Michael Hitchens and Rowan Tulloch
The research described here presents an approach to gamification for the classroom. The purpose of this paper is to determine whether students would perceive the gamification…
Abstract
Purpose
The research described here presents an approach to gamification for the classroom. The purpose of this paper is to determine whether students would perceive the gamification activities in a positive light. Previous research has contended that students need a positive mental attitude for effective learning. The core question was to examine student attitudes to gamification, not the success of the gamification itself.
Design/methodology/approach
Based on a survey of the gamification literature, and particularly drawing on the work of Groh (2012), this system is designed with three key principles in mind: relatedness, competence and autonomy. Classroom activities and associated software were designed and implemented. Almost 200 students were surveyed to determine their attitude to the gamification. The survey included both Likert-scale and qualitative responses.
Findings
A majority of the students reported that they found the gamification useful and enjoyable, only a minority of students (around 15 per cent) disagreeing with such statements. However, only a minority of students perceived a relationship between the gamification activities and games. The authors conclude that well-designed gamification systems can be well-received by students and suggest that the success of gamification projects may not lie in their ability to recreate the experience of a video game, but in the strength of the relatedness, competence and autonomy of the student experience.
Research limitations/implications
The research is limited by the nature of the participants, who were drawn from videogame and media units and who may be predisposed to game-like activities.
Originality/value
This research demonstrates that students are able to perceive value in gamification in the classroom.
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Kristen Thomasen and Suzie Dunn
Perpetrators of technology-facilitated gender-based violence are taking advantage of increasingly automated and sophisticated privacy-invasive tools to carry out their abuse…
Abstract
Perpetrators of technology-facilitated gender-based violence are taking advantage of increasingly automated and sophisticated privacy-invasive tools to carry out their abuse. Whether this be monitoring movements through stalkerware, using drones to nonconsensually film or harass, or manipulating and distributing intimate images online such as deepfakes and creepshots, invasions of privacy have become a significant form of gender-based violence. Accordingly, our normative and legal concepts of privacy must evolve to counter the harms arising from this misuse of new technology. Canada's Supreme Court recently addressed technology-facilitated violations of privacy in the context of voyeurism in R v Jarvis (2019). The discussion of privacy in this decision appears to be a good first step toward a more equitable conceptualization of privacy protection. Building on existing privacy theories, this chapter examines what the reasoning in Jarvis might mean for “reasonable expectations of privacy” in other areas of law, and how this concept might be interpreted in response to gender-based technology-facilitated violence. The authors argue the courts in Canada and elsewhere must take the analysis in Jarvis further to fully realize a notion of privacy that protects the autonomy, dignity, and liberty of all.
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Mervi Luonila and Annukka Jyrämä
The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.
Abstract
Purpose
The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.
Design/methodology/approach
Through critical readings of the current theories on co-creation and co-production, we analyse literature relating to the network and service-dominant logic from the perspective of the arts field.
Findings
It is argued here that the context for value co-creation might be better analysed through network relationships, allowing a better identification of actors and their roles. We highlight the role of non-expert consumers through their co-creational experiences. In addition, we question the implicit assumption that the outcome of value co-creation is always progressive.
Practical implications
The paper provides deeper understanding for art managers of the mechanisms of value (co-)creation.
Social implications
The paper provides new knowledge of the variety of levels of relations in the value co-creation.
Originality/value
The novelty of the paper lies in the new conceptual framework that offers both a wider perspective for theory building of value (co)creation in the context of arts management and deeper understanding for art managers of the mechanisms of value (co-)creation.