involved has “done an excellent” job and that they may never be able to identify the cause of the accident, do you say nothing? Accuse the Chair of bias? Ask the other committee members for their views? Ask what’s the point of the inquiry if they don’t expect to find a cause? None of these choices is absolutely right or absolutely wrong, though some would be more or less wise for yourself, and all could have more or less helpful consequences. What the simulation invites you to practise is your ethical principles, your practical knowledge of how inquiries operate, and your sensitivity to power play in the working of committees. The tests are one of judgement, which doesn’t require anything more than text. A full-blown virtual reality simulation of a committee meeting would not only be impossibly impractical to recreate, it could actually be a distraction from the focus of the learning.

But sometimes distractions and sources of confusion will be part of the challenges which you want to simulate, if the skill to be practised is one of making decisions under pressure. This simulator for medical triage, for example, puts you on a city street after some kind of explosion: sirens and alarms are going off, and there are injured or dying people on the ground all around in pools of blood, crying out and begging for help. The task is to examine each person and categorise them as Immediate, Urgent, Delayed or Dead. The shocking and alarming appearance of the scene is clearly essential to the simulation, the aim being to reproduce something of the circumstances in which paramedics may need to make triage decisions. Yet how much more would be added by presenting the scene in virtual reality? The small screen presentation using games technology (it was produced by the simulation division of a games company) already provides a considerable degree of immersion, arguably as much as is needed, short of actual practical experience.

I can only think of one simulation example for which virtual reality is essential, and that’s a fictional example from Star Trek: The Next Generation. In the episode ‘Thine Own Self’, Deanna Troi is taking the bridge officer’s test; as ship’s counsellor she already has an officer’s rank, but that is a honorary status like the rank of an army chaplain, and she wants to see if she actually has command ability. We see her in Engineering, facing a disaster and the imminent destruction of the ship. Even with Worf and Chief Engineer Georgi La Forge to help her, no matter what she does the problem gets worse until the ship blows up – and then we discover that all this, including the presence of Worf and Geordi, has been a simulation taking place on the ship’s holodeck. She tries the simulation again, and again she fails. Only when she reflects on what a colleague says about the first duty being towards the ship does she realise what she needs to do. Running the simulation one last time, she confirms with Geordi that the damage can be repaired from within a certain crawl way, though the radiation there will be fatal to whoever attempts it. Looking him straight in the eyes, she orders him to enter the crawl way and repair the damage – and that turns out to be the solution. The simulation isn’t a test of engineering knowledge but of command ability: whether the officer can, if the situation requires it, order a friend and colleague to their death.

Now that is something which couldn’t be simulated by a multiple-choice test, or by a cinematic presentation no matter how immersive. And this example is actually not that extreme: most of us will not be in an occupation where we might have to order a person to their death, but if we are a doctor we may very well have to give a patient bad news, and if we are a manager we may very well have to give an employee the sack, or to call them out for poor attendance or poor work. The difficult part is not deciding what needs to be done or thinking of the words to say, but saying them to another human being, standing in front of you in the same space. And to simulate that would be a good use of virtual reality.

(And then again, one could just simulate it through role play, as the best training for doctors and managers does today!)

Wednesday 11 July 2018

Seen and heard: April to June 2018

Thimbleweed Park – funny, ingenious and astonishingly rich game, a worth winner of the Adventure Gamers 2017 award for best adventure. It’s 1987, and two FBI agents investigate a murder in an American small town, to find a pair of plumbers dressed as pigeons, a haunted hotel, an abandoned pillow factory, a circus clown who insults everyone, a toxic late-night diner, and the daughter of a technical genius who wants to become a computer game designer. Completely mad, but conforming to a twisted logic all of its own.

Ordeal by Innocence – Agatha Christie drama, in a cracking TV adaptation by Sarah Phelps with typically magnetic performances by Bill Nighy and Anna Chancellor, the tension being kept up with constant flashbacks to the night of the murder, revealing more each time. Coincidentally an earlier attempt to craft a Geraldine McEwan Miss Marple story out of the same novel was repeated on TV several weeks later: very flabby and pedestrian by comparison.

Youn Sung Nah, Momento Magico – Korean skat singing?

An Art Lover’s Guide – TV series in which Janina Ramirez and Adrian Sooke (who seem to have really cracked the double-presenter problem) show each other, and us, round Lisbon, Beirut and Baku.

The Little Mermaid – breathtaking ballet adaptation of Hans Christian Anderson’s story (not the Disney movie), Northern Ballet accomplishing the extraordinary as usual, this time having dancers move like they’re swimming underwater.

Sully – well-crafted docu-drama about the pilot who landed his airliner on the Hudson river following a total engine failure shortly after takeoff. Interestingly the focus of the film is his airline’s efforts to prove through simulator trials that he could actually have landed at an airport, and Sully’s demonstration that when they took account of the human factor the simulator pilots crashed in the middle of New York, every time.

Catch Me If You Can – amusing true life drama, with Leonardo di Caprio magnificent as a loveable rogue, living the high life, literally, as a fake airline pilot in the era when huge glamour was attached to air travel, and Tom Hanks as the pedestrian FBI agent who pursues him.

Experiment 20 – dramatic reconstruction from audio recordings of the experience of several women who took part in Stanley Milgram’s “Obedience to authority” experiments in 1961 – and who rebelled, refusing to (fake) kill the supposed experimental subjects (really stooges) as the experiment “required” them to do.

No Time to Spare – final collection of writings, blog posts, from Ursula Le Guin (d. 22 January), the title taken from her comment on a survey questionnaire from her alma mater, asking amongst other things what she did with her spare time. “What is Harvard thinking of? I am going to be eighty-one next week. I have no time to spare.”

America’s Cool Modernism: O’Keefe to Hopper – disappointing exhibition at the Ashmolean, the O’Keefe and Hopper works on show being striking enough but there was nothing else of note. The excellent tabouleh in the museum cafĂ© was far more memorable.

Prague "old car tour" – the highlight of our stay in the Czech capital as part of Polymnia’s concert tour, other memorable moments being a lunch of dumplings at a restaurant on the Old Town square while national dances were performed on a nearby stage, walking across Charles Bridge, singing to a packed St Vitus cathedral for a drop-in concert evening, and an evening dinner cruise on the Vltava river busking our way through as much of our repertoire we could summon from memory ending up (of course) with Good King Wenceslas.

Conversations on writing – a final collection from Ursula Le Guin, being a transcript of radio conversations with fellow novelist David Naimon. (Excerpt.)

Kathy Rain – beautifully constructed adventure game with an engaging steadily unfolding plot and logically sequenced actions, plus an underlying feeling of menace with a few genuinely scary moments. Kathy herself is a great protagonist – a journalism student from a dysfunctional family, with a stroppy attitude but a kind heart – and I’d be happy to see her again (as the narrative hints).

Her – surprisingly intelligent SF film, given the premise: man falls in love with the female persona of his computer operating system. I was expecting a teenage nerd without social skills, but he’s actually a middle-aged man, just separated pending divorce, and an expert crafter of personal letters: he has the ability to write those personal and tender things which people do not know how to say for themselves. With both humans and operating systems, the film balances constantly on the question-edge: is this just excellent linguistic simulation, or is it genuine?

Kung Fu Panda 2 – pretty decent sequel to the wonderful original. Nice to discover Po’s backstory and to find that there’s still good mileage in the joke of a slobbish panda who wants to be a kung fu master.

RED – enjoyable thriller, with Bruce Willis, Morgan Freeman, John Malkovich and Helen Mirren playing elderly secret service agents dusting off their kick-ass skills. I rather like the title acronym: Retired, Extremely Dangerous.

Matilda the Musical – great family show, and good value despite the price of the tickets. The child cast was superb and the songs were actually good; Miss Honey has two particularly moving numbers. My only quibble with the adaptation: the nasty adults have redeeming features; they’re allowed (occasionally) to be funny and cool, as well as horrible, which is absolutely not the spirit of the book. Children prefer things to be more black and white.

Tacoma – very fine adventure game, from the makers of the structurally similar Gone Home. This time you’re exploring a space station, recovering data after evacuation of the crew. (But did they really evacuate? Was there really an accident? Those are things you have to discover. And what are you yourself doing there? That is only brilliantly and unexpectedly revealed at the end.) The core game mechanic is the recovery of recordings of the crew’s final months and days, which you view in augmented reality: the people appear and talk around you, in outline form, and you have to follow them around the station in order to hear all of a conversation. Added to that the personal artefacts (including numerous books!) and communication records of the crew members, and you really begin to care about them and worry about what’s going to – or rather did – happen to them. A lovely story, involving corporate greed, AI replacement of human jobs, and the way people cope with difficult or impossible situations. See this 15 mins of gameplay video, and this interview with the designer.

Tuesday 10 July 2018

Cuttings: June 2016

Mistaken Identity by Asad Haider: the best criticism of identity politics - review by Ben Tarnoff in The Guardian. "As [Haider] explains, the idea [of identity politics] has radical roots. It originated with ... an organisation of black lesbian feminist socialists ... in 1977: '... We believe that the most profound and potentially most radical politics come directly out of our own identity, as opposed to working to end somebody else’s oppression.' This is the original demand of identity politics, and it’s one that Haider embraces: for a revolutionary practice rooted in people’s identities as racialised, sexed, gendered and classed individuals who face interlocking systems of oppression.... But if anticapitalist revolution is where identity politics began, it ... is now invoked by certain liberals and leftists to serve distinctly non-revolutionary ends, Haider argues. It involves members of marginalised groups demanding inclusion, recognition, or restitution from above – a seat at the table. These demands are made in response to very real injuries endured by those groups. But their method, he says, ends up strengthening the structures that produced those injuries in the first place. Drawing on Wendy Brown’s idea of 'wounded attachments', Haider contends that identity politics causes people to become invested in their marginalisation as a source of identity, and to continuously enact that identity as a form of politics. This approach can extract occasional concessions from the system but cannot build the power necessary to transform it."

Top 10 books to help you survive the digital age - article by Julian Gough in The Guardian.  "Here are 10 of the books that [helped me write my new digital, high-tech novel]: they might also help you understand, and survive, our complicated, stressful, digital age. 1. Marshall McLuhan Unbound by Marshall McLuhan (2005)... 2. Ubik by Philip K Dick (1969)... 3. The Singularity Is Near by Ray Kurzweil (2005)... 4. To Be a Machine by Mark O’Connell (2017)... 5. A Visit from the Goon Squad by Jennifer Egan (2011)... . What Technology Wants by Kevin Kelly (2010)... 7. The Meme Machine by Susan Blackmore (1999)... 8. Neuromancer by William Gibson (1984)... 9. You Are Not a Gadget: A Manifesto by Jaron Lanier (2010)... 10. All About Love: New Visions by bell hooks (2000)."

Coping with computers - cartoon by Tom Gauld in The Guardian. "Computer assistance for the modern novelist. 2015: 'There are some spelling errors in your novel, shall I correct them?' 2020: 'I have a few ideas that might improve this novel. Can I tell them to you?' 2025: 'I made some revisions to our novel, let me know what you think.' 2040: 'You go to bed, I just want to write a few more pages before I go to sleep.' 2035: 'How many times do I have to tell you not to interrupt me when I'm creating!' "

Rise of the machines: has technology evolved beyond our control? - article by James Bridle in The Guardian, based on his book New Dark Age: Technology and the End of the Future. "Across the sciences and society, in politics and education, in warfare and commerce, new technologies are not merely augmenting our abilities, they are actively shaping and directing them, for better and for worse. If we do not understand how complex technologies function then their potential is more easily captured by selfish elites and corporations. The results of this can be seen all around us.... There is a causal relationship between the complex opacity of the systems we encounter every day and global issues of inequality, violence, populism and fundamentalism."

The Rise and Fall of the British Nation and These Islands: the fate of 'bullshit Britain' - review by Christopher de Bellaigue in The Guardian. "No longer can a national intellectual such as George Orwell set down a few thoughts about our aversion to conscription and fascism and our liking for a drink, as he did in 1941 in The Lion and the Unicorn, and we will all nod because we recognise ourselves. What united the inhabitants of Grenfell Tower with the billionaires of Kensington Palace Gardens and the parishioners shuffling into the church of St Mary Abbots every Sunday, other than their residency of the same London borough?... Now we have Brexit to contend with and the pessimists think it will break us. Break what, exactly? Ask the historians, for the job of history is to explain our kinship with others and the structures that keep us civil. ... David Edgerton’s The Rise and Fall of the British Nation is for the most part a fierce and dazzling account of 20th-century Britain from the perspective of a historian of science and industry. ... Edgerton’s modern Britain didn’t emerge from the empire (itself a pretext for protectionism through imperial preference) but from free trade. In the Edwardian era almost anything could be imported into Britain duty free.... Beginning in the 1930s, accelerating after the second world war, this changed. From the introduction of national service to protection for car-makers and the rhetoric of nationalism employed by the Attlee government, Britain became more like the nation states of continental Europe. Here, then, is the 'rise' of the 'nation' – set to a jingoistic score. 'We now have the moral leadership of the world … and we shall have people coming here as to a modern Mecca, learning from us in the 20th century as they learned from us in the 17th.' The patriot who uttered these words was Nye Bevan, who was well to the left of Attlee and set up the National Health Service."