4 Matching Annotations
  1. Jul 2025
    1. Digitale Spiele im Geschichtsunterricht als ein Medium zwischen Historizität, Histotainment, Authentizität und Immersion präsentierte online zugeschaltet MATHIAS HERRMANN (Dresden). Er skizzierte die Entwicklung digitaler Spiele seit den 1970er-Jahren hin zu einem millionenschweren Massenmedium – ein Indiz für das breite öffentliche Interesse an Geschichte. Der Unterhaltungswert steht dabei oft über historischer Genauigkeit, doch gerade darin liegt auch ein didaktisches Potenzial: Historisierende Spiele sind Teil der Geschichtskultur, spiegeln populäre Vergangenheitsvorstellungen und können – kritisch analysiert – sogar als Quellen genutzt werden, um aktuelle Narrative und ideologische Deutungen sichtbar zu machen. Angesichts ihrer gezielten Nutzung durch rechtsideologische Kreise forderte Herrmann eine reflektierte Auseinandersetzung mit dem Medium. Richtig eingesetzt, etwa im Unterricht und begleitet durch geeignetes Material, könnten Spiele sowohl Faktenwissen als auch Medienkompetenz fördern – vorausgesetzt, sie werden als ernstzunehmende Bildungsmedien anerkannt.

      Well, yes history in games is rarely accurate and this also okay. The main purpose is entertainment. We need a culture that recognizes that a game can still teach some things about history (e.g. how does persecution work). And also show perspectives about history. ALSO: Its not a question if games are educational, people will always use them to passively or actively educate themself about history.

  2. Jun 2022
    1. Maxine Greene for example, begins by writing that “We are convinced that the movement towards educational technology is irreversible and that our obligation as educators is to learn how to deal with it,” but then she turns that resignation into resistance by adding, “how, if you like, to live with it as fully conscious human beings working to enable other human beings to become conscious, to become responsible, to learn.”

      If it's true that the movement toward technology is inevitable, how might we deal with it?

      Compare this with the solution(s) that nomadic hunter-gatherers had to face when changing from a lifestyle built on movement to one of settling down to a life of agriculture. Instead of attaching their knowledge and memories to their landscape as before, they built structures (like Stonehenge) to form these functions.

      Part of moving forward may involve moving back historically to better understand these ideas and methods and regaining them so that we might then reattach them to a digital substrate. How can we leverage the modalities of the digital for art, song, dance, music, and even the voice into digital spaces (if we must?). All digital or only digital certainly isn't the encompassing answer, but if we're going to do it, why not leverage the ability to do this?

      As an example, Hypothes.is allows for annotating text to insert photos, emoji, audio (for music and voice), and even video. Videos might include dance and movement related cues that students might recreate physically. These could all be parts of creating digital songlines through digital spaces that students can more easily retrace to store their learnings for easier recall and to build upon in the future.

  3. Aug 2020
  4. Mar 2019
    1. This link is for the Association of Information Science and Technology. While many of the resources are available only to those who are association members, there are a great many resources to be found via this site. Among the items available are their newsletter and their journal articles. As the title suggests, there is a technology focus, and also a focus on scientific findings that can guide instructional designers in the presentation and display of visual and textual information, often but not exclusively online. Instructional designers are specifically addressed via the content of this site. A student membership is available. Rating 5/5