INNOVATIVE TECHNOLOGIES AND EDUCATION
Two Successful Case-studies
Nicoletta Di Blas, Paolo Paolini and Aldo Torrebruno
HOC-LAB, Politecnico di Milano, Piazza Leonardo da Vinci 32, 20133 Milano, Italy
Keywords: Innovative Learning Experiences, Collaborative Learning, 3D Multi-user Environments, Digital
Storytelling, Edutainment, Evaluation, Case-study.
Abstract: When “going digital” in the field of education one possible option typically adopted in higher and adult
education is, so to speak, to “enhance the real world” through technology. Course materials are provided
in digital format, face-to-face interaction is replaced by forums or social spaces, exercises and activities are
remotely performed and scored, etc. Another option is to create innovative learning experiences”, that
without technology would not be possible nor conceivable. Innovative learning experiences are more
difficult to conceive, and also riskier to introduce in an established learning environment: they are also more
difficult to explain and to evaluate. Innovative learning experiences, however, have also a great potential:
they can generate “excitement” (something new!) and non-traditional educational benefits (still alongside
with the „traditional‟ ones), like increased media literacy, professional skills and attitudes and more. In this
paper, we will present two real-life innovative learning experiences for schools: collaborative 3D
environments (for high school students) and digital storytelling (for pupils of all school grades, including
kindergarten). We will discuss how they were designed and deployed (involving more than 20,000 students,
from 3 continents) and what educational benefits they brought about.
1 INTRODUCTION
When designing an eLearning experience, there are
basically two options: one is to try to enhance with
technology a “traditional” activity, the other is to use
technology to create something totally new. The first
option is usually taken in higher or adult education.
Course materials are provided in digital form by
means of a platform, people taking part in the course
share materials, exchange ideas, comments and
questions via forums and social spaces, assignments
are given, performed and scored in electronic form
etc. Technology provides the way all the above
activities are done, but the activities per se remain
basically the same as they are in the real world and
are only slightly affected by the new medium. Many
universities around the world (like MIT, for
example;
http://ocw.mit.edu/OcwWeb/web/home/home/index.
htm), offer online courses of this kind or make
available digital content.
But new technologies offer potentially infinite
new ways to re-interpret the teaching/learning
process and many examples are „out there‟ to show
that advanced, creative, innovative projects can be
successfully introduced in the field of education, at
all levels. Quest Atlantis (Barab et al., 2009) and
Wolf Quest (Schaller, D. et al., 2009), are just some
of them. Sasha Barab of Quest Atlantis well
expresses the idea behind these experiences: “the
games we design offer something new to learners;
unlike any other form of curriculum, these games
offer entire worlds in which learners are central,
important participants; a place where the actions of a
ten-year old can have significant impact on the
world; and a place in which what you know is
directly related to what you are able to do and,
ultimately, who you become.”
(www.questatlantis.org). In this paper we will
present two real-life examples of this kind of
approach: (1) a set of blended learning programs
based on collaborative 3D environments and (2) a
digital storytelling tool for allowing schools (of all
grades) to produce their own multimedia narratives.
Both programs have been developed and deployed
by our lab and have involved a huge number of
participants (20,000 on the whole, from 3
continents). The educational experiences in the
341
Di Blas N., Paolini P. and Torrebruno A. (2010).
INNOVATIVE TECHNOLOGIES AND EDUCATION - Two Successful Case-studies.
In Proceedings of the 2nd International Conference on Computer Supported Education, pages 341-348
Copyright
c
SciTePress
Figure 1: The Learning@Europe project‟s overall „storyboard‟ of the activities.
collaborative virtual environments offer a highly
structured set of activities while the storytelling
activity is more open-handed. Both programs share
the same high rate of success in providing
substantial educational benefits of various kinds that
go beyond the „traditional‟ ones.
2 CASE 1: COLLABORATIVE 3D
ENVIRONMENTS
Since 1999, HOC-LAB has developed and deployed
educational experiences based on collaborative 3D
environments, with various partners and on various
subjects, involving more than 9,000 students from
18 different European countries plus Israel and
USA.
1999: Virtual Leonardo, in cooperation with the
Museum of Science and Technology “Leonardo
da Vinci” of Milan (Italy).
2002-04: SEE (Shrine Educational Experiences).
In cooperation with the Israel Museum, on the
“Dead Sea Scrolls” and related religious,
historical, sociological issues
(www.seequmran.net).
2004-06: Stori@Lombardia. In cooperation with
the regional government of Lombardy (Italy), on
the medieval history of the Lombardy region
(www.storialombardia.it).
2004-08: Learning@Europe. In cooperation with
Accenture International Foundation, on the
formation of European identities
(www.learningateurope.net). In year 2007, a
special edition was held in cooperation with the
American Military Academy of West Point, on a
comparison between European and American
history.
From 2007: Learning@SocialSport. In
cooperation with Fondazione Italiana Accenture,
VerdeSport (of the famous Italian fashion brand
Benetton) and CONI (the Italian Olympic
Committee) on ethical, sociological and
psychological issues related to sport
(www.learningatsocialsport.net).
All the above are blended learning experiences,
interleaving ICT-based activities (the most
prominent of which are interactive sessions in a
shared 3D environment) with normal school
activities. A key point (from the beginning) was to
provide a highly structured experience: we wanted
participants to pursue meaningful, involving tasks
that would keep motivation high (for a discussion on
how to design a 3D-based educational experience
see Di Blas, Garzotto, Poggi, 2009). Therefore we
sketched and refined over the years a „storyboard‟
both of the experience as a whole and of each online
session (that were managed by online tutors). Figure
1 shows the most advanced version of the
storyboard, the one that was used in the
Learning@Europe project from year 2007.
2.1 How the Activity Works
Students taking part in one of the above programs
are supposed to perform a number of activities. The
core of the experience are four online meetings in a
collaborative 3D environments where, under the
guidance of an online tutor, students take part in
games (fig. 2), answer quizzes, discuss and also
share content like pictures of their countries and
self-presentations (fig. 3).
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Figure 2: Learning@Europe. An avatar tries its luck in the
“Olympic Games”, flying through circles. In the
collaborative environments cultural discussions alternate
with games, giving vent to an „edutainment‟ experience.
In between these meetings, they are required to
study background materials and complete
assignments. Even these activities that are in a
certain sense typical for school are re-interpreted
in an innovative way: background materials are in
the form of lively interviews to European experts,
often displaying different points of view over the
same issue (thus fostering the development of
critical thinking in the students); assignments are
cooperative, in the sense that they must be
completed together with the class mates and the
remote peers. In addition, the final output must be
put in electronic form so as to be shared with all the
participants in the 3D space. Students interact via
electronic forums and e-mail. A friendly, cultural
competition in which students take part in team with
remote partners goes through the whole length of the
experience.
Figure 3: Learning@Europe. Users represented by avatars
explore the virtual world and interact via chat. The
environment is customized with the students‟ content
(pictures of their own countries).
In this complex scenario the role of the teacher
remains crucial but shifts to being that of a
facilitator: she organizes the groups, checks that
deadlines are met, monitors the students‟ proper
behavior and the quality of the outcomes. This new
role is determined by the fact that the experience is
totally new to her, just like to her students.
2.2 Technology
The 3D environments are built using WebTalk 4 (by
HOC), an architecture developed with Macromedia
Studio 2004 MX that allows a high level of
flexibility and programmability of the 3D contents
and environments (Barbieri et al., 2006). It is based
on XML metadata describing not only the scenes but
also the modalities of interaction among the objects,
the scenes and the users. Thus the educational
experiences can be easily customized.
Figure 4: WebTalk4 architecture.
The architecture is based on a client/server
paradigm: an application server hosts static and
dynamic contents, a communication server
(Macromedia Flashcomm) shares data in cooperative
and distributed applications. The client is composed
by a Schockwave plug-in that runs inside a regular
internet browser (both are likely to be already
installed in the user‟s system). These technological
choices are all in view of a large-scale deployment
of the program.
2.3 Educational Benefits
The above experiences are at the same time exciting
and effective from an educational perspective (Di
Blas, Poggi, 2008). Interacting with remote peers in
a 3D environment, taking part together in a
competition, etc. is definitely involving per se. A
teacher reported that “when the online tutor declared
us winners, students roared as if they had been at a
soccer match” and another said that “students were
so involved that it was difficult to calm them down”.
For the sake of the present argument we shall
concentrate here on the less traditional benefits
INNOVATIVE TECHNOLOGIES AND EDUCATION - Two Successful Case-studies
343
achieved by the students, making reference to the
Learning@Europe project (the one that has involved
the largest number of participants). For more details,
the reader can find in the project‟s website the final
reports as well as all the raw data collected
(www.learningateurope.net). We carefully evaluated
the program‟s impact by means of a complex
apparatus of monitoring tools (Di Blas et al., 2008),
including: (1) questionnaires to teachers before the
experience and after each of the online sessions; (2)
questionnaires to students before and after the
experience; (3) surveys and semi-structured
reporting by the online guides after each online
sessions and weekly about the forums; (4) focus
groups with a number of teachers at the end of each
school year; (5) analysis of the students artifacts
(homework, forums‟ postings, chat…) and (6)
videos shot in some selected classes. As we said
above, traditional benefits (for example, related to
increased knowledge of the subject matter) were
reported and on the whole the overall educational
impact was deemed high (fig. 6).
Figure 5: Teachers‟ rating of the overall educational
impact of the Learning@Europe program (years 2006/07
and 2007/08; 70 respondents).
As regards less traditional benefits, they are
mostly related to skills and attitudes. For example
68,8% of teachers rated their students‟ improvement
in group work as very good and excellent (L@E,
year 2007, 61 respondents). A junior high school
teacher reported that one of her pupil who had come
to visit her one year after the experience (the girl had
moved to high school) complained about the fact
that her new class-mates were not good at working
in groups. Then she added “but you know, they had
not „done the Scrolls‟ (reference to the SEE project,
about the Dead Sea Scrolls)”. Another teacher
interestingly remarked that their students had
understood “that each one‟s contribution was crucial
for the team‟s success” and that they were starting to
understand “what a deadline is”: an almost
professional approach. It is remarkable that the
experience (that dealt with European history in view
of the formation of a sense of European identity)
fostered a new attitude of tolerance and
understanding towards other cultures. A student
said: “now I understand that Europe is not just an
idea, but something concrete”, and another one quite
naively noticed that “the Polish are like us”. In
addition, since the experience is usually rewarding,
it generates a positive attitude towards school in
general, fostering students‟ proficiency in all
school‟s subjects. Last but not least, many teachers
reported that the activity had rescued pupils with
special needs, like not well integrated immigrants,
disabled students etc. (Di Blas, Poggi, 2008).
3 CASE 2: DIGITAL
STORYTELLING
In year 2005, we developed a toolkit, called
1001stories, for producing multimedia (audio,
images, texts), multichannel (web, CD-rom,
podcasts, cell phones…) “narrative” applications.
The toolkit is very simple, consisting of a fixed
information architecture (basically a set of main
topics, each with a sub-set of details see fig. 6), a
pre-defined set of possible interactions for the user
(with a preference for automatic navigation, where
the application volunteers its content either in short
or long format) and a specially-dedicated engine
with a user-friendly interface that would allow teams
of non techy-savvy developers to produce the
“narratives”. The toolkit has been used to produce
40 professional applications so far, on various topics
ranging from the new printer by EPSON to the
Roman Theater of Posillipo for the Ministry of
Culture in Italy. Its simplicity almost immediately
suggested to us the idea that it could also be used in
school environments to allow students to use
technology to communicate culture. The authoring
environment is available online and the process
requires only basic technological skills: creating
text, creating (MP3) audio files, creating jpeg
pictures, uploading files. The handling of the
technological aspects, the deployment and the
generation process, which would be more
demanding from a technical standpoint, are left to
the service provider, i.e. HOC-LAB. 1001stories
seemed thus the perfect way to spread the “media-
literacy” (i.e. the ability “to effectively create, use
and communicate information” using new
technologies; US National Commission on Library
and Information Science) that is so much sought
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Figure 6: “Milan during the Roman Empire Age” (primary school). The screenshot shows how the final story looks: on the
left, there is the list of sub-topics of the topic on display (the “Roman Baths of Milan” as the title on top of the image
reads). In the middle, a short slideshow of images runs (1 minute approximately) and eventually on the right there are the
images‟ captions and the transcript of the audio comment.
after by school systems all over the world.
Therefore, in year 2006, we launched the
“PoliCultura” competition, inviting at first high
school students, later on schools of all grades,
including pre-school, to narrate their own local
culture using our tool; more than 12,000 Italian
students have used it so far.
3.1 How the Activity Works
Students taking part in a digital storytelling activity
have to perform a number of activities. “Narrating” a
story in digital form, with a specific tool, is not the
same thing as writing it on paper. Once an overall
theme is selected (like for example “Milan during
the Roman Empire age” fig. 6) it has to be split
into topics, each on its turn with a set of sub-topics.
This non-linear way of constructing a story is typical
of interactive media and quite different from our
(ex? Almost ex?) writing culture (Ong, 1982). Each
topic and sub-topic is composed by: an audio
(preferably lasting 1 minute approximately), a text
available on demand (the audio‟s transcript) and a
slideshow of images to go with the audio. Students
thus have to learn how to write texts suitable for
“audio-consumption” and also for “interactive
consumption” (i.e. no previous content can be taken
for granted like in a linear text the user may
„come‟ from any part of the narrative). Images
complement the narrative and make the final result
pleasurable to see. In a word, using 1001stories
students learn how to effectively communicate
(about non trivial subjects) using a technological
tool.
3.2 Technology
From a technological point of view, 1001stories is
an engine, written in php, composed by 3 main parts:
a Data Entry, a Preview and a Generator. The Data
Entry is a simple authoring environment enabling
the user to edit the editorial plan of the story and to
enter content for each element. The Preview allows
to visualize at any moment of the process the
contents inserted that far, as they will appear to the
final user. The Generator produces and publishes the
final applications (for the different delivery
channels).
3.3 Educational Benefits
In spite of the fact that we provide school with an
agile set of guidelines on how to create an effective
multimedia “narrative” (10/12 pages with hints
ranging from how to record MP3 files to how to
write the texts and select the images), the
storytelling activity is much looser with respect to
the 3D-based experiences described above. There
are two main reasons: participants are free to select
the narrative‟s theme (so content is up to them) and
teachers monitor the whole experience (while in the
3D-based experiences they share the responsibility
with the online tutors). We may also note that
storytelling is a creative activity by definition, so it
is no wonder that the final products are highly
creative and “one different from the other” (Di Blas
et al., 2009). But when we look at the benefits
(monitored by means of online questionnaires to
teachers), we find again that alongside with the tra-
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345
Table 1: Benefits related to the digital storytelling activity compared to achievements in regular school activities (year
2008-09, 153 respondents).
ditional ones (e.g. increased knowledge of the
subject matter) there are again the non-traditional
ones, like increased media literacy and capacity of
working in groups. All the teachers (67% rating 5,
and 33% rating 4) found that using 1001stories had
been a powerful tool for achieving “media literacy”.
Again, many interesting anecdotes about children
with special needs being involved are there. A
teacher said: “In my class there is a dyslexic kid. He
tried to record his part 15, even 20 times and he did
not want to give up. The whole class stood around
him cheering and in the end he made it”. Mentally
disabled children strived to give their contribution in
many of the narratives produced.
4 RELATED WORKS
Multi-User 3D Virtual Environments have become
popular (also due to the success of Second Life) in a
number of fields, and especially eEntertainment and
eMarketing. They can also be used for Cultural
Heritage, as for Kenderdine‟s Ancient Olympia,
“Home of the Gods” (Kenderdine, 2001) and
Johnson‟s Monticello, the home of Thomas
Jefferson (Johnson, 2005), or the Theban Mapping
Project (www.thebanmappingproject.com). It is less
known, outside of a small circle of researchers and
professionals, that they can also be used for
education. Among the most known examples of
virtual worlds for education are: Barab‟s Quest
Atlantis (Barab et al., 2009; www.questatlantis.org),
a persistent virtual world where children as young as
9 engage in curriculum-related quests to save an
imaginary land from environmental disaster; Dede‟s
River City, where teams of high school students
investigate the social, health and environmental
causes of an epidemic in a 19th virtual town (Dede
et al., 2005); Bers‟ Zora, a virtual environment used
by kids with psychological, mental or physical
problems, who can find a way to express themselves
and tell their stories by manipulating virtual objects
and characters (Bers et al., 2005) and Wolf Quest,
where users impersonate wild animals to learn about
their life and habitat (Schaller et al., 2009). These
projects can be categorized either as informal or
formal education (most of the cultural heritage ones
fall into the first category). Formal education, i.e. a
situation where a group of pupils (possibly under the
guidance of a teacher) have precise learning goals to
be achieved with a well defined effort, has strong
requirements to be met (such as organized groups of
pupils, organized scheduling, limited time at
disposal, possible conflicts with standard curricular
activities, etc.). That characteristic may (for the time
being) prevent their wide adoption. Still, we feel that
CSEDU 2010 - 2nd International Conference on Computer Supported Education
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the above introduced array of projects are quite
promising for their creativity and show how
technology can be exploited in an innovative way. In
addition, when introduced in a real school
environment, educational benefits comparable to the
ones described in this paper are achieved,
demonstrating the validity of the approach.
In the field of digital storytelling there are also
many creative examples of programs aimed at
fostering children‟s skills in “narrating” and/or
taking part in a story. The benefits provided by
introducing storytelling activities from early
childhood have been widely discussed and
demonstrated (Decortis and Rizzo, 2002; Madej,
2003; Kritzenberger, 2004; Richard and Williams,
2006) as well as the added value brought by
technologies (Cassell and Ryokai, 2001). A number
of authoring tools have been developed, like KidPad
(Druin et al., 1997; Hourcade, 2002), a tool that
involves children in synchronous co-presence
collaborative story authoring, by using drawing,
typing and hyperlinking functionalities optimized for
synchronous collaborative input (e.g., multiple mice)
on a 2-dimensional zoomable space. Further
research has added tangible interface and gesture
recognition technology to KidPad (Stanton et al.,
2001), resulting in a “magic carpet” which can
support collaboration in larger groups. Playful
collaboration in the creation of stories is also
explored in the projects StoryMat (Cassell and
Ryokai, 2001; Ryokai and Cassell, 1999) and POGO
(Decortis and Rizzo, 2002). Synchronous distance-
based collaboration for authoring stories in 2D and
3D virtual environments has been exploited in
projects such as FaTe2 (Garzotto and Forfori, 2006),
MOOSE crossing (Bruckman, 1997) or
MyStoryMaker (work in progress; McKinley and
Lee, 2008). PUPPET (Marshall et al., 2002) is an
example of a virtual environment used for teaching
basics of drama production and enactment to
children. An approach to narrative development
which shifts the boundaries between author and user
is Emergent Narrative (EN Aylett, 1999), referring
to stories in which the advancement of the narrative
is determined by the interaction between characters,
controlled by the user‟s choices. Eventually,
StoryBuilder, produced by CBC4Kids (Canadian
Broadcasting Corporation) is a web-based tool
which enables children to create multimedia
commix-style stories (Antle, 2003).
5 CONCLUSIONS
Innovative Learning Experiences, where technology
is used for creating something otherwise impossible,
are more challenging (from an instructional design
point of view), but also more rewarding in a number
of ways: they generate excitement and foster
motivation; they can provide substantial (traditional
and non-traditional) benefits; they better exploit all
the implicit potential of technology. So far
innovative eLearning experiences have been targeted
more to schools‟ students rather than to higher
education or corporate training (see the proceedings
of conferences like eLearn or EDMEDIA to get the
idea): we are currently investigating the possibility
of transferring innovations also in these, for the time
being more „conservative‟, environments.
ACKNOWLEDGEMENTS
The case-studies discussed in this paper have been
made possible by the great work of the HOC-LAB
staff, the support of the rector of Politecnico (Prof.
Giulio Ballio) and of the dean of the faculty of
information technology engineering (Prof. Dino
Mandrioli), the generous contribution of public and
private organizations (especially the International
Foundation of Accenture), and the scientific
counseling of great learning scientists, among which
we would like to especially thank Thomas Reeves
(University of Georgia).
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