Assignment 6.2: The Final Product Pitch
WHAT TO DO
- Why is there a need for this product? There is a need for this product because students need to be engaged for a lengthy amount of time and traditional classes do not address the working, adult learner. Three general points may be made as an introduction:
- To appreciate history
- To understand the struggles of democracy and how to accomplish it
- To understand how democratic societies must balance individual vs. social needs
- What will it teach and how? It will show students how civilizations survive, prosper, and address important issues such as war and peace. It will teach how civilizations have survived, prospered, or ceased to exist and why. The how of it is that rather than reading a book or listen to lectures, the students will have to build a civilization of their own. During the first part of the course the students will play the game, Civilization.
Civilization is a series of turn-based strategy video games, many of them produced by Sid Meier (Sid Meier's Civilization). As of 12 March 2008, the Civilization franchise has sold more than 8 million copies. There are also several traditional Civilization games. All titles in the series share similar game play, centered on building a civilization on a macro-scale from prehistory up to the near future. Each turn allows the player to move his or her units on the map, build or improve new cities and units, and initiate negotiations with the computer-controlled players. In between turns, computer players can do the same. The player will also choose technologies to research. These reflect the cultural, intellectual, and technical sophistication of the civilization, and usually allow the player to build new units or to improve their cities with new structures. In most games in the series, one may win by military conquest, achieving a certain level of culture, building an interstellar space ship, or achieving the highest score, among other means.
Reacting games developed as a genre of experiential education games in the United States in the late 1990s from work done by Mark Carnes at Barnard College. The prototype for these games is currently published by Norton. This pedagogy was originally developed for use in freshman seminar and history classes and quickly expanded into religion, political science, and science. Unlike the video games that are central to the serious games movement, reacting games rely almost entirely on reading, writing, and speaking.
- Who will use it and in what context? Working adults in a University will use the technology and role-play in four-hour weekly class sessions for ten weeks. The average age of the learners is 33 and they generally have had some college level experience. They are often knowledgeable from work and life experiences.As a typical type of learner they are - visual and balancing important, competing interests, family responsibilities, jobs, health, etc.The students struggle but after three quarters most students will continue and finish if they get that far.
- How will learners be assessed either within or outside of your intervention? Learners will be assessed in quizzes, papers, oral presentations, and in role-play.
- What research do you plan to conduct in conjunction with this tool? I created two research survey polls.
- What are the biggest risks you see with this project? The biggest risks are that the game, Civilization, and the role-play, Reacting to the Past will prove too overwhelming and challenging for working, adult students.
- What are the biggest impacts you hope the project can make? The biggest impacts are that the Pilot courses are expanded and extended to the larger field and in other classes within the University.
- STUDENT LEARNING OUTCOMES
1. Explain how key social, cultural, and artistic contributions contribute to historical changes.
2. Explain the importance of situating a society’s cultural and artistic expressions within a historical context.
3. Identify major historical developments in world cultures during the eras of antiquity to the Renaissance.
4. Identify and describe key artistic styles in the visual arts of world cultures during the eras of antiquity to the Renaissance.
5. Identify and describe key literary works, styles, and writers from world cultures during the eras of antiquity to the Renaissance.
6. Explore the presence of cultural parallels between the world’s cultures.
7. Examine the influences of intellectual, religious, political, and socio-economic forces on social, cultural, and artistic expressions.
8. Use technology and information resources to research issues in the study of world cultures.
9. Write clearly and concisely about world cultures using proper writing mechanics.
10. Demonstrate their knowledge of basic literary, philosophical, social, and cultural developments that affect the interpretation of texts, artifacts, and historical events.
11. Develop strategies on how to read and/or interpret literary texts and artifacts from the ancient world, such as art objects, material remains, monuments, inscriptions, and so on.
12. Appraise information in primary sources so as to appreciate the values of the ancient Greek culture.
13. Distinguish the different theoretical approaches in evaluating primary sources from the ancient Greek world.
14. Create and Role - play a character based on primary sources, representing key positions, as outlined in the Student Reader.
15. Engage in debate through improvisation and composition of consistent, historically accurate and carefully argued speeches. 16. Each student shall communicate effectively.
The oral communication rubric, for example, scores levels in central message, delivery techniques, language, organization, and use of supporting material. Each rubric provides graduated “levels” from 0–4, which echo the stages of Bloom’s traditional taxonomy. 1 is the benchmark, 2 and 3 are key milestones in student development, and 4 indicates the capstone.
Table 1: Survey on Students’ Self-reported Experience with Civilization and Reacting
1. Were the two games (Civilization and Reacting to the Past) an advantage or disadvantage compared to “normal” classes?
2. Did you learn more through the games?
3. Did you do more work for the game than you would have done otherwise?
4. Would you recommend friends take classes with Civilization and Reacting Games?
Indicators of Student Engagement in Combined RTTP classes
Asked Questions in class
1. More than 3Times
2. Contributed to class discussions
3. Prepared more than one draft of a paper
4. Worked on a project that required using information from more than one source
5. Worked on a project that required using primary documents
6. Included conflicting perspectives in class discussions or writing assignments
7. Came to class without completing reading or assignments
8. Worked with other students on a project during class
9. Worked with other students on a project outside class
10. Stayed late or came early to discuss issues from class with classmates
11. Talked to the professor about class materials or assignments during class
- Written summary of your product
- If there are community elements built in, how do they utilize them?
- Are there offline elements that complement the technology experience?
- How does the learner know when they are done? What do they feel when they have finished?
- Figures illustrating the problem/need
- References/citations to supporting research
Active Learning: Creating Excitement in the Classroom. 1991 ASHE-ERIC Higher Education Reports. Bonwell, Charles C.; Eison, James A.
Author: Alan Collins, Design-Based Research: An Emerging Paradigm for Educational Inquiry, Authors: The Design-Based Research Collective
The Road Ahead for State Assessments
Author: Val Shute
Additional publications from Val Shute are available from her web site
Technology to Support Next-Generation Classroom Formative Assessment for Learning
Author: Edys Quellmalz
Jean Lave, Etienne Wenger and Communities of Practice
Paradigm Shifts and Instructional Technology
Author: Timothy Koschmann
Learning and Teaching
Authors: David Perkins and Tina Blythe
Chapter 2 of How People Learn (free download after creating an account)
Learning and Transfer
Chapter 3 of How People Learn
Overview of Vygotsky’s Ideas
Piaget’s Constructivism, Papert’s Constructionism: What’s the difference?
Author: Edith Ackermann
Authors: Seymour Papert and Idit Harel
The Gears of My Childhood
Author: Seymour Papert
Constructing Knowledge and Transforming the World
Author: Edith Ackermann
Other authors: Mark C. Carnes,W. W. Norton & Company, 2014
Reacting to the Past Game Designer's Handbook by Nicolas W Proctor
CreateSpace Independent Publishing Platform
Minds on fire: how role-immersion games transform college by Mark C. Carnes
Cambridge, Massachusetts : Harvard University Press, 2014
- Mockup screen shots
There are several options on how to win a game of Civilization V. Each guide contains the requirements you'll need to meet in order to score a victory and tips on doing so efficiently.
Culture/Tourism Victory In the expansion pack, Brave New World, there is an update for Cultural Victory requirements and relies on a Tourism system to overcome Culture of other Nations, granting the victory. Key to this victory are Boosting Tourism, Great Works of Art and Artifacts, along with Wonders which the player should build to make Victory arrive earlier in a game.
Diplomatic Victory Diplomatic Victory is available fairly late in the game, requiring the formation of the U.N. from the World Congress. Learn about Delegates, the importance of City-State Allies, and how you can be elected World Leader and win the game through Diplomacy.
Domination Victory The Domination Victory requires your ability to control other Civilizations to be declared the winner. There should be a strategy to pick your targets, when to cease warfare and declare peace before moving on to your next war.
Scientific Victory requires the Space Race victory condition. Your goal is to be the first to leave the planet, which implies technological superiority. To do that, you'll need a load of science to be the first to get the tech, and production cities to make your space ship parts.
Social Policies are one of the primary means of customizing your Civilization and propelling it toward victory. Choosing good Policies in the right order will be a major factor in winning a game. This Guide to all Social Policies will give you extra information on every Policy in the game, while also providing the in-game description of each Policy's bonus.
Social Policies are purchased with Culture. Each City has its own Cultural output that determines border expansion, which is added to the Empire's total for acquiring new Policies. The Social Policy screen (pictured above) can be accessed with F5 and shows the number of turns to your next Policy. This can also be seen by hovering your mouse over Culture in the top bar on your screen. Each new City you found will increase Social Policy costs by 10%, so bear that in mind and ensure that Cities have cultural buildings like Monuments, Amphitheaters, and Opera Houses fit with Great Works and taking advantage of Theming Bonuses where possible.
Social Policies have prerequisites, and must be unlocked in a certain order through a simple tree layout. There are five Policies per tree, so a total of 45 may be chosen, not including Ideologies. There are nine Social Policy Trees in Civilization V with general information on the bonuses of each for your Civilization.
Adopting (taking one point) in a Social Policy will give you its starter bonus while also enabling you to build a specific Wonder. Adopting Ideologies also unlock one Wonder each, so there are twelve that have this requirement. You'll require the appropriate Technology, as well. Some less-popular Social Policies like Honor, Liberty, Piety, and Exploration have Wonders that are easier to build than others, even in high-difficulty games because there are fewer competitors for those Wonders. Others, like Tradition's Hanging Gardens, Commerce's Big Ben, and Aesthetics' Uffizi, are harder to attain unless you focus on constructing them.
Four types of Social Policies (Tradition, Liberty, Honor, and Piety) are available at the start, with Patronage and Aesthetics being available in the Classical era, and if you progress that far, Commerce and Exploration in Medieval, and Rationalism unlocking in the Renaissance. If you have a new Policy coming in twenty turns and want to choose a new tree that is locked because your Scientific progress is not in the right Era, you may sometimes push Science in that direction to advance an Era and ensure that your next Policy choice is available. Add up the turn times on any research you must do and focus your Cities on Science if necessary to ensure this happens as planned. This is wise so that you can avoid adopting a tree that you do not necessarily intend to finish, nor need the adoption bonus from.
- Video showing potential users
- Sample assessment: Discussion
- "Ancient Greek Athletics; the Athenian Acropolis; Theater" Please respond to the following:
- In Chapter 4, pp. 111-112 and 116, there is discussion of the rise of the city-state of Sparta and its very militaristic social organization, and then a discussion of the ancient Olympics. The Olympics were apparently an all-male event, but there were many other local and regional Greek festivals involving athletic contests. Now, see this "running girl" item (from Sparta) at the British Museum: http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/b/bronze_figure_of_a_girl.aspx. Analyze what this tells you of the female status in some Greek city-states, especially Sparta, and also about Greek athletics.
- In Chapter 5, see pp. 140-148 in our class text for discussion and images of the Athenian Acropolis and the art that was once there. On pp. 142-3, the Closer Look shows a photo of the Parthenon today and an artistic cutaway showing what some of the parts are designated and what they once looked like. Fig. 5.5 has a nice image of a model of the ancient Acropolis to see what it once looked like. Fig. 5.8 shows what the statue of Athena in the Parthenon once looked like. Figs. 5.9-to-5.11 are photos of some of the Elgin Marbles – still in the British Museum. Watch this video from the British Museum and its vast collection related to this: http://www.britishmuseum.org/explore/galleries/ancient_greece_and_rome/room_18_greece_parthenon_scu.aspx. Even better, now watch a great video of a digital reconstruction at http://arth251f11.blogs.wm.edu/2011/09/17/digital-reconstruction-of-the-parthenon/. Finally, see pp. 151-156 about the ancient Greek theater, some of which could seat 15-20,000 and yet have great acoustics. After doing these tasks, discuss here two (2) specific items or informational bits that you learned, and suggest their significance to ancient Greek culture and the western heritage in the arts. Then, comment on the plot of the ancient comedy Lysistrata (p. 152) and how it might go over as a play today.
1. Which statement is true of the Biblical "Song of Songs"?
King David sang this when he was a young shepherd.
The woman's voice is especially strong.
It is a chant of the king's great achievements.
It is a religious song of God's deeds for Israel.
2. What distinguishes the Law Code of Hammurabi from its predecessors?
It is the first to name the laws' author
It is the most complete set of laws
It is the first stele in a phallic shape
It is the largest stele ever found
3. Why is the Royal Standard of Ur such an important discovery?
It provides the only known images of Sargon I
It is one of the earliest example of historical narrative
It shows the type of weapons the Sumerians possessed
It is the first example of music being shown in art
4. How did the Mesopotamians view human society?
As masters of their own fates
As on the same level as the gods
As part of a larger society
As mere servants to the gods
5. What were ziggurats most likely designed to resemble?
6. Why did the Egyptian sculptors idealize rulers in their sculptures?
Imperfect representations were cause for the sculptors' executions
The rulers' perfection mirrored the perfection of the gods themselves
The grid on which sculptors based their work demanded standardization
Egyptian statues are generic and probably bear no resemblance to the person
7. On what measure are the squares in the Egyptian grid system based?
An average foot's length
The hieroglyph for ankh
One clenched fist
8. What kind of government was found in Ancient Egypt?
9. The Egyptian word for sculpture is the same as the word for what other act?
10. How are the figures on the Palette of Narmer similar to those on the Mesopotamian Royal Standard of Ur?
The king is shown as larger than anyone else
The king is portrayed as having lighter skin
The king is positioned in the center of each scene
The king is standing beside a god
Cultural Activity Report
- Written research plan
- Bullets covering risks/impacts
- Companion paraphernalia (t-shirts, stuffed animals, etc.)
- ...and whatever else!
Video introducing Civilization and Reacting to the Past