> A)*+,-./01234567 Root Entry F/' Data =1Table _WordDocument, :  !"#$%&'()*+,-./P 5<>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~     = !"#$%&'(89:;< >?@BCDEF                         ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~                    !   ; " # $ % & ( ) * - . / 3 1 2 M 4 5 6 8 9 : X < = > N O S Q R T W U V [ 7 Y Z ^ \ 0 _ + Root Entry F8/? Data =1Table6!_WordDocumentE :  !"#$%&'()*+,-./P 78G0<>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~on Hiroshima and Nagasaki by taking the user through the steps of the development of nuclear proliferation and ending with bodies of the dead projected directly onto the users body. Both works also require user agency in that users influence the game state (Juul 133) every step of the way. In each work, if the user does not move in the space, absolutely nothing happens in the game. And finally, both works offer highly interactive experiences where the users kinesthetic involvement plays a significant role and enactment emerges as what Simon Penny describes as a powerful technique for hav[ing] . . . some effect on the . . . actions of [the] observer (80). Essentially, it is this last quality that Steve and I wanted to focus on the most in the development of MPE since one of the main successes of Virtual DJ and Ghosts lay in their connection to mindful yet highly physical activity. To put it simply, both works are aerobic in natureVirtual DJ inspires dancing and Ghosts, moving briskly around a rather large spaceand this movement results in literal (Penny again) outcomes that impact intellectual and emotion engagement. Ghosts, in particular, asks users to seriously consider their actions leading up to the dissemination of the atomic bomb. Those who have experienced the work attest to a shift in consciousness about and mindful contemplation of the repercussions of the use of atomic weapons to resolve conflicts. The combination of physical movement and mindful contemplation lies at the heart of MPE. The project goal is to investigate if [Slide 8] media-rich, interactive environments that encourage kinesthesia and kineticism can be utilized effectively for learning, particularly high-level math and science and language skillsand we are trying to accomplish this task by not making MPE an educational space and more a game space, much like Dance Dance Revolution and Wii. In terms of [Slide 9] math and science skills, we are interested in learning if users can better understand 3D triangulation and spatial mapping through their experience in MPE; for language, we are interested in learning if users can improve word choice, organization, and ideas/content through their experience in MPE. It is our premise that [Slide 10] by enacting the coordinates and space, users will embody the knowledge and so learn these concepts through muscle memory and Penneys notion of [un]conscious decision making (82). We also subscribe to Francisco Varela et als concept of [Slide 11] "mindfulness," or they call the embodied everyday experience whereby the mind [is led] back from its theories and preoccupations, back from the abstract attitude, to the situation of ones experience itself. Cognition, from this perspective, is inextricably linked to [Click ] embodied action[,] . . . the kinds of experience that come from having a body with various sensorimotor capacities as well as the way individual sensorimotor capacities are themselves embedded in a more encompassing biological, psychological, and cultural context (173). Citing the way an athlete or musician pulls together mind and body into focused action, Varela and his collaborators suggest that the practice of mindfulness does not take the person out of the body but rather [Click] places attention on the entire aspect of ones presence in order to reconnect the person to their very experience of living (25). Connecting Varela et als and Penneys ideas to current educational theories generating from scholars like Spinks, Sprenger, and Swanson, we arrive at the premise that [Slide 12] embodied action leads to embodied knowledge because the components of our brains that manage thought processes work better with movement (Spinks, 2002; Sprenger, 2003; Swanson, 1995, in Grigar et al). And we are hoping to achieve this outcome without creating an environment that is obviously educational. [Slide 13] Technique As I mentioned earlier, the project calls for the use of motion tracking technology. To this end, we are using a proprietary system called the Gesture and Media System (GAMS), created by Will Bauer of APR, Inc. of Edmonton, Canada. [Slide 14] The system organizes the space in a 3D grid. Media elementslight, music, spoken word, video, and animationsare programmed in zones and points on the grid and respond to hand-held tracking devices, or "trackers," much in the same way that a page is evoked when a cursor, driven by a mouse, touches a hyperlink on a webpage.  Fig. Computer interface showing zones and points on the 3D spatial grid [Slide 15] The set up of the room using this technology requires four infrared cameras mounted in each corner of the room and pointed down to the performance space. These cameras are linked to one another with the aid of a Firewire connected to a PC that runs the propriety software, called Flashtrak, controlling three Martin 250 Entour robotic lights and the Martin fog machine. The PC, in turn, is connected to a Mac sitting beside it that houses the softwareAbleton Live and Modul8 mentioned previouslydriving the MIDI information that makes up the media. This setup means that when a player moves in the space, her or his motion is tracked by the cameras and sent to the PC, which, in turn, evokes the light programmed in that particular space as well as sends the data to the Mac so that it can trigger the music and video. Assessment To assess the effectiveness of the environment for learning, we are creating two test sites. [Slide 16] The first, an exhibit called VJDJ is located at the  Fig. Structure of the MINDful Play Environment Oregon Museum of Science and Industry (or OMSI) will test math and science concepts. The second, called Rhapsody Room is located at my lab at Washington State University Vancouver (the MOVE Lab) and will test language concepts. The educational administrators at OMSI are bringing in students from the Oregon schools and testing them qualitatively and quantitatively. To bring in students from local schools to my lab at WSUV, I am partnering with the Vancouver School District. I am also partnering with a literacy and assessment expert from the education program at WSUV and another specializing in data collection and analysis at Texas Womans University to handle the assessment for the team. Timeline The completion of the project is set for January 2009. [Slide 17] Phase I, conceptualizing and programming MPE, was just completed in November 2007. We have now moved to Phase II, which sees the development of OMSI site media (video, sound, music, animation) and beta-testing the environment with media intact. Phase III involves the production of MOVE Lab media content and collateral material for both sites; IV, testing; V, analysis/reporting. [Slide 18] 2. Phase 1 This brings me to my discussion of the Phase I conceptualization and programming stage of the project. Development  Fig. Map of MPE Media Assignment [Slide 19 ] What you are looking at is the map of the layout of the environment at the OMSI site and the media assignment for that site. The four cameras (not shown) are mounted in the corners. You see the three robotic lights arranged in different places in the space, and the three trackers that players will use to interact in the space. You can also see directions for how each tracker behaves. [Slide 20] Playing in the environment means that each user takes possession of a tracker. Each of the three trackers controls one channel of music in the VJ  Fig. Three players interacting in MPE software Ableton Live and a channel of video in the VJ software Modul8. This means that Player One holding tracker 1 can control the video playing on one wall and the drum sound. Player Two is holding tracker 2 can control video on a second wall and the bass sound. Player Three holding tracker 3 can control video on a third wall and the melody. As you can see, all three players control their own light source. In reality, up to four players can interact with one another in this environment. Other media like animation and the written word can also be produced in this environment and controlled by various players.  Fig. Players changing media [Slide 21] As players interact with one another, they are able to change the media. For example, when Player One moves front and back (y-plane) in the space, she changes drum sounds, video clips, and light colors, and when she moves up and down (z-plane), she changes drum volume, video clip opacity, and the light dimmer. At the floor all three of these values are set to minimum, which means that when she raises her hand to 100 cm, she is able to fade each of these three values to maximum. Her side to side movement (x-plane) changes low-pass filter and delay in the drums. As I have stated, the development phase that constitutes Phase I included conceptualizing the environment and programming the behaviors that occur in it. We began working on the concept of MPE last fall with the idea that it would be built on the Virtual DJ engine and run this fall at OMSI. As we worked out the details and thought through our theory about kinesthesic learning over the spring and summer, we began to see the project as an intricate one needing more time. The introduction of Wii last winter provided the impetus to make the environment more complex and immersive. What we ended up with is an environment that offers the three players three levels of play with control over up to six videos, sound, and light, which can be combined with one another in a variety of ways and expanded exponentially depending on how players interact with one another. [Slide 22] For example, if Players Two and Three move toward one another, the proximity of one tracker to another affects the audio and video. For example, when Player Two approaches within 1.5 meters of Player Three, the bass will increase its distortion level, and the current video controlled by the melody will also appear in the bass video screen, blended with the bass video. [Slide 23] All three trackers are programmed to respond to one another similarly. In this way, MPE is intended to encourage collaborative learning through kinesthetic play.  Fig. Three players collaborating in MPE The physical embodiment of x, y, z coordinates and spatial mapping combined with the potentiality of textual representation of data along with media focusing on sound, images, and light make MPE a unique and robust site, we think, for learning concepts relating to both math and science as well as language. The complexity of the programming is best demonstrated in the structural maps that describe the players relation to the media and the parameters of the Flashtrack MIDI to Modul8 and Ableton Live. The one below [Slide 24] shows the way in which Tracker One handles the drums. All aspects of the environment has been mapped out to show unique behaviors of each tracker and the way in which trackers relate to one another.  Along with maps of the space, we have conceptualized the various MIDI mappings for both Flashtrack MIDI to Modul8 and to Ableton Live. This slide [Slide 25] gives you an idea of the work completed in this area of MPEs development. FlashTrack MIDI to Modul8 parameters Note on MIDI Ch1 Notes MUST be entered in this order: 36-40 41-45 46-50 51 52 53 54 55 56 57 Tracker proximity/Tracker z Volume (cc 7) MIDI Ch1 Tracker z Volume (cc 7) MIDI Ch2 Tracker proximity Volume (cc 7) MIDI Ch3 Tracker proximity Volume (cc 7) MIDI Ch4 Tracker proximity Volume (cc 7) MIDI Ch5 Tracker z Volume (cc 7) MIDI Ch6 Tracker proximity Volume (cc 7) MIDI Ch7 Tracker proximity Volume (cc 7) MIDI Ch8 Tracker proximity Volume (cc 7) MIDI Ch9 Tracker z Effects Delay (cc 92) MIDI Ch1 Tracker x Delay (cc 92) MIDI Ch2 Tracker y Delay (cc 92) MIDI Ch3 Tracker y LPF (cc 105) MIDI Ch1 Tracker x LPF (cc 105) MIDI Ch2 Tracker y LPF (cc 105) MIDI Ch3 Tracker y Cc 106 MIDI Ch1 Tracker Velocity Cc 106 MIDI Ch2 Tracker Velocity Cc 106 MIDI Ch3 Tracker Velocity Layer-Bank-Clip Drum Clip select Bass Clip Select Melody Clip Select Video off Bank 1 select Bank 2 select Bank 3 select Layer 1 select Layer 2 select Layer 3 select Drum Layer 1 Opacity Drum Layer 2 Opacity (Bass video) Drum Layer 3 Opacity (Melody video) Bass Layer 1 Opacity (Drum video) Bass Layer 2 Opacity Bass Layer 3 Opacity (Melody video) Melody Layer 1 Opacity (Drum video) Melody Layer 2 Opacity (Bass video) Melody Layer 3 Opacity Layer 1 Clip Speed Layer 2 Clip Speed Layer 3 Clip Speed Layer 1 Saturation Layer 2 Saturation Layer 3 Saturation Layer 1 Playhead scratch Layer 2 Playhead scratch Layer 3 Playhead scratch Note: Layers 1 and 2 must have luma key turned on. FlashTrack MIDI to Ableton parameters Note on MIDI Ch10 36-44 45-47 48 49 Note on MIDI Ch11 36-44 48 60 Note on MIDI Ch12 36-44 45-47 48 49 Tracker z Volume (cc 7) MIDI Ch10 Tracker z Volume (cc 7) MIDI Ch11 Tracker z Volume (cc 7) MIDI Ch12 Tracker z Tracker proximity Cc 90 MIDI Ch10 Proximity to Drum tracker Cc 93 MIDI Ch10 Proximity to Drum tracker Cc 90 MIDI Ch11 Proximity to Bass tracker Cc 93 MIDI Ch11 Proximity to Bass tracker Cc 90 MIDI Ch12 Proximity to Melody tracker Cc 93 MIDI Ch12 Proximity to Melody tracker Effects Delay (cc 92) MIDI Ch10 Tracker x Delay (cc 92) MIDI Ch11 Tracker y Delay (cc 92) MIDI Ch12 Tracker y LPF (cc 105) MIDI Ch10 Tracker x LPF (cc 105) MIDI Ch11 Tracker y LPF (cc 105) MIDI Ch12 Tracker y Cc 106 MIDI Ch10 Tracker Velocity Cc 106 MIDI Ch11 Tracker Velocity Cc 106 MIDI Ch12 Tracker Velocity General commands CC 91 MIDI Ch10 Drum Clip trigger Perc Clip trigger Drum Clip off Perc Clip off Bass Clip trigger Bass Clip off Start on Scene 1 Melody Clip trigger Vox Clip trigger Melody Clip off Vox Clip off Drum Volume Bass Volume Melody Volume Bass Resonator Wet/Dry Mix (from Drum Tracker) Melody Saturation Wet/Dry Mix (from Drum Tracker) Drum Beat repeat Wet/Dry Mix (from Bass Tracker) Vox (Melody) volume (from Bass Tracker) Perc (Drum) Beat volume (from Melody Tracker) Bass Saturation Wet/Dry Mix (from Melody Tracker) Drum Delay Wet/Dry Mix Bass Delay Wet/Dry Mix Melody Delay Wet/Dry Mix Drum LP Filter Freq Bass LP Filter Freq Melody LP Filter Freq Drum Phaser Wet/Dry Mix Bass Phaser Wet/Dry Mix Melody Phaser Wet/Dry Mix Tempo  Let me show a very brief video documenting players interacting in the space. [Slide 26: Show video] [Slide 27] 3. Future Steps While motion tracking technology has seen wide use for physical therapy, surveillance, and entertainment, it has yet to be utilized in education. Additionally, the incorporation of movement in a classroom environment has not yet been fully realized outside of disciplines like dance and physical education where physical activity is seen as a necessary component of the discipline. Furthermore, print is still the media of choice in most classroom settings. These lay in contrast to our everyday experiences where print, radio, and television have been replaced by video computers, cell phones, and iPods as preferred communication devices. Joysticks, gameboy interfaces, and IMing offer highly physical and dynamic interactions with information. The growing popularity of games like Nintendos WII and DDRGamings Dance Dance Revolution means that young people have not only become accustomed to media-rich environments made possible by multimedia technologies but also those that offer kinesthetic and kinetic opportunities. As educator Michael Dunn points out, research shows that [Slide 28] informational technologies have, indeed, impacted how learning occurs. Auditory learners now make up the smallest percentage of learners in schools (Tileston, 2004). [As mentioned earlier that] research indicates that the components of our brains that manage thought processes work better with movement (Spinks, 2002; Sprenger, 2003; Swanson, 1995). It stands to reason that students no longer experience optimal learning when they are only expected to sit, listen, and converse. Rather, they need different formats of classroom instruction to help facilitate learning. My collaborators and I anticipate that the media rich and kinesthetic environment of the MINDful Play Environment will be highly conducive to the process of learning. Therefore, if after assessing the project we show empirical evidence supporting our premise that the environment is effective, then future plans for MPE includes its implementation. We have received provisional interest from the Fort Vancouver Regional Library to host an environment in the early learning center it plans to build with the construction of the new library. We are hoping to license MPE at other such facilities. In conclusion, [Slide 29] the research undertaken in this project will provide the opportunity to develop and test a classroom of the future that utilizes technologies and sensory modalities that can potentially change the way we teach and impact students success with learning. 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uuid:2A6D5B84561911DC8033C6916DC3CEC6 uuid:2A6D5B85561911DC8033C6916DC3CEC6 uuid:2A6D5B81561911DC8033C6916DC3CEC6 uuid:4B043AC6558611DC8033C6916DC3CEC6 1 3000000/10000 3000000/10000 2 256,257,258,259,262,274,277,284,530,531,282,283,296,301,318,319,529,532,306,270,271,272,305,315,33432;9DC512574488429ECCF8A7220415F657 600 500 1 36864,40960,40961,37121,37122,40962,40963,37510,40964,36867,36868,33434,33437,34850,34852,34855,34856,37377,37378,37379,37380,37381,37382,37383,37384,37385,37386,37396,41483,41484,41486,41487,41488,41492,41493,41495,41728,41729,41730,41985,41986,41987,41988,41989,41990,41991,41992,41993,41994,41995,41996,42016,0,2,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,20,22,23,24,25,26,27,28,30;FCB9829A778FCEA8C80F2138582AF556 3 sRGB IEC61966-2.1 XICC_PROFILE HLinomntrRGB XYZ  1acspMSFTIEC sRGB-HP cprtP3desclwtptbkptrXYZgXYZ,bXYZ@dmndTpdmddvuedLview$lumimeas $tech0 rTRC< gTRC< bTRC< textCopyright (c) 1998 Hewlett-Packard CompanydescsRGB IEC61966-2.1sRGB IEC61966-2.1XYZ QXYZ XYZ 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