Learning by ARG: an interview with Mela Kocher Lennstroem

Mela Kocher Lennstroem is a Swiss games researcher currently living in San Diego, where she conducts post-doctoral research on “the blurring of reality and fiction in digital media, especially in ARGs.” I caught up with Mela via Twitter and email after she co-presented (with Ken Eklund, Stephen Petrina, and PJ Rusnak) a “mini ARG” at the 2010 Digital Media and Learning Conference in La Jolla, California — an event I wish I’d attended, especially after talking to Mela about what happened during her session.

First off, I noticed your dissertation, “Follow the Pixel Rabbit,” on your website. Even though I can’t read German, I found it interesting to flip through the pages. Speaking generally, what’s your dissertation about — and what does the Alice reference in the title mean?

I wrote my dissertation on storytelling in video games around 2002/2003. At that time game studies was still a pretty new thing at universities in Switzerland (and games not really accepted as a serious academic subject). With the reference to Alice in Wonderland I wanted to make the statement that digital games offer a magic, bizarre and wonderful world for the one who dares to enter. My dissertation is about different ways of storytelling and player engagement of video games, hyperfiction and interactive movies – latter being a genre that failed remarkably in its beginnings – just watch/play I’m Your Man!

Mela Kocher Lennstroem

Obviously you are engaged with a lot of different fields of inquiry, from game design to narratology to aesthetics. How did you end up deciding to study/make this kind of stuff? What path did you take to becoming a theorist-practitioner?

Besides frenetically playing Games & Watch as a child, I lead a pretty video game-free life until my roommate in college got me into Myst and Riven. I studied German literature at that point and was curious to test the traditional literary theory frameset on games – and luckily my professor was encouraging that. Writing a dissertation on the topic was a pretty natural step (since it was fun, challenging and exciting), and during that time I played lots of games and taught many game workshops for teachers and librarians. In the past years I’ve been getting more and more intrigued by ARGs and their vast potential for storytelling and blurring the lines between fiction and reality – so I was more than happy to have gotten a research grant to study, play and now even make ARGs in the USA for two years.

You recently appeared on a panel at the Digital Media and Learning conference entitled, “Storytellers, Storymakers and Learning by ARG.” As a part of the panel, you and your co-panelist, game designer Ken Eklund (World Without Oil), designed and ran a mini-ARG. What was the purpose of this game, and how did it work?

The conference theme was “Diversifying Participation”, and our team wanted to discuss ARGs & participatory learning. Since it would probably take an hour to explain what ARGs are (and people still wouldn’t get it!), it seemed more effective (and way more fun!) to have the audience engage in one first hand. The game plot went like this: One of the speakers (which ended up being me) got lost on campus and was not be able to show up for the session in time. While Ken explained this to the waiting conference attendees, he had a “stress-induced narcoleptic attack of 20 minutes” so the audience was completely left to themselves (while our other two team members, PJ Rusnak and Stephen Petrina, stayed incognito in the room for possible trouble shooting).

I wish I had been there. How many people ended up participating?

You should have! :) There were around 40 people in a quite tiny room so it was packed. It was amazing which strategies the participants came up with – they started a Facebook search, tried to sneak Ken’s phone from his sleeping hand, they tweeted me, tried to call and text me and physically went out on campus to search for me – unfortunately for them, in my fictional world my phone was malfunctioning and I could only send them pictures from my location via tweet to ping.fm. That constraint gave way to lots of creativity, though (as our PM team had hoped for), and the participants truly engaged in their storymaking efforts.

Screen capture of Twitter activity from the mini-ARG, Feb 19, 2010

What kind of feedback did you get? How was the notion of “learning by ARG” understood by the assembled educators?

There was definitely excitement in the room during the game (I watched the video later on). Most of them immediately understood that it was a game, and got into play mode. My favorite reaction was the (failed) gamejack attempt of one man who offered to hold his own speech while they were waiting for the scheduled speaker. Another person doubted that I was truly lost but suggested that I might just need a bit of comforting to take up my role as speaker. Lovely!

Even from this short ARG performance, people saw the great potential ARGs bear for learning – via features like creativity, collaboration, common goals, instant player feedback, immersion, role play, problem-solving… Most attendants thought of the ARG as an inspiring experience during an academic conference stuffed with formal one-to-many presentations.

The players eventually 'found' Mela and directed her back to the conference room.

On a more meta level, how do participatory game constructs like storymaking ARGs complicate or extend your thinking on narrative in digital games? Are the categories of “story” and “game” collapsing into one another, or do the traditional boundaries still hold?

ARGs have a potential for storytelling and storymaking that video games do not have, because of the possibility for real time interaction with the puppet masters and the actual chance for the player (or the more believable illusion!) to influence the course of the game. Narrative adventure video games are in comparison to that so limited and often incoherent due to their closed programming. Of course, more open structured video games like GTA offer completely different ways of experiencing and creating a story as well which also extends beyond the realm of the screen, but ARGs just take this idea much further. But new options bear new problems, and ARGs rely on the puppet masters’ coherent and instant feedback and their fair choices – and on the collaboration of the fellow players.

To your second question: I’d rather keep the concepts of “story” and “game” apart for analytical reasons, even though they tend to overlap [in the case of] ARGs: [that is,] I can play by being part of the story or by trying to crack a code. I would say that ARGs make story playable, but they are more story than game – but then this also depends on what the player is looking for. I myself love to ’stalk’ a character and get into the game through character interaction while others love to solve puzzles etc. – the more traditional game-aspects of an ARG.

What’s next for ARGs — and for your research in general?

I’m curious to see if ARGs will develop towards shorter, replayable and even payable game formats for wider audiences (and therefore blend with features of video games).

I myself got very intrigued by having experienced a challenging setting like the academic conference as a playground, and I hope to investigate further in that direction. I’m not a fan of serious games per se, but I do believe that “play” in general provides at its core some of the most valuable experiences for living and learning.

Thanks, Mela!

ARGs in institutions: museums, libraries, schools, and beyond

This resource contains examples of alternate reality games (ARGs) created for museums, libraries, schools, and government agencies. Also included are links to related resources, designers, observers, and policy-makers.

Know of something that should be listed here? Please get in touch with me via the comments and I will update the resource.

Museums

Games

  • Ghosts of a Chance (Smithsonian, 2008-2010) “We live in a world in which information and entertainment are customizable and immediately available. The Internet has become a larger part of everyday life, and so too have networked games, as people seek community, activity, a sense of achievement, and the chance to be part of something bigger . . . Museums can reach out to their audiences in more ways, using blogs, podcasts, video, and social media, but can they meaningfully engage visitors using games? In the fall of 2008, the Smithsonian American Art Museum hosted an Alternate Reality Game titled “Ghosts of a Chance.” We did this with three goals in mind: to broaden our audience, to do a bit of self-promotion, and, most importantly, to encourage discovery around our collections in a new, very interactive way. This paper will discuss the challenges that the museum faced, evaluate the successes and failures of each part of the game, and make recommendations for other museums interested in trying something similar.” (Archimuse)

  • More on Ghosts of a Chance: Georgina Goodlander’s paper, Nina Simon’s blog writeup, Anika Gupta’s piece on Smithsonian.com and goSmithsonian, Washington Post coverage, and NPR’s coverage.
  • PHEON (Multiple institutions, 2010) “For the past couple of months CityMystery has been building a new game, called PHEON. (A pheon is an ancient Greek arrowhead that has come to symbolize nimbleness of wit.) The purpose of our game is to celebrate (and reinforce) the American impulse to innovate. An economist friend of mine recently said that we have to “invent” our way out of our current mess. With PHEON I am promoting the idea that Americans understand innovation as a reoccurring utility of our democracy, one that matches our ability to adapt and succeed. PHEON’s subtext has to do with how ideas are passed along: how one person articulates a wish that another fulfills.” (“Sneak Preview of a New Museum Game“)
  • More on PHEON: see Pass on the PHEON!.
  • Many museums are also developing location-specific games and storytelling activities (like this or this) that don’t fit comfortably into the definition of an ARG. For some starting points for looking into these kinds of projects, see my locative media and ambient storytelling resources, and visit Nancy Proctor’s site, Museum Mobile.

Articles and discussions

  • Reshaping the art museum June 2009 article from ArtNews: “Confronted with urgent demographic realities, art-museum directors are drawing on game theory, interactive technology, and a host of other new strategies to help people feel welcome, engaged, and emotionally fulfilled.”
  • Smithsonian 2.0 “The two-day Smithsonian 2.0 gathering explores how to make SI collections, educational resources, and staff more accessible, engaging, and useful to younger generations (teenage through college students) who will largely experience them digitally. Over 30 creative people from the web and new media world will meet with 30 Smithsonian staff members to generate a vision of what a digital Smithsonian might be like in the years ahead.”

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Transmedia and Education: Three Essential Readings

Henry Jenkins’ New Media Literacies class at USC has been a treasure-trove of readings and insights. Three recent articles covered in class — read alongside Jenkins’ own book, Convergence Culture, and his excellent MacArthur-funded New Media Literacies white paper — struck me as particularly essential for anyone who’s looking to build an understanding of what multimodal communication is and how transmedia relates to education, literacy and literature. Most of these readings can be found in various corners of the Web, but I’ve also posted them here (along with a brief gloss and anecdote) for those who are interested. They are:

Ito’s succinct article makes the case most directly: “technologies of the imagination populate even the most mundane corners of our lives,” (34) and, contrary to the fears of those who worry that new media threatens to compartmentalize and disembody, the media mix is in practice productive of a culture that is “extroverted and hypersocial, sociality augmented by a dense set of technologies, signifiers, and systems of exchange.” (32) Buckingham and Sefton-Green hammer the point home: skeptics ought to consider examples like the “striking contrast between the high levels of [multimodal reading, sociality and production] activity that characterize the Pokemon phenomenon and the passivity that increasingly suffuses our children’s schooling” (30); and who could disagree that banning such phenomena from the school yard would do anything other than increase their “forbidden appeal” and “prevent schools from building on the enthusiasms children possess”? (31)

Of course, we have a long way to go before these kinds of messages can establish a critical mass in institutional and creative practice. Last week, I attended an experimental literature conference and found that while many of the assembled authors and scholars were keen on experimenting with new media, few if any of them were open to a wholesale redefinition of what literature is/can be. The works presented would inevitably employ language — spoken or written — as their core expressive resource (unsurprising for a conference largely run and constituted by poets and English professors), which they would then back up with video, flash animations, sound effects, etc. The effect of this was to reduce any image, sound, interactive or procedural elements present in the works to subordinate “supporting” status, lending credence to the commonly-expressed concern that the use of new media “in” literature amounts to little more than gimmickry. As Kress argues, we need to not only shift our definition of text to include “any instance of communication in any mode or in any combination of modes, whether recorded or not,” (48), but also our concept of the role design plays in both reading and writing. “Design does not ask, ‘what was done before, how, for whom, with what?” Kress writes. Rather, Design asks, “What is needed now, in this one situation, with this configuration of purposes, aims, audience, and with these resources, and given my interests in this situation?” (49)

The easy analogy here is that of the early cinema, wherein fiction films were shot using the conventions of the proscenium drawn from the theatre. It was only after a thorough interrogation of the affordances of the camera and the film splicer that the cinema began to reveal itself as a space for artistic endeavor. That is, once filmmakers let go of the notion that the cinema should attempt to create the same experiences as earlier forms of narrative art, they found themselves liberated to discover the unique way of “speaking” that film affords. What complicates this analogy is that we now confront a dynamic multiplicity of media modes. Like Gardner’s multiply-intelligent children, not all authors are going to be able to work well across all media. But in an age of expanding definitions of words like “text,” “author,” and “reading,” creators of literature, as educators and thought leaders, need to ask themselves the questions Kress’s personified Design asks: “What is needed now…with these resources, and given my interests?” Intelligently using new media is not about adding bells and whistles or referencing the Web — rather, it’s about selecting the right mode (or modes) to express what it is you have to say.

Designing Education

What the heck is going on in grade school these days? I for one have no clue. I make a point of staying away from kids. They’re loud, overly inquisitive and slightly smelly. If I’m not related to a given child, I’d rather they just move along and harass someone else. That said, I’m deeply concerned about what happens to kids. I worry about education. I want Fruit Loops and Frosted Flakes off the shelves at Safeway, I want Dostoyevsky and Tolstoy in the Grade 10 curriculum, and I want everyone to please admit that the Scopes trial settled the issue of teaching evolution once and for all. This country — or, more broadly, this style of civilization — means a lot to me. For all its problems, humanist — dare I say social — democracy is a lot better than the other systems human beings have come up with in their short history. I like the idea that we’re supposed to get to say what we want to say and do what we want to do so long as it doesn’t hurt anyone else. I like even more that we take care of one another and work together on collective endeavors grand and mundane. Maybe it’s because I like to think that humans are fundamentally decent social beings — or maybe it’s just because I worry about what’s going to happen to me when I’m old. Either way, kids are the lynchpin. At some point, I’m going to get tired and senile and need some help. In the meantime, I’m going to try to make things better — for me, for my elders and for the new people coming up. I think it’s in our genes to want to care for one another this way. But that’s another discussion. What’s at issue here relates more to another belief of mine, namely that crime and mendacity and betrayal and intolerance are all basically consequences of the confusion and ignorance and lack of perspective that come about as a result of bad design decisions.

Yes, I just said that all the evils of the world are there because of poorly thought-out design. And no, I’m not going to qualify that statement with any provisos or back away from it in any way. For the purposes of this text, you, the reader, can assume that I am going to keep on believing this theory until I’m old and grey and in need of the medical care that I’m probably not going to have. So settle in and run with it for a while — at the very least, it’ll be worth a chin-stroking laugh or two.

The theory goes like this. Back in the day when it was just caves and fires and ochre painting, “design” as we know it had a fairly minimal impact on human life in comparison to, say, saber-toothed tigers, disease, interspecies warfare, starvation and so on. At some point in our very early pre-human history, we made a kind of genetic deal with the devil. This deal stipulated that, in exchange for mitigating and even overcoming the often nightmarish realities of animal life on planet Earth via the use of larger forebrains and therefore tools and language and metaphor, we would spend eternity struggling (recursively(ad(infinitum))) to understand and mitigate and overcome the emergent anti-human effects of our technic. What we didn’t and couldn’t know was that we were and are and always will be a part of something larger, and that the dividends of peace and longevity and health we stood to receive as a result of our embrace of toolmaking were a pittance in comparison to the benefit that would be reaped by the tools themselves — namely that they came to exist at all and that their existence demanded the coming-into-being of more tools. Such is the material destiny of the Earth, the machine and the post-human. This is our inheritance. And this is why design is so fucking important.

Our present situation is one wherein we find ourselves at the mercy of a very different kind of ecosystem than the one our forebearers encountered when they descended from the trees. For us — and I mean all of us, not just the West or the “technologically-advanced” countries — we must contend daily with the emergent properties of a designed world that are just as mercurial and deadly as the snakes, tigers and disease of the “natural” world. That is: good intentions pave the road to hell. The aggregate of our design decisions, imbricated in time and space, give rise to all manner of horrors. Consider the canonical example of Christianity (and yes, I know this is broad and something of a cliche, but still–). Here we find many different designed systems interacting and overlapping: words designed to heal and comfort get repurposed and redesigned by agents who believe that order and control are moral imperatives in a world teetering on the brink of chaos; this repurposing — both by design and by accident — divides and antagonizes people along ethnic and religious lines; conflicts emerge wherein both sides feel they have the moral upper hand; and who among us well-meaning beings wants to stop a fight if we know that what we’re fighting for is right? Out of this feedback loop emerges Crusades and Inquisitions and witch-burnings and the vast unknowable network of misunderstandings and confusions and inherited ignorances that, within our increasingly elaborate design ecosystem, serve as the powder for so many terrible explosions.

Which brings me back to grade school. In places where such things exist, we must confront once again the fundamental paradox of our existence as designers: designing a curriculum enables us to mitigate some of the problems we face today (most of which are the result of earlier design decisions) by equipping children with the conceptual and practical tools they will need to prosper in the world; but in so doing, we will by necessity be creating new design artifacts — texts, systems of thought, problem-solving approaches, visions of the world — which will inevitably interact with the larger design ecosystem in unpredictable ways and will (equally inevitably) produce fresh and potentially more complex problem sets which we will have to face tomorrow. Hence my earlier suggestion that technology is a deal with the devil and we are already in Hell. So, what to do?

Let it be said that I’m not capable of answering this question. I don’t think anybody is. It’s turtles all the way down. But it’s not in my (or our) nature to give up (and what the hell else are we supposed to do anyway in our short time on this isolated outpost?). What I’m good at is reframing things, creating thought-games and provoking inquiry. I’ve tried to do that here, but it feels like it’s not enough. I need something tangible — a lattice on which to hang all this optimistic pessimism. So I’ve gone to the source. I’ve spoken to a child.

Lila is a bright, thoughtful and frankly hilarious 8 year-old attending Pine Hill Public School in Toronto. She’s also my god-daughter, meaning I think she’s none other than the smartest, coolest and most fun kid in the world. That said, I think Lila is having a pretty normal childhood for a girl of her generation, class and geographic provenance. Pine Hill is a typical urban school. Class size is large — Lila says that there are 32 kids in her class, making for a chaotic and often impersonal learning environment — and funding is limited. When I spoke to Lila last week, I asked her questions about her learning experiences at school and at home. I wanted to know about how different types of design affected her growth as a human being. In particular, I wanted to understand the roles various forms of technology — computers, interactive media, social media, and so on — play in her childhood. What I learned surprised me. I expected to find that Lila was living in a very different educational environment than the one I lived in during my childhood; instead, I discovered a few strong differences and a whole lot of similarities. After conducting the interview, I walked away realizing that school systems — even ones in supposedly progressive districts like Pine Hill — are still only at the very beginning of redesigning the way they work to adjust to the changes in the broader communications and technology landscape. This reinforces the sense of risk/opportunity that pervades much of the literature on this subject, and raises a few key questions that I will try to articulate below.

“This is great, I can get out of homework,” was Lila’s initial response when I asked her if she would be willing to answer a few questions about computers, school and games (ironically, the discussion we were about to have was homework, my homework, for Henry Jenkins’ New Media Literacies graduate seminar at USC). The first question I asked was about how Lila uses computers at school. Here’s what she said:

The only time we use computers at school is when we have computer class. We learn about how computers are made and, like, how to work computers, like how to turn it on and off, searching, Google. But it’s a bit boring because I already know about all this stuff. So we’ve haven’t really learned anything new. But we get to play games sometimes, so it’s okay.

I suppose it’s only natural that schools continue in their 80s/90s mentality of separate-classes-for-separate-activities, but the notion that schools still have a cordoned-off “Computers” class came as a surprise. As I hinted above, Lila is a smart kid; I would not hesistate to describe her as an exceptionally fast learner. That said, she is far from privileged. She is the only child of a working single parent, and while she definitely gets enough to eat and is lucky enough to have access to a computer at home, she can hardly be described as well-off. In the context of Pine Hill, a relatively affluent area in Toronto, Lila’s mom is probably at the low end of the scale when it comes to wages. If basic computer usage is a familiar thing to someone like Lila, I would suggest that most of the other kids in her class have also been exposed to the fundamentals of Google searching and turning computers on and off. Indeed, when I asked Lila about this, she said “everyone knows how to use computers already.”

Of course, Lila’s got a great mom who spends a lot of time with her teaching her how to safely and wisely use the Web. Not all kids are so lucky. After a certain point, money doesn’t matter nearly as much as attention. At home, Lila’s experience of computers is much different than what she encounters at school. Under the supervision of her mother, Lila gets to do a variety of things online. “I mostly like to go on Google Images and search for panda bears and cute little dogs,” she told me. “Sometimes if a friend comes over we’ll play a two-player game or look at things on YouTube.” But, significantly, it’s not a free-for-all: “My mom won’t let me use Facebook, and I can only watch things on YouTube if they’re appropriate.” (I asked her what she meant by appropriate and she said that “my mom decides what that is.”) Clearly (and much to my satisfaction as a godfather), this is an engaged parent. Equally as clearly, the contrast between Lila’s at-home computer usage and her school Computers class couldn’t be stronger.

When I asked Lila what she thought computers were good for, I got another little nugget of insight into how she navigates between the design ecologies of home and school. While the school-based “official” computer learning is very focused on the computers themselves — teaching technical info like how they work and how to make them do things — there is a lot of lateral/unintentionally-situated computer use in Lila’s educational experience that occurs as a kind of emergent property of her traditional classes.

[Computers] are really good for homework — if you have to search something, it’s like, easy. It tells you lots of facts and clues. Like my mom showed me Wikipedia and I once had this assignment about Ireland, and it gave me all these facts about potatoes and everything… And then I found some videos on YouTube to show. [The Web] really made it easy to do the research and make my project.

Here we see an exemplar of one of the reasons why many educators espouse an inter-/trans-/post-disciplinary approach to integrating new media literacies into school curricula. Lila’s Social Studies class assignment — to research a country and prepare a short report and poster about that country for presentation to the class — was something she probably could have done with books found in her school library. But because her mother had taken the time to show her how to use, reshape and, as it happens, critically evaluate the materials on Wikipedia, Lila developed/expanded some essential new media literacies such as appropriation (meaningfully sampling and remixing media content), transmedia navigation (the ability to follow stories/information across multiple modalities), and distributed cognition (the ability to interact meaningfully with tools that expand mental capacities).

In Lila’s case, we see a student who is developing new media literacies through the tandem (but not necessarily coordinated) efforts of a school on the one hand and a parent on the other. Sadly, without the solid parenting that Lila is receiving, these literacies would probably remain underdeveloped, at least as far as the Third Grade goes. At Pine Hill, computers are kept off to the side rather than integrated in a meaningful way as augmentations to existing learning structures. Funding shortfalls, the limitations of teacher expertise and Toronto’s massive population probably account for a lot of this structural problem. As Lila herself notes:

Usually i’m frustrated because there’s like 32 kids in my class. I do better doing my work at home because my mom helps me a lot and we have the computer. It’s hard to get the teacher’s attention. I never get time to finish my work at school. I think i actually would get more work done even if my mom didn’t help me. There are less distractions, less talking, I can actually concentrate. It’s mental at school…

That said, I have trouble laying all the blame here on the economic and political situation within which Pine Hill Public School operates. I asked Lila if her teachers in Social Studies or Math or Science ever used computers in class. She said that they did, but that it was mostly to “show us stuff, like diagrams and things,” much like teachers in my day would use an overhead projector. She told me that there was little to no advice given about how to, say, use the Web to learn more about a science issue or evaluate the veracity of a Wikipedia article about Ireland. The fact that, according to Lila, not very much of that kind of teaching was taking place, suggests to me a fundamental design flaw in the curriculum at Pine Hill — and perhaps in the Greater Toronto Area school system in general. Not every kid has a generous and capable mom like Lila does. A system that relies on such moms does so at its own peril.

Without an integrated approach to new media literacies, schools run the risk of exacerbating the “participation gap” as certain students excel thanks to their parents’ efforts to instill in them basic new media literacies, while others fall behind and aside, lacking the tools necessary to function in the present technological ecosystem. Once again, we find ourselves in a moment where the design decisions of today contain the potential for both enormous reward and extreme danger. We must accept that whatever solutions we find to the perplexing and paradoxical question of “what to do?”, particular with regard to education, will always be provisional. But perhaps this is the larger message implicit in these kinds of discussions — ours is a dynamic self-reflexive world, one wherein everything we create in turn creates us; to resist this dynamism is to deny a fundamental fact of our existence — and denial, as we have seen time and again, has no place in the teaching of the young.

School For Corn

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The school is set up on ten tabletops with different learning stations, with the corn seeds learning through audio speakers as well as by the use of electric fans behind a row of books, which carry knowledge through the air like pollen. In this program of accelerated learning, the individual kernel is not expected to learn everything — the species as a whole will absorb the knowledge collectively. The variety of knowledge bases is hoped to heighten the corn’s wisdom, especially since despite their enormous acquisition of knowledge, humans have acquired so little wisdom. (WMMNA)