ON MEDIA LITERACY

 

WHAT WE CAN LEARN FROM FAKE NEWS?

Intelligence agencies, politicians and businesses are using psychological profiling to publish highly targeted messages on social media with the aim of swaying public opinion and persuading people to adopt their views. Often, these messages are not based in fact but designed to provoke emotional responses that serve the agenda of the poster.

The fact that people are susceptible to these kinds of messages shows how easily we can be persuaded of half truths and falsehoods. This has been successfully exploited by the advertising industry for many years but never to such dramatic effect as we have seen over the last two years.

Photos and videos are often used to assert validity but widespread access to image editing technology means that it will become increasingly harder to tell whether they have been altered. We live in a world with abundant opinions and information but limited means of judging their quality.

A recent study on information literacy revealed that the majority of school children cannot tell the difference between a news item and an advertisement. Another asserts that false messages are more likely to be believed than true ones.

But how can we maintain democratic principles if we are unable to make informed decisions? One way to address the problem is by teaching media literacy in schools. Three years ago, I was interviewed on that topic. I am reposting an abridged English translation below. The original German text can be found here.

Why should we still be learning when there is the internet?

The Internet offers knowledge for everyone. A massive library of content with isles and isles of shelves that multiply every second. The problem is no longer availability, but the sheer abundance of information. It is therefore less about finding it but more about learning to evaluate the quality of what there is. Therein lie both possibilities and problems and media literacy should be considered in this context. However, I would like to concretise this term, because studies such as ICILS 2013 [International Computer and Information Literacy Study, editor’s note] show that students must, above all, gain information literacy, which requires like many areas of life reflecting on the own real and digital environment.

So, should we remove textbooks from the classrooms?

One thing is certain: Despite this development, the textbook is still in the classroom is still the undisputed number one source of information. Textbooks are products of professional editorial work and the tasks are adapted to these materials. Once printed however, they can no longer be extended or updated and because the world continues to move, students often feel disconnected from the content.

This often causes young people to feel misunderstood not taken seriously by educational institutions. “What do I have to learn that for,” they often ask. This does not mean that textbooks are obsolete – on the contrary. There is much to be said for the haptic experience of the book. The printed word is not only a valuable cultural asset but they are also reliable. They still work, if the power fails or the computer doesn’t cooperate. I see digital content as a supplement not a substitute to analogue content.

From your point of view, what does this mean for teaching?

There is often a gap between school and the reality of life. The more technology permeates society, the greater this gap becomes. Our task is to continuously assess the objects and methods of learning; to test and compare them with the reality our children are exposed to. The extensive factual knowledge that pupils commit to short-term memory year after year like sizes, names, dates for example can be recalled in seconds, and often more reliably with the use of technology. But the subject of learning should not be limited to the use of computers, but must include the connection between the individual pieces of information. The context is key to understanding the meaning and evaluating the quality of information.

Learning with media and in context – how does it work?

I believe that children – and incidentally also adults – learn best when learning is embedded in an exciting context. In other words, we learn best when we are interested. An original story is a highly motivating context. People love good stories. Why should we not use this passion that is deeply rooted in us? There are many digital offerings that teach children how to handle media correctly; many of which are also fun to use but probably because work at the computer is still considered an exception and therefore partly is not perceived as ‘real’ teaching. Offers that use media in a considered and targeted way are still few and far in between. If children have spend an entire lesson watching a film or using software and at the end can’t tell what it was all about, then what was the purpose of the exercise? There is a lack of products that take content seriously: this is the starting point for the idea of the real world game and its first incarnation “Professor S.”.

I believe that story telling can be a powerful driver of our intellectual development because by creating stories we not only learn to recognise a good yarn but the research that goes into spinning our own helps us to develop critical thinking. One of the most useful skills I learned during my education is the ability to judge the quality of information. Like all things worth having, it doesn’t come over night and requires exercise which is why the sooner we start to teach these skills the better our world will be for all of us.

 

 

A DAY BY THE SEA

Last week, we were invited by UKIE to present Ashta at the Games Funding Conference in Liverpool. It was a fantastic opportunity to meet people developing, financing and distributing games in the UK and also a wonderful chance to introduce the youngest member of our team to a vital aspect of game development: presenting ideas.

Carmen joined LUDINC for a work experience as part of her International Baccalaureate. She wanted to spend time with us because she especially loves working with children. I was happy to have Carmen with me not just because she did a fantastic job but also because I value her curiosity and unique point of view.

Most new titles that are released are a testament to the fact that a large number of games are still made for male consumers. Our industry needs fresh perspectives and diversity to continue to thrive which is why I would love to see more young women in games. If you are currently considering a career in games I would like to hear from you.

“Ashta”

It is a great joy for me to announce today that after the success of Professor S. and with the kind support of the Medienboard Berlin Brandenburg and the German Computer Game Award LudInc is now developing a new game for kids between the ages of 6 and 12 called:

 

The story follows the adventures of a little octopus girl called Ashta. She was born in a river at the northernmost tip of Indonesia on a little island called Pulo Aceh together with 51 little brothers and sisters. Ashta likes to swim close to the beach and listen and dance to the music the humans are playing. She loves to sit in the coral trees and watch the world go by. Unlike her fellow octopi, she is very sociable and she has a lot of friends in the lagoon. She loves to scare her friends by hiding and imitating different animals. Her father Bob is Ashta’s favourite relative and mentor. Bob enjoys the little pleasures in life. Ashta’s mum calls him lazy but Ashta loves his easy going attitude. Bob often takes Ashta to the beach to collect shells and candy the humans leave behind.

First character design draft of “Ashta”, the little octopus by Agnieszka Michalska.

One day, a group of sharks are feeding in the bay. Ashta barely manages to escape and gets separated from her family. Followed by the sharks she swims into the open sea. Having lost her way and with the sharks still in pursuit she swims farther into the ocean until she reaches the east coast of India. There, she makes friends with a young bull from Mexico and together they embark on an adventurous journey to reunite “Ashta” with her family.

The idea came to me last summer after I had spent almost every day over a six months period practising the physical exercises of the Ashtanga Yoga primary series. The practise continues to improve my life in many ways and I wish I would have discovered it sooner. Yoga not only promotes physical health and fitness but also emotional well-being, concentration and learning abilities. I believe I would have greatly benefited from being introduced to Yoga while I was still at school. However, when I was a kid, Yoga was virtually unheard of. That is why I am grateful for the opportunity to now introduce a younger audience to the practice using the tools I am most familiar with: storytelling, gaming and music.    

A big thank you goes out to the Medienboard Berlin Brandenburg who continue to believe in us. A special thank you also goes to the German Computer Game Award (DCP) and the Goethe Institute who invited me to Sao Paulo last year for a wonderful opportunity to meet with and learn more about the Brazilian games industry. During my stay in Sao Paulo I also met our Brazilian co-producer Paula Cosenza. Paula’s company, Bossanova Films has recently opened an animation department which produces high quality children’s content and I am very much looking forward to working with her. “Ashta” will be our first international co-production and I am very excited about that.

The people that make “Ashta” possible from left to right: Paula Cosenza (Bossanova Films), Roshanak Behesht Nedjad (LudInc), Jan von Meppen, Ina Göring (Medienboard Berlin Brandenburg), Anja Riedeberger (Goethe Institut Sao Paulo). During the Berlin Film Festival in February we all met at the Brazilian embassy.

Our gratitude also goes to the Arnold Zweig School in Berlin, where we already had an opportunity to try the story and exercise sequence with a third grade class. There will be other opportunities to test the game mechanics later this month but even at this early stage of development, “Ashta” is a big hit with the students and teachers.  

We still have a lot of work ahead of us and you can also help by sharing your thoughts: Do you practise Yoga? Do you think Yoga would be beneficial for your kids? Would you spend money on an app that teaches your kids yoga? Do you think an animated story is a useful teaching tool?

Remembering The Work Bench

Jan von Meppen has rolled up his sleeves and is typing away on his laptop. Warm air mixed with street noise is coming in through the open window. Jan doesn’t seem to notice. He is in the zone. It’s 11.45 on a Friday. The weekend is almost here. Not that a weekend would mean much to Jan anymore.

It’s been a busy week. LudInc has launched a crowdfunding campaign to ensure funds for further development of Professor S., LudInc’s first interactive learning adventure and Jan’s brainchild.

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Over the past six years, he has watched his idea grow from a seed into a thing. Jan is a modern-day Gepetto. He is helping his creation on its legs and watching it take its first steps.

The LudInc offices in Berlin-Wedding are bright and sunny on a day like this, spacious rooms with a warm feel and wooden herringbone floors. The shelves are filled with remnants from the past, bits and bobs from over the years. Musical instruments, books of sketches and ideas, early technical models. They showcase Jan’s path and the long way his initial idea has come. Between strategy meetings with his team and an increasing number of press appointments, Jan rarely gets to sit back and take it all in these days. New storylines and episode scripts are being developed so that Professor S. will soon be able to played by kids all over the world, at home and on the go.

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Jan remembers the early days of Professor S. He started exploring the possibilities of story-infused learning models for the classroom back in 2009. At first, he was on his own but with resilience, patience and a bit of luck, the pieces started falling into place.

This is the story of Jan and Professor S., a diary of our work at LudInc over the past six years. We will meet early contributors and loyal companions from along the way, hear funny anecdotes from what it means to bring together a team of maverick thinkers and visionary lunatics and uncover some of the secrets around Professor S. Where did the Time Portal come from? Was Professor S. initially Japanese? Can skeletons talk?

David Lütke, Editor