Feb 132022
 

Um texto interessante, e fica aqui uma cópia porque tem acesso restrito.. enfim:

“Why have students—many of whom are video-game players—so disliked the virtual learning environments of their colleges and universities? JT Torres asks and suggests some answers.
By JT Torres
December 8, 2021

The pandemic forced many of us to move into hybrid, technology-mediated teaching, and as we continue our voyage into such spaces, one thing that we in higher ed should remember is that many students have long been quite good at navigating hybrid environments. Really, it’s about time formal education finally catches up.
In his landmark 2003 book What Video Games Have to Teach Us About Learning and Literacy James Paul Gee detailed the ways video games do a better job of facilitating literacy learning than education institutions. Almost 20 years later, his analysis has become incredibly relevant. It would seem that the move toward more hybrid learning environments should have captivated a student demographic primed by video games. But instead, students—many of whom are video-game players—have often hated the virtual learning environments of their universities. Somewhat ironically, the video-game industry is experiencing a resurgence. Prophetically, Gee wrote, “The theories of learning one would infer from looking at schools today comport very poorly with the theory of learning in good video games.”
Now is the perfect time to revisit the principles of why video games are so good at teaching and learning in ways most virtual classes don’t seem to be. Below is a summary of some of those principles.
Storying content. Gee discussed meaning as being situated in specific contexts. Knowledge, in other words, only becomes meaningful in certain situations. For instance, I might know the nutritional content of eggs, but that doesn’t mean I know how to scramble them or even prepare a nutritious breakfast. In video games, the concepts and skills a player learns have specific uses in particular moments. Those situated meanings require players to recognize the patterns that indicate how to best apply their newly acquired knowledge. Typically, situated meanings are created via stories. Within those stories, players assume an identity that motivates them to make use of whatever the video game is teaching them.
Applying newly learned skills and knowledge. Video games make frequent use of interest-based interaction with knowledge, promoting self-directed mastery. Very rarely do video games ask players to passively listen to and absorb information—instead, they deliver information in usable chunks. At each stage, players practice applying their new learning, first to familiar situations and progressively to novel situations, facilitating transfer.
Providing just-in-time feedback. Players typically receive information at the time they need it. Say a player in a particular game is threatened by an oncoming storm. Right at that moment, the game teaches the player how to construct shelter. Other video games might rely on social interactions, often facilitated through popular apps like Discord or GameFAQs. This approach encourages collaboration, allowing players to actively seek information from others when they require it most.
Encouraging risk. Of course, the consequences of failing in a video game are much lower than failing an expensive college class that could perhaps even influence one’s career. The low-stakes challenges of video games empower players to try new strategies and discover novel approaches to problem solving.
Rewarding failure. When players take risks and fail, they still learn. On a metacognitive level, players realize a gap in ability or knowledge that might motivate them to persist. On a pragmatic level, they learn not only what doesn’t work but also what might work with modification, the foundation of self-regulation.
These principles remind educators that the virtual wheel does not need to be reinvented. We don’t have to be tech savants to understand what grabs students’ attention and inspires them. We don’t even have to use video games or gamify classrooms. Below are some practical translations of the above principles that can work in our classrooms right now, even without Zoom wizardry.
Frame content with culturally relevant themes. If meaning is situated in specific contexts, then one way we can engage students is to consider the stories that matter to them. We can do this by activating prior knowledge, such as personal experience, or asking students to share stories of their potential relationships with the course content. For example, an economics professor introducing the topic of monopolies might ask students to consider how they would shop for items if they wanted to boycott Amazon. Good video games invite the players to also shape the story. Zoom can encourage collaborative story shaping (i.e., learning) through hybrid or online groups. The economics professor could set the narrative stage: let’s boycott Amazon. In groups, students could design a plan for only consuming from markets not influenced by Amazon. As they realize the difficulty of effectively doing so, the professor can explicitly illustrate the principles of monopolies.
Create moments for students to use newly learned skills and knowledge. Active learning has long been a trend, but it isn’t always understood. To be clear, active learning should not replace direct instruction, which, of course, is effective. Certainly, video games have moments when the action pauses and information is directly communicated to the player. But it’s combining the two types of learning together—explicit instruction alongside opportunities for application—that create the strongest learning environments. Experience does not need to be taken literally. Fiction, a simulation of reality, can also be an experience. By broadening the concept of “experience,” virtual environments can expand notions of active learning. For instance, students might role-play imagined experiences. Simulating or role-playing experiences immerse students in the task by motivating them to learn the means to succeed at the task.
Provide brief checkpoints. Students usually have to complete an entire assignment before receiving any kind of formal feedback. If assignments are broken down into tasks, the way they are in video games’ War and Peace–length epic quests, then instructors can make quick observations of what students are doing, such as through polls. Based on what the instructor sees, they can adapt subsequent class activities. This not only helps educate the students, but it also saves time for the instructor, who then doesn’t have to provide detailed feedback on each student’s final major assignment. Assessment checkpoints can also be social, potentially enhancing student agency. Just as players flock to Discord for help, students could engage each other in some social space. These spaces can be structured—a Padlet with guidelines and examples for students—or open-ended hangouts. Peer review can both save time and be more dynamic in virtual environments.
Require reflection. When students begin to take social control over assessment, they become more reflective about their own learning. Reflection doesn’t always happen on its own, however. It must be structured as part of the experience. The low-stakes and learn-from-failure approach to video games is one way to encourage such reflection by offering multiple attempts accompanied by instructor or peer feedback. One suggestion for translating that approach to classrooms comes from the Stanford Life Design Lab. In it, students generate hypotheses about newly encountered knowledge, and then they test their hypotheses in the attempt to rethink problems and solutions.
Stay active. There are many ways to incorporate active discovery, but these strategies must again be guided by explicit instruction about how to reflect on and learn from the risks and failures. The flipped classroom is a good model for pairing explicit instruction with virtual experience. Instructors can deliver much of the direct instruction via video or the college’s LMS. Then students can spend the freed-up time in hybrid breakout groups trying to solve a relevant problem.
Technology itself cannot improve or damage learning. It’s our use of it that matters. There are indeed bad video games, and by bad, I mean games that people did not play. There are also many good ones, and what we need are good course designs so that people want to play and learn from them, too.

+infos(fonte): LINK

Jan 072022
 

Encontrei este livro: “Why Video Games are Good for Your Soul” de James Paul Gee que parece ser interessante de se ler. Tentei obter informações acerca do índice do livro mas sem sucesso, contudo o o google books disponibiliza esta parte e que é a introdução:
“Good video games are good for your soul. Now there’s a statement that begs for some qualifications!

First, what’s a video game? What I mean are the sorts of commercial games people play on computers and game platforms like the Playstation 2, the GameCube, the Xbox, and the handheld Game Boy. I mean action, adventure, shooter, strategy, sports, and role-playing games. I mean games like Castlevania, Half-Life, Deus Ex, Metal Gear Solid, Max Payne, Return to Castle Wolfenstein, Tony Hawk Underground, Rise of Nations, Civilization, Age of Mythology, The Elder Scrolls III: Morrowind, Allied Assault, Call of Duty, Tales of Symphonia, 1C0, Pikmin, Zelda: The Wind Waker, and Ninja Gaiden to name some random good games off the top of my head. There are many others.

Second, what does “good for you” mean? Next to nothing is good or bad for you in and of itself and all by itself. It all depends on how it is used and the context in which it is used. Is television good or bad for children? Neither and both. It’s good if people around them are getting them to think and talk about what they are watching, bad when they sit there alone watching passively being baby-sat by the tube (Greenfield 1984). The same is true of books. Reading reflectively, asking yourself questions, and engaging in a dialogue with others, is good for your head. Believing everything you read uncritically is bad for you and for the rest of us, as well, since you may well become a danger to the world.

So good video games are good for your soul when you play them with thought, reflection, and engagement with the world around you. They are good if, as a player, you begin to think and act like a game designer While you play the game, something good games encourage. After all, players co-author games by playing them, since if the player doesn’t interact with the game and make choices about what will happen, nothing will happen. Each page of a book and each scene in a move is predetermined before you see it and is the same for every reader. Many acts and their order in a video game, however, are open to player choice and different for different players.

So, then, what’s a good, as opposed to a bad, Video game? It would take a book longer than this one to explicate what makes good games good and gamers don’t know how to put it all into words. You have to play the games. So, then, what’s a good, as opposed to a bad, video game? It would take a book longer than this one to explicate what makes good games good and gamers don’t know how to put it all into words. You have to play the games.
Good games are the ones gamers come to see as “gaming goodness”, “fair”, and sometimes even “deep”—all terms of gaming art. Good games are the games that lots of gamers come to agree are good, though they rarely think any one game is perfect.

Some games, like [CO or American McGee’s Alice, get discovered late and become underground classics, while others, like Half-Life or Zelda: The Wind Waker, nearly everyone agrees from the outset are good. Then there are
games like Anachronox, which didn’t sell well and received some rather tepid reviews, but is, I’m telling you, a darn good game—you see I have my own opinions about these matters. In fact, different gamers like and dislike different games and different types of games.

OK, then, what for heaven’s sake is your soul? And what could playing Video games have to do with it? Once, years ago, I had the special experience of going back into time and living for several years in the Middle Ages. The
details need not detain us—you’ll just have to trust me on this—but, believe me, that experience taught me what souls meant in one context. That is not what I mean here.

Too often in the world today people from all sorts of religions believe that those who don’t share their beliefs will go to some sort of hell and, worse, they are sometimes willing to make life hell for others here and now to help them, whether they like it or not, avoid going to hell. Or, perhaps, they just make life hell for others to ensure that they themselves will go to heaven, having displayed their merit by removing a suitable number of infidels. While I do retain a certain nostalgia for the Middle Ages, that nostalgia plays no role in this book.

So what could I mean by “soul?” I mean What the poet Emily Dickinson meant (Dickinson 1924):
My life closed twice before its close —
It yet remains to see
If Immortality unveil
A third event to me

So huge, so hopeless to conceive
As these that twice befell.
Parting is all we know of heaven,
And all we need of hell.

What Emily Dickinson is talking about here is not the immortality, heaven, and hell of traditional religion (Dickinson was skeptical of traditional religion at a time and place where that was socially dangerous, especially for women). She is talking about a fact that every human being knows and feels, a fact that defines what it means to be human. This fact is that we each have two parts. One of these parts is our body. If you truly traumatize the body, it will die and it can die but once, which is, indeed, a mercy.

But there is another part of us, a part to which different religions and cultures through the ages have given different names. This part—let’s just say it is our “soul”—can be traumatized over and over again and not die, just as in the case of the two emotionally damaging events to which Emily Dickinson alludes. No mercy here, as we all very well know, unless you have been very fortunate, indeed, in your life. The rest of us have, if old enough, already died more than once. This part—this soul—is immortal in the sense that, until the body goes, it can go on suffering grievously over and over again, suffering many deaths, unlike the body which can die but once.

But it is because we have this soul part that events and other people can take on such a charge for human beings. It is because we have this soul part that events and other people can give us what we know of heaven here on earth. It is only because losing a loved one, either by death or parting, as Dickinson is alluding to, can give rise to such pain that loving others can rise to such joy. You can’t really have the one without the other. Having the charge, the spark, is heaven and losing it is hell. But you can’t have it if there is no chance of losing it, that’s the way of life for us humans. That’s why we “need” hell. There is no heaven without hell, no positive charges without risk of negative ones.

Emily Dickinson very well knew, then, that it matters hugely whether life here and now for people is heaven or hell. It matters hugely whether we help make life heaven or hell for others, whether we murder or rejoice their other parts, their souls, that part of them that cannot die as long as they have their bodies. It matters. We can be complicit with murder without having killed anyone. The world can murder us several times over long before it takes our bodies.

The Middle Ages saw to it that peasants and the poor died many times before they died. The rich got off more easily, though, by the nature of life itself, they, too, paid their soul dues. Modern life offers more opportunities, but more complexity, as well. For many people—perhaps, all of us at times—modern life offers too much risk and too much complexity (Kelly 1994). We don’t really understand what’s going on around us, lots of it just doesn’t make any good sense, at least as far as we can tell. We can understand why some people turn to fundamentalism to garner secure “truths” without thought and reflection. It is, indeed, an attempt to save their souls, to protect themselves from the traumas of modern life, a life Where often the rich get richer, the poor get poorer, and everyone suffers risks created by other people, even people clear across the globe.

If people are to nurture their souls, they need to feel a sense of control, meaningfulness, even expertise in the face of risk and complexity. They want and need to feel like heroes in their own life stories and to feel that their stories make sense. They need to feel that they matter and that they have mattered in other people’s stories. If the body feeds on food, the soul feeds on agency and meaningfulness. I will argue that good video games are, in this sense, food for the soul, particularly appropriate food in modern times. Of course, the hope is that this food will empower the soul to find agency and meaning in other aspects of life.

This book is primarily about the pleasures—the charge—that good video games can give people. These pleasures are connected to control, agency, and meaningfulness. But it is also about how good games create deep learning, learning that is better than what we often see today in our schools. Pleasure and learning: For most people these two don’t seem to go together. But that is a mistruth we have picked up at school, where we have been taught that pleasure is fun and learning is work, and, thus, that work is not fun (Gee 2004). But, in fact, good videos games are hard work and deep fun. So is good learning in other contexts.

Pleasure is the basis of learning for humans and learning is, like sex and eating, deeply pleasurable for human beings. Learning is a basic drive for humans. School has taught people to fear and avoid learning as anorexics fear and avoid food, it has turned some people into mental anorexics. Some of these same people learn deeply in and through games, though they say they are playing, not learning. The other people who often say they are playing When they’re working hard at learning are those professionals—scientists, scholars, and craftsmen—who love their work. There is a reason for this kinship between gamers and professionals and that will be one of the things I deal with in this book.

This book is written for anyone interested in video games, whether this be gamers, people interested in learning, or people interested in the pervasive role Video games play in modern society and across the world. After all, games are a massive economic force today and an even more major cultural force, since they are a shared cultui‘e among many young people across the globe (Kent 2001; King 2002; King & Borland 2003; Poole 2002). This book is meant to be a contribution to the emerging field of game studies, though I argue that game studies should interest a wide array of people, gamers and non-gamers alike (Aarseth 1997; Juul 2004; Laurel 1993; Murray 1998; Salin & Zimmerman 2003; Wardrip-Fruin & Harrigan 2004; Wolf 2002, 2003).

I have a confession to make, though. I offer here a partial “theory of games”. I hate to tell you this, because I know lots of you will not like to hear it, since “theory” sounds so boring. But I hasten to add, the book contains precious little jargon (much less than readers had to endure in my earlier book What Video Games Have to Teach Us About Learning and Literacy, 2003). I hasten to add, as well, that I never venture too far from talking about actual games. Things stick pretty close to the ground, I hope. No arcane philosophy, I promise (well, maybe you found the stuff on the soul arcane).

Well, we have to deal with it. We all know the topic is looming over us. What about violence and video games? Does playing video games lead people to be more violent? More ink has been devoted to this topic than any other concerned with video games. But most of that ink has been wasted.

The 19th century was infinitely more violent than the 20th in terms of crime (though not actual warfare) and no one played Video games. The politicians who have heretofore sent people to war have not played video games—they’re too old. The Japanese play video games more than Americans do, as, indeed, they watch more television, but their society is much less violent than America’s. No, as we said above, video games are neither good nor bad all by themselves, they neither lead to Violence or peace. They can be and do one thing in one family, social, or cultural context, quite another in other such contexts.

If you want to lower Violence, then worry about those contexts, which all extend well beyond just playing video games. Politicians who get hot and heavy about violence in video games usually don’t want to worry about such contexts, contexts like poverty, bad parenting, and a culture that celebrates greed, war, and winning. Too expensive, perhaps. In my View, the violence and Video games question is a silly one and you won’t hear more about it here. I do live in fear of people who would kill someone because they have played a Video game, but I know that they would equally kill someone if they had read a book or seen a movie or even overheard another nut and I would like you first to take their weapons away. Then, too, someone should have taught these people how to play video games, read books, and watch movies critically and reflectively.

In a world in which millions of people across the globe are dying in real wars, many of them civil wars, it is surely a luxury that we can worry about little boys getting excited for ten minutes after playing a shooter. There are much better things to worry about and I just pray that a time comes in the world where such a problem really merits serious attention. Let’s stop the killing, for example in Africa, on the part of people who have never played a video game before we ban games, books, and movies to save ourselves from a handful of disturbed teenagers who would have been better served by better families and schools.

On a more positive note, we should realize that the possibilities of video games and the technologies by which they are made are immense. Video games hold out immense economic opportunities for business and for careers. They hold out equally immense possibilities for the transformation of learning inside and outside schools. They hold out immense promise for changing how people think, value, and live. We haven’t seen the beginning yet. As I write, all the game platforms are on their last legs, soon to replaced by more powerful devices. What wonderful worlds will we eventually see? What charged virtual lives will we be able to live?

The Wild West and space were seen new frontiers. Video games and the virtual worlds to which they give birth are, too, a new frontier and we don’t know where they will lead. It would be a shame, indeed, not to find out because, like any frontier, they were fraught with risk and the unknown. But, then, I have already admitted that all of us in the complex modern world are frightened of risk and the unknown. But that, I will argue, is a disease of the soul that good games can help alleviate, though, of course, not cure. I talk about specific games in this book. The danger is that any game can come to seem out of date as newer shiner games appear on the market. But this is a mistake. New games will offer new things (so long as the industry doesn’t monopolize), but good older games retain their gaming goodness and we have lots to learn from them. Indeed, we will start with Castlevania:
Symphony of the Night, a game made for the old PSOne and a series with roots in even older game platforms. But Castlevania: Symphony of the Night retains all its greatness. It is still a wondrous gaming experience. Gaming is, by historical standards, brand new, but it already has its classics.

After Castlevania, we will move on to other, more contemporary games, games like Full Spectrum Warrior, Thief: Deadly Shadows, The Chronicles of Riddick: Escape from Butcher Bay, Rise of Nations, and The Elder Scrolls III: Morrowind. I have chosen games that I myself like and that I think make my points well. But, there is no shortage of games from which to choose and many others would have done as well. Readers may well like different games than I do, though I would still argue that their pleasures stem from the some of the same sources I discuss here.

Not all my readers will be gamers and that is fine. I am an “old” gamer, an inveterate gamer who came to gaming late. Gamers may find I revel in what they take for granted, like a farmer in the big city for the first time. But then the farmer may see things big city folk have already forgotten. Non-gamers may not share my love for games, but I hope they will share my belief that this is an area of culture than must be taken seriously, especially if am right that we gamers are servicing our souls and recovering our atrophied learning muscles at the same time.

Some people may say, well, he’s really arguing it’s all about escape from the perils and pitfalls of real life. But, then, I will say there are escapes that lead no where, like hard drugs, and escapes like scholarly reflection and gaming that can lead to the imagination of new worlds, new possibilities to deal with those perils and pitfalls, new possibilities for better lives for everyone. Our emotions and imagination—our souls—need food for the journeys ahead.”

+infos(loja): LINK

Jan 042022
 

Encontrei este livro Black Games Studies, por Lindsay Grace

o resumo indica que:
“Black Game Studies introduces the work of game makers from the African diaspora through academic scholarship, personal narratives and a catalog of works. It aims to provide a foundation from which researchers, designers, developers, game historians and others can draw an understanding of patterns, present practice, and a potential afro-future. Its works to make more visible, through aggregation and showcase, the creative contributions of Black game makers. It is an effort to meet the need to diversify the game-making community by not only highlighting the work of Black people, but in creating an enduring archive of such work.”

Tem como secções:
An Introduction to Black Games, Blackness in Games, and Otherness
An overview of Games Made by Black Game Makers
Games about Location
Black Analog Game Designers
An Autobiography of Ehdrigohr
On Procedural Rhetoric and Designing Black Like Me
The Black Game Maker’s Experience
Overview on Personal Narratives

..mais informo que o livro (pdf) é gratuito!

+infos(oficial): LINK

Dec 182021
 

Journal of Enabling Technologies. Emerald Publishing
Journal of Multimedia Tools and Applications
International Journal of Educational Technology in Higher Education
Revista Latinoamericana de Comunicación
Behaviour & Information Technology
Communications in Computer and Information Science book series (CCIS)
Computers Supported Education. CSEDU 2017. Communications in Computer and Information Science
International Journal of Entertainment Technology and Management (IJENTTM)

Dec 182021
 

Um livro a consultar: Deep Learning in Gaming and Animations: Principles and Applications dos editores: Vikas Chaudhary, Moolchand Sharma, Prerna Sharma e Deevyankar Agarwal.

Da apresentação do texto:
“Over the last decade, progress in deep learning has had a profound and transformational effect on many complex problems, including speech recognition, machine translation, natural language understanding, and computer vision. As a result, computers can now achieve human-competitive performance in a wide range of perception and recognition tasks. Many of these systems are now available to the programmer via a range of so-called cognitive services. More recently, deep reinforcement learning has achieved ground-breaking success in several complex challenges.

This book makes an enormous contribution to this beautiful, vibrant area of study: an area that is developing rapidly both in breadth and depth. Deep learning can cope with a broader range of tasks (and perform those tasks to increasing levels of excellence). This book lays a good foundation for the core concepts and principles of deep learning in gaming and animation, walking you through the fundamental ideas with expert ease. This book progresses in a step-by-step manner. It reinforces theory with a full-fledged pedagogy designed to enhance students’ understanding and offer them a practical insight into its applications. Also, some chapters introduce and cover novel ideas about how artificial intelligence (AI), deep learning, and machine learning have changed the world in gaming and animation.

It gives us the idea that AI can also be applied in gaming, and there are limited textbooks in this area. This book comprehensively addresses all the aspects of AI and deep learning in gaming. Also, each chapter follows a similar structure so that students, teachers, and industry experts can orientate themselves within the text. There are few books in the field of gaming using AI. Deep Learning in Gaming and Animations teaches you how to apply the power of deep learning to build complex reasoning tasks. After being exposed to the foundations of machine and deep learning, you will use Python to build a bot and then teach it the game’s rules. This book also focuses on how different technologies have revolutionized gaming and animation with various illustrations.”

+infos(oficial): LINK 

Dec 182021
 

Encontrei este grupo de trabalho de nome ArsGames (em Espanha) que se dedica ao estudo e trabalho com os videojogos.
Tem como texto de apresentação:
“ArsGames es una entidad internacional sin ánimo de lucro que promueve y gestiona proyectos de carácter cultural relacionados con los videojuegos y las nuevas tecnologías a partir de áreas de acción transversales: arte, pedagogía y formación, investigación científica, inclusión digital y participación ciudadana.

Cada una de ellas se articula en proyectos puntuales o de largo recorrido que van desde talleres con tecnología lúdica a publicación de libros, laboratorios de innovación social, comisariado de exposiciones, grupos de investigación académicos, eventos divulgativos o el propio desarrollo de videojuegos experimentales, así como colaboraciones con otros colectivos e instituciones”

+infos(oficial): https://arsgames.net/

Dec 182021
 

Mais um grupo de trabalho que faz uso dos videojogos para explorar questões relacionadas com a cultura, e de Itália para o mundo..
“What are they, but most of all, what could videogames be?
To what extent old and new generations are influenced and “educated”, whether directly or indirectly, conscious or unconscious, by video-recreational applications developed for the global market?
What is the existing relationship between High culture, in the complexity of its own definition, and the world of digital entertainment?

In 2018 Fabio Belsanti, game designer with a historian background, Roberto Talamo, a literature theorist and lecturer, and Elisa Di Lorenzo, CEO Untold Games, questioned themselves and, at the same time, asked a first group of scholars/academics and developers, these and many more questions with the purpose to feed the international debate on the complex and multifaceted universe of videogames.

In the spirit of the great essay Homo Ludens by Johan Huizinga the project has been designed with a clear multidisciplinary intent and will try to follow several directions involving in the definition of questions and answers academics and developers from everywhere in the world”

+infos(oficial): https://www.videogamesandhighculture.com/

Aug 102020
 

Meaningful Play 2021 Conference Overview
Whether designed to entertain or to achieve more “serious” purposes, games, virtual reality, augmented reality, and mixed reality have the potential to impact players’ beliefs, knowledge, attitudes, emotions, cognitive abilities, physical and mental health, and behavior.

Meaningful Play 2021 is a conference about theory, research, and game design innovations, principles and practices. Meaningful Play brings scholars and industry professionals together to understand and improve upon games to entertain, inform, educate, and persuade in meaningful ways.

The conference will include thought-provoking keynotes from leaders in academia and industry, peer-reviewed paper presentations, panel sessions (including academic and industry discussions), innovative workshops, roundtable discussions, and exhibitions of games and prototypes.

Conference Audience and Themes
The conference is primarily for:
industry and academic game researchers
industry and academic game designers and developers
game educators
students
government and NGOs interested in games

The three primary themes of the conference are:
exploring meaningful applications of games
issues in designing meaningful play
learning, education & games
The first theme includes an examination of games (of all types) from primarily an academic research perspective.

The second theme focuses on much more practical knowledge from the front-line of actual design, development, and use of games, virtual reality, augmented reality, and mixed reality experiences for meaningful purposes.

The third theme is focuses the use of games for learning and education, as well as the teaching of game making and game studies within academia.

+infos(oficial): https://meaningfulplay.msu.edu/index.php

Jul 192020
 

Arts & Design Track
Submission deadline is July 31st, 2020 for papers and August 15th, 2020 for design cases.
The Arts & Design track focuses on receiving research papers related to the design, production, expression, and enjoyment of digital games in the form of papers, posters, and design cases.

Computing Track
Submission deadline is July 31st, 2020.
We invite contributions on all aspects of Computing for Games and Digital Entertainment. Contributions can be submited in the format of papers and posters.

Culture Track
Submission deadline is July 31 st, 2020.
The Culture track addresses digital games on their most varied platforms. We also strongly encourage the submission of research that focuses on “analog” games – card games, board games, table RPGs, escape rooms, and live-action – as well as those which we identify as “mixed” (alternative, augmented, locative games, etc.).

Education Track
Submission deadline is July 31st, 2020.
You are invited to submit works for the SBGames 2020 Education track on the following topics: Literacy and literacy with games; Learning based on digital games; Evaluation of educational games; e-Sports and education; Games and distance education (or eLearning); Games and learning; Games and evaluation; Games in education; Gamification in education; Pedagogical principles of digital games; Design and development of digital games for education; Serious games.

Health Track
Submission deadline is July 31st, 2020.
The Health track is plural and consecrated for exchanges about game research and development, aiming to bring together researchers, developers, and those interested in the interface between games and health concerning its various dimensions, such as physiological, psychological, social, philosophical, collective, and ethical. Both digital and analog games are considered within the scope of this track.

Industry Track
Submission deadline is August 14th, 2020.
The Industry track configures an environment responsible for the connection between academia and industry, developing interfaces and discussions on the production and distribution of digital games. The track brings together researchers, developers, entrepreneurs, teachers, and students in a vast space of collaboration and exchange of ideas.

Games and Diversity
Submission deadline is July 31st, 2020.
The Diversity in Games activity is geared towards academic and industry discussions about the relationships between games (digital and analog), the people who play them (their senses and meanings), and the collectives that develop them. The activity emphasizes the population diversity and communities, different markers (gender, race, sexuality, class, disability, geography, etc.), and contexts of vulnerability and exclusion within the games.

GranDGamesBR
Submission deadline is July 31 st, 2020.
Forum on Grand Research Challenges in Games and Entertainment Computing in Brazil.
The establishment of a common view on the theoretical and practical challenges in the field of Games and Entertainment Computing is currently required as a strategy for driving efforts regarding the existing problems faced by the Brazilian researchers and practitioners. With the aim of identifying research opportunities for the next ten years in the field of Games and Entertainment Computing in Brazil, SBGAMES 2020 presents a forum for discussions towards the Grand Research Challenges in Games and Entertainment Computing in Brazil – GranDGamesBR – organized by Prof. Rodrigo Santos (UNIRIO) and Prof. Marcelo da Silva Hounsell (UDESC).

CTDGames
Submission deadline is July 31 st, 2020.
The CTDGames (Concurso de Teses e Dissertações do SBGames) provides an opportunity for researchers who have completed master’s or doctoral degree related to games and digital entertainment. The goals of CTDGames 2020 are to disseminate and award the best MSc dissertations and DSc thesis concluded from January to December 2019 related to games and digital entertainment.

G2 Workshop
Submission deadline is July 31 st, 2020.
The G2 Workshop activity targets students who are taking the undergraduate course in any area (Bachelor, Degree or Technological), and who have developed works related to digital games. The goal is to promote contact between students and renowned experts in the field.

Tutorials
Submission deadline will be available soon.
The purpose of the tutorials is to expand the knowledge in the fields related to Games. Tutorials sessions bring talks from specialists, opening new research topics to the community.

Arts Exhibition
Submission deadline is August 23rd, 2020.
The Arts Exhibition activity opens space for artists to expose their works in several categories, such as Concept Art, In Game Screenshot, BoardGame Art, and Artistic Experimentations and Fan Arts in Games.

+infos(oficial): https://www.sbgames.org/sbgames2020/