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

 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

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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

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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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