Instructional Design in the Metaverse Part 8
What fights won't we fight? What is our secret weapon? And what lies ahead? It's the final part of this series.
We've arrived at Part 8 of this series which proposes instructional design principles for the metaverse. It's the season finale!
First, no researcher worth their salt would give so much advice without acknowledging where the whole thing falls apart-- known as the "Limitations" section of writing.
Second, my absolutely favorite, top, best, most loved tip of all is here. Thesaurus dot com tells me that another word for it "happenstance"-- which is a word I do use. Alas, serendipity sounds more eloquent.
Finally, the conclusion. We're at the bottom of the ski jump; it's moments before I launch you out. What have you learned? Have you learned how to read research? Have you learned what makes a design strong? Have you learned that the media of the metaverse is minor but it is the emotion that makes it work?
Reach out with your feelings, Luke.
Limitations
What are the weaknesses in applying what we already know about 2D ID to 3D environments? Learner-centric design uses the dual channel coding theory as a basis. That theory restricts information input to the two sense channels: sight and sound. This served instructional design well when education was face-to-face or e-learning. XR, however, can add other senses, haptics, smell, and taste. The input of learning information via other senses is largely unexplored territory.
For example, haptic and temperature feedback are currently added to XR firefighter training. The limitation in the hypothesis of this article series could be that it fails to acknowledge what role these other senses will play in the future. In short, it is possible that the dual channel coding assumption might need to be expanded in the future to engage more channels.
Further, it is very difficult to predict an entire design plan from just one viewpoint. For example, using narrative plot sounds like an excellent approach, but it would fall flat during direct instructional approaches because the learner does not drive that approach.
This series advocated for purpose and emotion within 3D design but those approaches are not meant to be used only at the planning and designing stages. There should be an ebb and flow between the instructional designer (ID) and all stakeholders, testing and re-asking what the XR space is designed to do. Applications beyond what have been already researched or envisioned will surely test this article series' reasoning in new dimensions.
Finally, it should also be acknowledged that an article series on the use of the XR in ID does not intend to malign or downgrade other media for learning. Instead, the purpose of this series is to provide early guidance in a developing area. Slowly the research field gathers information that the next generation of IDs can use.
Serendipity
Sometimes, something magical happens that even the instructional designer (ID) did not imagine. These moments can be the most endearing and creative for learners. These serendipitous moments often happen far beyond the bounds of the design and programming. For example, in Poland, teachers who had never used VR before received 30 minutes of training before entering the game Half-Life: Alyx to teach language, math, and science (Bretan, 2020).
Learners discover how to fall through ramps and piggy-back on other avatars when playing with surface and wall programming. Spontaneous games break out like follow-the-leader. Learners have walked into the middle of roaring virtual campfires - just to see what it was like. An XR volcano scene spontaneously created a Star Wars story.
Human behavior in practical applications escapes around theories like water around a dam.
This makes educational research different from controlled laboratory studies; while we hope for what is predicted, humans can delightfully exceed their programming.
The combination of curiosity, exploration, and bravery cannot always be planned for in a learning design. It should not be squashed.
Therefore, leave space in designs for the unexpected; do not plan every moment.
Leave space for serendipity.
This can look like leaving time for learners to get used to their avatars, let them practice grabbing and tossing 3D objects, and let them use spaces in unexpected ways. Have warm-up type of events before more formal learning events. Let learners explore freely through a space before calling them back for a learning event.
In these moments, learners can show IDs what XR can really do.
Conclusion
To conclude, this series covered the frequently cited research myths surrounding the use of XR in education. It also brought to the forefront the three characteristics to look for when evaluating possible XR solutions: Does it reduce time, money, or danger? It went through the principles of multimedia design to show how they would apply to 3D designs–separating out what affordances would behave the same (paying close attention to cognitive processing) and what affordances would be different (realizing that 3D basically means more everything- more visuals, more sound, more motion, and emotion- around a learner). It contained some design advice that needs to be remembered when dealing with the metaverse; focus on purpose, design for emotion, and remember real world correlations.
From this, it might be valid to infer that this article series portrayed research myths at the periphery of publishing while creating a pessimistic view of the possibilities of XR - the proverbial cold bucket of water thrown on the excitement for the metaverse. Indeed, Honebein and Reigeluth did not mince words when they advised that IDs:
"Be cautious of experimental, research-to-prove comparison studies that include media or combine media and instructional methods. In other words, buyer beware. This research is not useful because it might:
Suggest that learning effectiveness is improved by the media, when in fact it is improved by the instructional method.
Influence practitioners to choose media that likely won’t work for their situation.
Represent quick and dirty publications that are intentionally or unintendedly meant to pad a researcher’s portfolio for promotion, salary increase, and tenure. In other words, the paper benefits the author, not the reader.
When designing a learning experience, follow the processes associated with the theoretical framework" (2023, p. 13, added emphasis mine).
IDs will need to stand up and state that some uses of the metaverse are not recommended. IDs will be required to closely examine research. The best uses of XR technologies will be when XR reduces or manipulates time, saves money, or reduces danger. Technologies such as simulations or branding scenarios already compete closely on those three characteristics. Designs should be approached in a learner-centric manner, using design techniques such as narrative plot or the XR strengths in visuals, sound, and interaction. Designs should lean towards the conservative.
This vista ahead, however, is bright. There is enticing area that we’ve not yet traveled into fully: the fully nuanced role of emotion in learning as that intersects with the metaverse. Mayer ended his tome on multimedia learning in 2020 acknowledging that while seductive details are irrelevant to learning, designing emotion purposely into learning seems to intersect with self-efficacy– a factor known to create motivation for learning. To be clear, this means designing in non-player characters (NPCs) or scenarios where emotion is purposely present.
Mayer is not the only major researcher starting to look towards emotion. Honebein and Reigeluth posited that appeal is part of the Instructional Design Iron Triangle, with effectiveness and efficiency. Appeal makes learning recommendable or to use another phrase, creates repeat customers (2023, p. 7). This author herself hears directly from many educators that observe that learners are drawn to this medium in ways not seen before, with the common trait being the social aspect of being able to feel together: a shared feeling and communication. The users that exit XR the fastest seem to be those that never interact with another person in an XR space. What's happening there will have to wait for the next Pasteur’s Quadrant article.
The possible uses of the metaverse in education are diverse, creative, and beautiful that to commodify it would be to harm it. Instructional designers should open their imaginations to see new vistas, thinking of the Metaverse’s best uses, equipped with what we already know to meet the new challenges in learning.
May the Blessing of the Metaverse be with you.
Prompt: Close shot, side shot, an adventurer wearing a hooded cloak, climbs a mountain into golden clouds, , in the style of deep indigo, light silver, enchanting lighting, fantasycore, blue and green color scheme, no face --ar 16:9
Part 1 was the Introduction.
Part 2 covered Theory and Scope.
Part 3 was Myths versus Reality.
Part 4 covered the Characteristics of Success.
Part 5 was What is the same between 2D and 3D design?
Part 6 was What is different between 2D and 3D design?
Part 7 was Design and Build.
Want to see my full references? Have at it.
Bonus content! My behind the scenes post on this article series is here.
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