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Video and Computer Games As Grounding Experiences for Learning
Black, J.B., Khan, S.A.and Huang,S.C.D.(2014) Video games as grounding experiences for learning. In F. C. Blumberg (Ed.) Learning by playing: Frontiers of videogaming in education. New York: Oxford University Press Video and Computer Games as Grounding Experiences for Learning John B. Black, Saadia A. Khan and Shih-Chieh Doug Huang Teachers College, Columbia University Abstract A powerful role for games and simulations is providing rich, perceptually- grounded experience with the content being learned, which when combined with more formal learning activities, provides deeper more robust learning that transfers. Research with an historical simulation game found that grappling with historical dynamics via game play prepared students to learn more from reading a difficult chapter from a college history text. Similarly, interpreting observations in an archaeological site simulation increased students’ ability to interpret and argue using such observations. Other research showed that having learners use avatars to role play historical actors and events in a virtual world simulation of the history increased learning, understanding and transfer of historical knowledge acquired from reading about the history. Further research found that increasing the perceptual richness of grounding physics experiences with a simulation game providing force feedback increased student learning and understanding of concepts in physics. Keywords: Grounded Cognition, Embodied Cognition, Experience, Learning, Transfer 1 Most of learning in school is thin and shallow: it is not understood very deeply, is quickly forgotten and does not really become part of the way the learners think about the world. As Dewey (1938) pointed out, learning without experiencing what is being learned is not meaningful. -
Video Games: Changing the Way We Think of Home Entertainment
Rochester Institute of Technology RIT Scholar Works Theses 2005 Video games: Changing the way we think of home entertainment Eri Shulga Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Shulga, Eri, "Video games: Changing the way we think of home entertainment" (2005). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Video Games: Changing The Way We Think Of Home Entertainment by Eri Shulga Thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Information Technology Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Copyright 2005 Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Information Technology Thesis Approval Form Student Name: _ __;E=.;r....;...i S=-h;....;..;u;;;..;..lg;;i..;:a;;...__ _____ Thesis Title: Video Games: Changing the Way We Think of Home Entertainment Thesis Committee Name Signature Date Evelyn Rozanski, Ph.D Evelyn Rozanski /o-/d-os- Chair Prof. Andy Phelps Andrew Phelps Committee Member Anne Haake, Ph.D Anne R. Haake Committee Member Thesis Reproduction Permission Form Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Information Technology Video Games: Changing the Way We Think Of Home Entertainment L Eri Shulga. hereby grant permission to the Wallace Library of the Rochester Institute of Technofogy to reproduce my thesis in whole or in part. -
Indesign CC 2015 and Earlier
Adobe InDesign Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 11/4/2019 iii Contents Chapter 1: Introduction to InDesign What's new in InDesign . .1 InDesign manual (PDF) . .7 InDesign system requirements . .7 What's New in InDesign . 10 Chapter 2: Workspace and workflow GPU Performance . 18 Properties panel . 20 Import PDF comments . 24 Sync Settings using Adobe Creative Cloud . 27 Default keyboard shortcuts . 31 Set preferences . 45 Create new documents | InDesign CC 2015 and earlier . 47 Touch workspace . 50 Convert QuarkXPress and PageMaker documents . 53 Work with files and templates . 57 Understand a basic managed-file workflow . 63 Toolbox . 69 Share content . 75 Customize menus and keyboard shortcuts . 81 Recovery and undo . 84 PageMaker menu commands . 85 Assignment packages . 91 Adjust your workflow . 94 Work with managed files . 97 View the workspace . 102 Save documents . 106 Chapter 3: Layout and design Create a table of contents . 112 Layout adjustment . 118 Create book files . 121 Add basic page numbering . 127 Generate QR codes . 128 Create text and text frames . 131 About pages and spreads . 137 Create new documents (Chinese, Japanese, and Korean only) . 140 Create an index . 144 Create documents . 156 Text variables . 159 Create type on a path . .. -
The Adaptation of the Cultural and Creative Industries Cluster Policy In
The Adaptation of the Cultural and Creative Industries Clusters Policies in Eastern Asian Cities: The Case Studies in Taiwan By PEI-LING, LIAO A thesis submitted to the University of Birmingham For the degree of Doctor of Philosophy Department of Management Birmingham Business School College of Social Sciences University of Birmingham June 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Acknowledgments This thesis is dedicated to my parents and brother, who gave up so much for me to complete this work. Thank you to my first supervisor Dr. Caroline Chapain, and second supervisor Dr. Lauren Andres, my examiners Professor Graeme Evans, Dr. Christopher Collinge and my Chair Dr. John Gibney, without your supervision, support and encouragement, I will not able to complete this thesis and my study. I express gratitude to my friends , especially Jung-Chen, Jennifer, Chun-Ting, Liang-Ting and Ya-Hui, and my colleagues Kong, Li-Yun, Chun, Jin-I, Bing, Yanan and David, no matter where you are, you gives me many support and power to complete my work. To the professionals and academicians who help with my research and deserve credit for encouraging me to enter the Doctoral program, I express my sincere thanks. -
“Real” Page Numbers to a Reflowable Kindle Textbook
How to Use Adobe InDesign CC to Add “Real” Page Numbers to a Reflowable Kindle Textbook with an Index, so that Index Entries Correspond to Print Edition Page Numbers, and Link to the Specific Text relevant to the Given Entry Topic Why do textbook authors/publishers require “real page numbers”? So readers can know what page they are on, so scholars can cite the page in academic papers, and students be sure they are reading the class assignments. Note that since a “page” in a book translates into multiple “locations” in a reflowable eBook like the E-ink Kindles, the page numbers in an index topic entry are not actually linked to the page number (whether visible or invisible) in the eBook. They are linked to the topic material - the index marker embedded by InDesign at a specific word. The fact that this link may go to a position in the text that is a few “locations” from the actual page number is not a bug, it’s a feature. Links go to “relevant paragraphs,” not page numbers, as Amazon requires. Kindle Digital Publishing Guidelines strongly recommend that the publisher remove some page numbers from reflowable E-ink Kindles, specifically those in the Table of Contents. This is because the typical mobi eBook does not have page numbers. When they do have page numbers, Amazon should support them in the ToC, as they do in the Index. Unfortunately, communication with KDP support is poor. KDP’s own conversion process now removes page numbers from the Table of Contents even though the publisher leaves them in and requests the Kindle Real Page Numbers feature, which supports the Go to Page feature and “page-flips” with page numbers. -
Sparking Creativity and Synergy with Adobe® Creative Cloud™ for Teams
Adobe Customer Story Sparking Creativity and Synergy with Adobe® Creative Cloud™ for Teams HeterMedia Group, a leading corporate content solution provider headquartered in Hong Kong, embraces Adobe’s cutting-edge solutions to flexibly respond to time-sensitive work demands “Creative Cloud is so much more than a tool; it is an indispensable part of our work environment. Without it, we just cannot imagine how we can get tasks done with this level of efficiency and serve our clients in a professional manner.” Charles Ho, Design Manager, HeterMedia Group SOLUTION RESULTS Adobe Creative Cloud for teams BETTER COLLABORATION OUTSTANDING SERVICE INCREASE EFFICIENCY MOBILE SUPPORT Estimated 20% of employee Able to deliver excellent Team morale and productivity Able to provide on-site time saved by simplifying customer experience have been boosted demonstrations to client using access and sharing of work tablet devices Adobe Customer Story HeterMedia Group An Adobe software user for more than 18 years, HeterMedia Group is a renowned one-stop content management solutions company providing services such as financial document printing and hosting, initial Established in 1992 public offerings, EDGAR services, e-book solutions and webcasts, and comprehensive design and language HKSAR, China services. The Hong Kong based company decided it was time to reap the benefits of better workflow efficiency http://hetermedia.com/eng/ in its operations and adopted Adobe Creative Cloud for Teams, a subscription-based licensing application. Around 60 percent of employees, mostly desktop publishing staff and designers, are now active Creative Cloud users and they’ve found the new applications beneficial in many ways. One very important feature, is the way Adobe Creative Cloud seamlessly supports design across multiple devices. -
Create Adobe® PDF Files for Print and Press
How to Create Adobe PDF Files for Print and Press Adobe Acrobat® at work Create PDF files for online publishing ® Create Adobe PDF Files Create PDF files for printing for Print and Press Create PDF files for press Create PDF files for presentation Create PDF files from paper documents Create PDF forms Adobe Acrobat 4 Edition Collaborate with PDF Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA World Wide Web www.adobe.com How to Create Adobe PDF Files for Print and Press Adobe Acrobat® at work Create PDF files for online publishing ® Create Adobe PDF Files Create PDF files for printing for Print and Press Create PDF files for press Create PDF files for presentation Create PDF files from paper documents Create PDF forms Adobe Acrobat 4 Edition Collaborate with PDF Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA World Wide Web www.adobe.com How to Create Adobe PDF Files for Print and Press Adobe Acrobat 4 Edition This book was created using Adobe Illustrator®, Adobe PageMaker®, Adobe Photoshop®, and font software from the Adobe Type Library. Adobe, the Adobe logo, AdobePS, Adobe Type Manager, Acrobat, Acrobat Exchange, ATM, Distiller, PostScript Extreme, FrameMaker, Illustrator, InDesign, PageMaker, Photoshop, PostScript, and PostScript 3 are trademarks of Adobe Systems Incorporated. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Macintosh, and TrueType are trademarks of Apple Computer, Inc., registered in the United States and other countries. UNIX is a registered trademark of the Open Group. -
Adobe Reader 7.0 Frequently Asked Questions for Digital Edition Users 2 Q: Can I Print and Copy Digital Editions?
FAQ Adobe® Reader® 7.0 Frequently Asked Questions for Digital Edition Users TOPICS General 1 General Q: What is a digital edition (formerly known as an eBook)? 4 Adobe DRM 4 Adobe Reader 7.0 digital edition support A: A digital edition is an electronic edition of a physical book, magazine, journal, newspaper, sheet music, or newsletter. A digital edition is a file that has been 4 Activation converted to Adobe Portable Document Format (PDF). Adobe digital rights 5 Mac OS support management (DRM) helps protect Adobe PDF files. 6 PDA support Adobe’s digital edition technology is based on PDF, which can be read on a variety of platforms and devices, including Windows®, and Mac OS and UNIX® based computers, as well as Palm OS®, and Pocket PC devices. Q: What do I need on my computer to read a digital edition? A: To read a digital edition, you need the free Adobe Reader software, version 6.0 or higher. You will also need an Internet connection to authorize your device for digital rights management and to download the digital edition. Once you have downloaded the digital edition, you can disconnect from the network and read the digital edition offline. You do not need to be online to read a digital edition. After you have finished reading the digital edition, it remains on your computer until you delete it. If you have checked out the book from a library, it may have an expiration date, after which you will not be able to read the digital edition until you check it out again. -
Adobe Indesign CS3 and XML: a Technical Reference
Adobe InDesign CS3 and XML: A Technical Reference TABLE OF CONTENTS Adobe® InDesign® CS3 enables the design and production of professional page layouts. 1 Overview of XML syntax Built for demanding workflows, InDesign integrates smoothly with the Adobe tools you 2 Integrating XML into a publishing workflow use every day, streamlines repetitive tasks, reliably outputs pages, and offers powerful 4 XML tagging features in InDesig n features for creating richer, more complex documents. Additionally, InDesign CS3 has 10 Planning an XML workflow extensive XML and scripting capabilities to better support the varied needs of today’s 11 Importing XML files multichannel publishers. 17 Formatting XML text content manually Combining the predictable structure of XML files with InDesign’s page layout capabili- 18 Formatting XML text using style mapping ties lets you automate design and production tasks. You can associate InDesign format- 18 Using Find/Change to format XML text ting with XML content, so that when you import an XML file, content is automatically laid out on your pages. If you lay out many documents that have similar formatting, 19 Formatting text using namespace attributes in import and export you can set up your design for the first document and then automate subsequent publications. 23 Using anchored objects for repeating elements XML also serves as a useful interchange format to move information among different 24 XML rules applications. For example, if you create content in InDesign that will be published in 27 Exporting XML other media (such as on the web), you can export the InDesign file as XML to reuse the 28 Using InDesign Interchange (INX) files in content. -
Sonic 2: Bigger Than Madonna Jeux Vidéos Pour Enfants
ASp la revue du GERAS 2 | 1993 Actes du 14e colloque du GERAS Sonic 2: bigger than Madonna Jeux vidéos pour enfants Catherine Hillman-Steven Electronic version URL: http://journals.openedition.org/asp/4326 DOI: 10.4000/asp.4326 ISSN: 2108-6354 Publisher Groupe d'étude et de recherche en anglais de spécialité Printed version Date of publication: 1 October 1993 Number of pages: 371-387 ISSN: 1246-8185 Electronic reference Catherine Hillman-Steven, « Sonic 2: bigger than Madonna », ASp [Online], 2 | 1993, Online since 07 March 2014, connection on 19 April 2019. URL : http://journals.openedition.org/asp/4326 ; DOI : 10.4000/asp.4326 This text was automatically generated on 19 April 2019. Tous droits réservés Sonic 2: bigger than Madonna 1 Sonic 2: bigger than Madonna Jeux vidéos pour enfants Catherine Hillman-Steven Introduction 1 The Daily Mirror described the new video game Sonic 2 thus: It’s new, it’s mega, it’s bigger than Madonna! 2 The video games company Sega launched its advertising campaign for the sale of its second video game featuring its already famous hero, Sonic 2, in November 1992. Within a week sales had surpassed even the wildest predictions and the Daily Mirror ran a front page advertisement to win a Sonic game carrying the following extravagant headline: Sonic 2, we’ve got 50 to give away 3 The headlines of the same page resume the preoccupation of the public to counter- balance the ill effects of the recession, carrying stories of the Royal Family and their unwillingness to pay tax or the repair bills for Windsor Castle (cf. -
“Hardcore” Video Game Culture Joseph A
Proceedings of the New York State Communication Association Volume 2013 Proceedings of the 71st New York State Article 7 Communication Association 2014 The aH rdcore Scorecard: Defining, Quantifying and Understanding “Hardcore” Video Game Culture Joseph A. Loporcaro St. John Fisher College, [email protected] Christopher R. Ortega [email protected] Michael J. Egnoto [email protected] Follow this and additional works at: http://docs.rwu.edu/nyscaproceedings Part of the Mass Communication Commons Recommended Citation Loporcaro, Joseph A.; Ortega, Christopher R.; and Egnoto, Michael J. (2014) "The aH rdcore Scorecard: Defining, Quantifying and Understanding “Hardcore” Video Game Culture," Proceedings of the New York State Communication Association: Vol. 2013, Article 7. Available at: http://docs.rwu.edu/nyscaproceedings/vol2013/iss2013/7 This Conference Paper is brought to you for free and open access by the Journals at DOCS@RWU. It has been accepted for inclusion in Proceedings of the New York State Communication Association by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Loporcaro et al.: The Hardcore Scorecard The Hardcore Scorecard: Defining, Quantifying and Understanding “Hardcore” Video Game Culture Joseph A. Loporcaro, Christopher R. Ortega, Michael J. Egnoto St. John Fisher College __________________________________________________________________ The goal of the current study is to further conceptualize and define the term “hardcore” as it relates to video game culture. Past research indicates that members of cultural subdivisions favor their own group versus others due to perceived commonalities (Durkheim, 1915; Tajfel, 1970). In gaming culture, the subdivisions of “hardcore” and “casual” games/gamers have become especially salient in recent years. -
A 2014 Study by the Entertainment Software Association (ESA)
SALE2014S, DEMOGRAPHIC, AND USAGE DATA ESSENTIAL FACTS ABOUT THE COMPUTER AND VIDEO GAME INDUSTRY [ i ] “Our industry has a remarkable upward trajectory. Computer and video games are a form of entertainment enjoyed by a diverse, worldwide consumer base that demonstrates immense energy and enthusiasm for games. With an exciting new generation of hardware, outstanding software, and unmatched creativity, technology, and content, our industry will continue to thrive in the years ahead.” —Michael D. Gallagher, president and CEO, Entertainment Software Association [ ii ] WHAT’S INSIDE WHO IS PLAYING 2 Who Plays Computer and Video Games? 4 Who Buys Computer and Video Games? AT PLAY 5 What Type of Online and Mobile Games are Played Most Often? 5 How Many Gamers Play on a Phone or Wireless Device? 6 How Many Gamers Play Games With Others? 7 Parents and Games 7 Parents Control What Their Kids Play 9 Top Reasons Parents Play With Their Kids THE BOTTOM LINE 10 What Were the Top-Selling Game Genres in 2013? 11 What Were the Top-Selling Games of 2013? 12 Sales Information: 2003–2013 13 Total Consumer Spend on Video Game Industry in 2013 WHO WE ARE 14 About ESA 14 ESA Members OTHER RESOURCES 16 ESA Partners The 2014 Essential Facts About the Computer and Video Game Industry was released by the Entertainment Software Association (ESA) in April 2014. The annual research was conducted by Ipsos MediaCT for ESA. The study is the most in-depth and targeted survey of its kind, gathering data from more than 2,200 nationally representative households. Heads of households, and the most frequent gamers within each household, were surveyed about their game play habits and attitudes.