Second Life Publication July 09

SOLENT LIFE IN SECOND LIFE:EXPLORING INNOVATIVE PEDAGOGYIN A VIRTUAL WORLD

Contents

Foreword – Developing Solent Life in Second Life® 04

Solent Life 05-06

Facts of Life 07-09

Virtual grand designs 10-13

A change of tune 14-17

Other world libraries 18-19

Looking to the future 20-23

The Solent Life journey: Part 1 – Imelda Byrne 24-25

Real Life Second Life®: Blurring the teacher-learnerrelationship – Suzie Norris and Lisa Mann 28-35

Reflections in wonderland – Alison Williamsand Mary Hudson 36-38

Contributors

Editors

Lisa Mann

Suzie Norris

Imelda Bryne

Sub Editor and Proof Reader

Chloe Balharry

Writers

Joseph McLaughlin

Jess Neale

Lucy Pearce

Design and Print

Indigo Press Ltd – www.indigo-press.com

Contacts

[email protected]

[email protected]

Developing Solent Life in Second Life®

!hen a research team within Southampton Solent University’s School of Design set out to explore

innovative pedagogy in a virtual learning environment (VLE), the natural progression was the development of ‘Solent Life’: a design, fashion and lifestyle campus within the online 3D virtual world of Second Life®.

"#$%#&' &#(%)*#+&#,-' -./0' 1-' 2&/*#3' 4%5&6' 7)&-&#,'&8/%,%#9' 7*,&#,%1$' 5*)' #&:' ,&1/0%#9' 1#3' $&1)#%#9'7)1/,%/&-;' <#/*.)19%#9' -,.3&#,-=' 1/13&+%/-' 1#3'7)1/,%,%*#&)-' ,*' )&1/0' 1/)*--' ,0&' 9$*>&' 1#3' 3%-/*(&)'#&:' :1?-' *5' %#,&)1/,%#9' *#' 7)*@&/,-' 1#3' &(&#,-' %#'7.)-.%,'*5'#&:'%3&1-':%$$'/01$$&#9&',)13%,%*#1$'+&,0*3-'*5'/*++.#%/1,%*#'1#3':*)A%#9'7)1/,%/&;

B0&' %#,&#,%*#'*5' ,0&'2*$&#,'4%5&' )&-&1)/0' ,&1+' %-' ,*'&87$*)&' ,0&' %##*(1,%(&' .-&-' *5' C4<-' D' :&>E>1-&3'-*5,:1)&'-?-,&+-'3&-%9#&3',*'51/%$%,1,&' ,&1/0%#9'1#3'$&1)#%#9'D' 5*)' >*,0'.#3&)9)13.1,&' 1#3'7*-,9)13.1,&'!"#$%&' ()' *+$,+' "*' $,-),' .#+"/,+' 0,1(23,' 3,4+)()5'*77*),.#%,%&-;'

B0&' 2*$&#,' 4%5&' /1+7.-' :1-' 3&-%9#&3' 1#3' /)&1,&3'%#' /*$$1>*)1,%*#' :%,0' (%),.1$' :*)$3-' /*#-.$,1#/?'1#3' %#5*)+1,%*#' F;G' -7&/%1$%-,-=' H13&#' 4%+%,&3;'B0&' /1+7.-' 1%+-' ,*' 7)*(%3&' 1' /*$$1>*)1,%(&' -*/%1$'$&1)#%#9'-71/&'%#'*)3&)',*'&+>)1/&',0&'&1)$?'13*7,%*#'1#3' %#,&9)1,%*#' *5' &E$&1)#%#9' 1#3' ,0&'C4<' %#,*' ,0&'/.))%/.$.+;''

B&1+'+&+>&)-'01(&'>&9.#',*',)%1$',0&'.-&'*5'2&/*#3'4%5&6' 5*)' ,&1/0%#9' 1#3' $&1)#%#9' 1/,%(%,%&-' :%,0'.#3&)9)13.1,&-' :%,0%#' ,0&' 51-0%*#=' %#,&)%*)' 3&-%9#='3%9%,1$' +.-%/' 1#3' /*#,&8,.1$I0%-,*)%/1$' -,.3%&-'3%-/%7$%#&-;' J-' %#' K)&1$' $%5&L=' -,.3&#,' &#919&+&#,'%-'A&?' ,*' ,0&' -.//&--'*5' ,0&-&'1/,%(%,%&-=' 1#3'/1)&5.$'/*#-%3&)1,%*#' 01-' >&&#' 9%(&#' ,*' ,0&' 3&-%9#=' /*#,&#,'1#3'3&$%(&)?'*5'-&--%*#-',01,'01(&',1A&#'7$1/&;'

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

Solent Life research team

Project/Team Leaders

Research Assistant/Project Co-ordinator

Isolde Jaubert(Imelda Byrne)

Team members Mumixer Yoshikawa(Bernhard Living)



Enigma Demina Lulu Fouroux (Lisa Mann) (Suzie Norris)

Research Assistant/Project Coordinator

Alice Flow (Imelda Byrne)

Team members

Mumixer Yoshikawa (Bernhard Living)

Sharon Lloyd Sarah Dryden

With special thanks to Learning Technology Unit:

Waking Dreamscape Arien Forster Dada Zimermann (Roger Emery) (Clare Denholm) (Daran Price)







Team members





A Teaching and Quality Enhancement Funded project (TQEF)School of Design, Faculty of Technology, Southampton Solent University, United Kingdom

A cost effective and convenient platform toshowcase creations.

Jargon buster

Avatar: your digital character.

Resident: a user in Second Life®.

Second Life®: a virtual world accessible via the internet.

Solent Life: Southampton Solent University’s specially designed virtual island campus.

The internet generation is arriving at our universities.

How are higher education institutions preparing for

this new breed of self-determined learner and content

creator? BA (Hons) Journalism student Jess Neal reports

on how early adoption of virtual worlds, such as Second

Life®, for teaching and learning may be one way to engage

with the ‘digital natives’.

Solent life 05

Enigma Demina(Lisa Mann)

Lulu Fouroux(Suzie Norris)

Sharon LloydSarah Dryden






Team members





Waking Dreamscape(Roger Emery)

Arien Forster(Clare Denholm)

Dada Zimermann(Daran Price)

04

!elcome to Solent Life, a university campus like no other. It exists only in the virtual world of Second Life®,

an online multi-user virtual environment or MUVE. Users can explore via digital avatars, interact with students and tutors, exhibit work, dance in the nightclub, and visit the library.

V)&1,%#9'1'2*.,01+7,*#'2*$&#,'T#%(&)-%,?'/1+7.-'%#'2&/*#3' 4%5&6' 7)&-&#,-' +1#?' &8/%,%#9' *77*),.#%,%&-='&-7&/%1$$?' 5*)' -,.3&#,-;' B0&' (%),.1$' :*)$3' 0*-,-'#.+&)*.-' *#$%#&' )&-*.)/&-=' /)&1,%#9' 1' )&1$' -&#-&' *5'/*$$1>*)1,%*#'1#3'/*++.#%,?='1#3'&#1>$%#9'+&+>&)-',*',).$?'&+>)1/&'&E$&1)#%#9

Flights of fancy

41.#/0%#9'%#,*',0%-'#&:':*)$3'/*.$3'#*,'>&'-%+7$&);'"#/&' 1' .#%S.&' 3%9%,1$' 1(1,1)' 01-' >&&#' /)&1,&3' D'/*+7$&,&':%,0'#&:'#1+&='/0*%/&'*5'/$*,0&-='51/&'1#3'01%)'D',0&'*#$%#&'13(&#,.)&'>&9%#-;'C%-%,*)-'/1#':1$A='+#)' *+' ,8,)' 0%' "/+*#5/' "/,' (!34)$' 7469#!&' :/(7/'%#/$.3&-' 1' +1%#' &#,)1#/&=' )&/&7,%*#' 1)&1=' /1,:1$A='1.3%,*)%.+'1#3'#%90,/$%.>;'

2*$&#,'4%5&' %-'1#' %#,&)1/,%(&'-71/&' %#'&(&)?'-&#-&'*5',0&' :*)3;' R&-%3&#,-' /1#' /*##&/,' :%,0' 5)%&#3-' 1#3'(%-%,*)-'(%1'5&1,.)&-',01,'51/%$%,1,&')&1$E,%+&'(*%/&'1#3',&8,'/*#(&)-1,%*#;'

;+4)!9*+"4"(*)'"*'!9,7(-7'94+"!'*.'<*3,)"'=(.,'(!'43!*'&55*),$&--' 1#3' 5.#;'R&-%3&#,-' /1#' /1$$' 1' >.>>$&=' 0*7'()!($,'4)$'0*4"'"*'"/,(+'3,7"#+,'()'<>%2*1'?'*+'"*'"/,'V1,:1$A',*'(%&:'1'-0*:;'B)1#-7*),1,%*#',0)*.90',0&':0*$&'*5'2&/*#3'4%5&6'(!'4'!7@-'.4)'$+,46'7*6,'"+#,'1-')&-%3&#,-'/1#',&$&7*),',*'1#?'3&-,%#1,%*#'/0*-&#'*#',0&'+17;'

Live and learn

W1-0%*#'1#3'H&-%9#'-,.3&#,-'01(&'>&&#'A&&#',*'&87$*)&',0&'7*,&#,%1$'*5',0&'(%),.1$'-71/&',*'/)&1,&'1'#&:'1)&#1'5*)'3%-7$1?%#9':*)A;'2,.3&#,-'/1#'%#(%,&'7&*7$&'5)*+'1$$' *(&)' ,0&' :*)$3' ,*' (%&:' ,0&%)' 70*,*9)170-' 1#3'3&-%9#-'%#',0&'&80%>%,%*#'1)&1=':0%/0'01-'1$)&13?'>&&#'.-&3',*'-0*:/1-&',0&'+1@*)'7)*@&/,'*5'*#&'MJ'NO*#-P'W1-0%*#':%,0'X0*,*9)170?'-,.3&#,;

B0&' /1,:1$A' &#1>$&-' W1-0%*#' -,.3&#,-' ,*' *)91#%-&'(%),.1$' 51-0%*#' -0*:-=' 1#3' $&1)#' ,*' +1#19&' &(&#,-'

1#3' 7.,' ,*9&,0&)' -,?$&-' %#' 1' (%),.1$' &#(%)*#+&#,;' U,'&#/*.)19&-' %##*(1,%*#' 1#3' 3&-%9#=' ,01#A-' ,*' ,0&'1>%$%,?',*'/)&1,&'1'+?)%13'*5'$**A-='1-':&$$'1-'7)*(%3%#9'1'/*-,'&55&/,%(&'1#3'/*#(&#%&#,'7$1,5*)+',*'-0*:/1-&'/)&1,%*#-;

B0&' 21#3>*8' %-' ?&,' 1#*,0&)' 1)&1' ,*' 3%-/*(&)' %#' ,0&')17%3$?' &871#3%#9' -71/&' *5' 2*$&#,' 4%5&;' U,' 01-' >&&#'3&(&$*7&3' ,*' &#1>$&' -,.3&#,-' ,*' /)&1,&'YH'>.%$3%#9-'1#3'*>@&/,-='0&$7%#9',0&+',*'&87$*)&'-017&'1#3'5*)+='1#3'&87&)%+&#,':%,0'%3&1-'1#3'3&-%9#-;'B0%-'5&1,.)&'01-' 7)*(&3' 71),%/.$1)$?' .-&5.$' 5*)' U#,&)%*)' H&-%9#'-,.3&#,-=':%,0'*#&'.,%$%-%#9'%,',*'%#(&-,%91,&'0*:')&,1%$'-71/&-'/1#'%#/*)7*)1,&'>)1#3'1#3'3&-%9#;

High point

2*$&#,' 4%5&' %-' #*,' @.-,' 1' $&1)#%#9' &#(%)*#+&#,Z' ,0&'>1)' 1#3' #%90,/$.>' 7)*(%3&' 1#' %3&1$' (&#.&' 5*)' -*/%1$'%#,&)1/,%*#;'U,'%-'1$-*'0&)&',01,'H%9%,1$'[.-%/'-,.3&#,-':%$$' -**#'>&'1>$&' ,*'-0*:/1-&' ,0&%)':*)A' %#' $%(&'HQ'-&,-=':%,0',0&'7*,&#,%1$',*'91%#'5&&3>1/A'5)*+'%#3.-,)?'/)%,%/-;'

B0&)&'1)&'+&&,%#9'7$1/&-',0)*.90*.,',0&'/1+7.-='%#'5*)+1$'1#3'%#5*)+1$'&#(%)*#+&#,-;'J,',0&'>&1/0'/15\=')&-%3&#,-' /1#'9&,' 1#' %/&' /)&1+'1#3' -%,' 1#3' -*/%1$%-&':%,0' *,0&)' 1(1,1)-=' :0%$&' /$&(&)$?' 3&-%9#&3' -&1,%#9'1)&1-'$*/1,&3'1/)*--',0&'%-$1#3'7)*(%3&'+*)&'7$1/&-',*'+&&,'1#3'%#,&)1/,;

B*' &87$*)&' ,0&' ,).&'0&%90,-'*5'2*$&#,'4%5&=' )&-%3&#,-'/1#'0&13',*',0&'2A?>*8'D'1#'.)>1#'-71/&'3&-%9#&3',*'%#-7%)&'1#3'&87$*)&;

New frontier

2&/*#3'4%5&6'%-'1'(%),.1$':*)$3',01,'%#(%,&-')&-%3&#,-',*' ,0%#A' *.,-%3&' ,0&' >*8;' R.$&-' *5' /)&1,%(%,?' D' 1#3'9)1(%,?'D'3*'#*,'177$?='&#/*.)19%#9'-,.3&#,-',*'7.-0'>*.#31)%&-'1#3',1A&'5.$$'13(1#,19&'*5',&/0#*$*9?',*',)1#-5*)+'%3&1-'%#,*'N(%),.1$P')&1$%,?;'

B0%-'%-'1'#&:'5)*#,%&)'%#',0&'5.,.)&'*5'$&1)#%#9;'2*$&#,'4%5&' %-' 1#' &8,&#-%*#' *5' 0%90&)' &3./1,%*#' 1#3' -*/%1$'%#,&)1/,%*#='%#/*)7*)1,%#9'5)&-0'%3&1-',*'/)&1,&'1'-71/&',01,'1%+-',*'>&'>*,0'7*7.$1)'1#3'&8/%,%#9;'4&1)#%#9'%-'&(*$(%#9' %#'-,&7':%,0'1'#&:'1#3' %#-7%)&3'9&#&)1,%*#'*5' $&1)#&)-=' *7&#%#9' 3**)-' ,*' %##*(1,%(&' :1?-' ,*'.-&' ,&/0#*$*9?' ,*'1%3'-,.3&#,-'1#3' )&(*$.,%*#%-&' ,0&'A#*:$&39&'1#3'-A%$$-'>1-&;

Solent Life is a university campuslike no other.

Rules of creativity – and gravity– do not apply.

The concept of Solent Life first formed two years ago, when Suzie Norris began discussions with Southampton Solent

University’s Dean of the Faculty of Technology about the evolution of social networking and the online learning environment. “We started brain-storming ideas about the web environment, FacebookTM and TwitterTM, and how it is going to affect all our lives,” says Suzie. “Then we had a ‘eureka’ moment: wouldn’t it be great to set up a campus in Second Life® for fashion, style and design.”

X$1#-' 5*)' ,0&' (%),.1$' /1+7.-' -**#' -,1),&3' ,*' /*+&' ,*'5).%,%*#;' !*)A%#9' :%,0' /*$$&19.&' 4%-1' [1##=' 2.]%&'>&91#'+177%#9'*.,',0&'7*,&#,%1$'.-&-'*5'2*$&#,'4%5&'1-'1#'&3./1,%*#'7$1,5*)+;'U,':1-'19)&&3',01,'*77*),.#%,%&-'5*)',&1/0%#9'1#3'$&1)#%#9':*.$3'>&'A&?'%#',0&'/)&1,%*#'*5',0%-')&(*$.,%*#1)?'(%),.1$'-71/&;

Firm foundations

V01$$&#9%#9'1#3'&8/%,%#9'%#'&S.1$'+&1-.)&=' ,0&'3&-%9#'1#3'>.%$3'*5',0&'/1+7.-')&S.%)&3',0&'-.77*),'*5'-7&/%1$%-,'K(%),.1$':*)$3'/*#-.$,1#,-L='H13&#'4%+%,&3;'

U#'7)&71)1,%*#='7)*@&/,'/**)3%#1,*)-'2.]%&'1#3'4%-1'>&91#',*',0%#A'1>*.,',0&'.-&'*5',0&'-71/&;'̂ !&':*)A&3'*#'-*+&'+**3' >*1)3-' 1#3' 3&/%3&3':&':1#,&3' 1#' &#(%)*#+&#,':%,0'1'$%90,='1%)?'5&&$=_'&87$1%#-'2.]%&;'^!&':1#,&3'%,',*'>&'1)/0%,&/,.)1$$?'/*#-%3&)&3'1#3'#*,'@.-,')&7$%/1,&',0&'>.%$3%#9':&'01(&'%#')&1$%,?;'U,'#&&3&3',*'>&'1#'%#,&)&-,%#9'7$1/&'5*)'-,.3&#,-=':0&)&',0&?'/*.$3'01(&'5.#'%#,&)1/,%#9'1#3'&87$*)%#9',0&'%-$1#3-;_

B0&'3&-%9#':1-'1--%9#&3',*'1'(%),.1$'1)/0%,&/,':0*'

Everything starts with an idea; the idea brings inspiration

and from inspiration flows innovation, exploration and

discovery. This was up the path trodden by Suzie Norris,

Head of School of Design and Lisa Mann, Academic

Leader, School of Design when they set out on their

journey into Second Life®. Jess Neal gets the whole story.

Facts of life 07Solent life 06

:*)A&3' .#3&)' ,0&' 2&/*#3' 4%5&6' 7-&.3*#?+' KX.7'A,"/,+!9**)BC'D#9&':/*'(!'7*)-),$'"*'4':/,,37/4(+&'%-' %#-7%)&3' >?' ,0&' 5)&&3*+' 7)*(%3&3' >?' ,0&' (%),.1$':*)$3'1#3'-1(*.)-',0&'*77*),.#%,?',*':1$A'1)*.#3'0&)'(%),.1$'/)&1,%*#-'$%A&'1#?'*,0&)'1>$&E>*3%&3'1)/0%,&/,;'

X.7'7.,'1'9)&1,'3&1$'*5'&55*),'%#,*'/)&1,%#9',0&'/1+7.-='1#3'.#3&)',0&':1,/05.$'&?&'*5'2.]%&'1#3'4%-1'-0&'+13&',0&%)' %3&1-' 1' )&1$%,?;' ^X.7' %-' *>-&--&3' :%,0' 51-0%*#'1#3'5*.#3',0&'7)*@&/,')&1$$?'$%>&)1,%#9=_')&(&1$-'2.]%&;'^!&'9*,',*'A#*:'0&)'S.%,&':&$$'>&/1.-&':&':&)&'.-%#9'(*%/&'/01,=':0%/0')&1$$?'>)%#9-',0&'%#,&)1/,%*#'1$%(&;_'4%-1'133-`'̂ "#'-*+&'#%90,-':&':*.$3':1$A'1)*.#3',0&'3&-%9#'-71/&',*9&,0&)',1$A%#9'1>*.,',0&'1)/0%,&/,.)&='3&-7%,&'>&%#9'*#'*77*-%,&'-%3&-'*5',0&'J,$1#,%/;_

Campus tour

B0&' /*+7$&,&3' 2*$&#,' 4%5&' %-$1#3' 01-' ,0&' 51+%$%1)',)177%#9-' *5' 1#?' K)&1$' $%5&L' .#%(&)-%,?' /1+7.-='%#/$.3%#9'1')&/&7,%*#='+&&,%#9')**+-'1#3'1.3%,*)%.+='/*+7$&+&#,&3' >?' 1' /1,:1$A=' &80%>%,%*#' 1)&1' 1#3'#%90,/$.>;'

H%55&)&#,'-71/&-'%#'2*$&#,'4%5&'1)&'1$)&13?'>&%#9'7.,',*'9**3'.-&;'J'/*$$1>*)1,%(&'51-0%*#'-,?$%#9'7)*@&/,':%$$'-**#' .,%$%-&' ,0&' &80%>%,%*#' 1)&1=':%,0' -,.3&#,-' 5)*+'2*.,01+7,*#' 2*$&#,' 1#3' 1' .#%(&)-%,?' %#' J.-,)1$%1'.-%#9' %,' ,*' 3%-7$1?' -,)&&,' 51-0%*#' 70*,*9)170?' 1#3'7*694+,' 4)$' 7*)"+4!"' "/,' +,!#3"!C' EF"' (!' $,-)(",3%' 4'-71/&' ,01,':%$$' /*#,%#.&' ,*'>&'.-&3'1#3'3&(&$*7&3=_'-1?-'2.]%&;'

2*$&#,' 4%5&' %-' &(&)E&(*$(%#9=' 7)*(%3%#9' #&:' 1#3'&8/%,%#9' *77*),.#%,%&-;' ^B0%-' %-' #*,' @.-,' >)%/A-' 1#3'6*+"4+&' ("' (!'4'8(+"#43'!947,' "/4"'74)'7/4)5,'G'(.':,':1#,',*'1$,&)'1'/&),1%#'1)&1':&'/1#=_'-1?-'2.]%&;'̂ !&L)&'#*:'1,' ,0&' -,19&':0&)&':&L)&' ,0%#A%#9' 1>*.,':0%/0'>%,-' 7&*7$&' 1)&' )&1$$?' &#919%#9':%,0' 1#3' ,0*-&' ,0&?'1)&' #*,;'!&' 1)&' /*#-%3&)%#9' &871#3%#9' ,0&' -1#3>*8'1)&1-=' 5*)' &81+7$&=' 1-' ,0%-' %-' 7)*(%#9' ,*' >&' 1' )&1$$?'.-&5.$'-71/&;_

Money matters

J5,&)',0&'>.%$3':1-'/*+7$&,&'1#3',0&'%-$1#3'>&91#',*'5.#/,%*#'1-'1'(%),.1$'/1+7.-='%,'-**#'>&/1+&'/$&1)',01,'

,0&' ,&1/0%#9' 1#3' $&1)#%#9' 13(1#,19&-' *5' ,0&' 7)*@&/,':&)&'51)E)&1/0%#9;'R&-&1)/0'5.#3%#9':1-'9&#&)1,&3',*'0&$7'3)%(&',0&'7)*@&/,'5*):1)3;'

B0)&&' 7)*@&/,-' *7&)1,%#9' :%,0%#' 2*$&#,' 4%5&' 1)&'51/%$%,1,&3'>?'Ba<W'NB&1/0%#9'a.1$%,?'<#01#/&+&#,'W.#3P'5.#3%#9;'"#&'01-'-,.3&#,-'%#(&-,%91,%#9'-*/%1$'%3&#,%,?' 1#3' 0%-,*)%/1$' -,?$&' %/*#-' %#' /*#,&+7*)1)?'/*#,&8,-=' 1#*,0&)' %-' &#/*.)19%#9'3%-/.--%*#-' 1)*.#3'1&-,0&,%/-'1#3'(%),.1$'3&-%9#=':0%$&',0&',0%)3'1%+-',*'7)*+*,&'9$*>1$'/*++.#%/1,%*#'%#',0&'-70&)&'*5'+.-%/'/)%,%/%-+;

Digital generation

2*$&#,'4%5&'01-'1$-*'-71)A&3'1'#&:')&-&1)/0'1(&#.&'5*)'2.]%&'1#3'4%-1;'Û,'9*,'.-',0%#A%#9'1>*.,'0*:'-,.3&#,-':%$$':1#,',*'$&1)#'%#',0&'5.,.)&=_'-1?-'2.]%&;'

EH%' ?I@%,4+@*3$' $4#5/",+' 7*66#)(74",!' :("/' /,+'/*.-%#' %#' 2*.,0' J5)%/1' (%1' 2A?7&B[=' 1#3' ,0&?' (%-%,'-0*7-'1#3'71),%&-' ,*9&,0&)' %#' ,0&'(%),.1$':*)$3;' U,' %-'&#,&),1%#+&#,' 5*)' ,01,' 9&#&)1,%*#;'!0&#' ,0&?'9&,' ,*'.#%(&)-%,?',0&?':%$$'&87&/,'1'+*)&'%#,&)1/,%(&'(%),.1$'$&1)#%#9'&#(%)*#+&#,;_

4%-1'%-'&#,0.-%1-,%/'1>*.,',0&'*.,/*+&'*5')&-&1)/0'%#,*',0&'1,,%,.3&-'*5'3%55&)&#,'19&'9)*.7-',*'2&/*#3'4%5&6'1#3'#&:'$&1)#%#9'7)1/,%/&-;'20&'&87$1%#-`'̂ ".)'/.))&#,'-,.3&#,-'.#3&)-,**3':01,':&':&)&',1$A%#9'1>*.,'1#3',**A'*#'>*1)3'&(&)?,0%#9'1-'71),'*5',0&',&1/0%#9'1#3'$&1)#%#9'&87&)%&#/&='>.,',0&'?*.#9&)'*#&-':&)&'+./0'5.),0&)' 10&13' %#' ,&)+-' *5' ,0&%)' ,0%#A%#9' 1#3' ,0&?'-&&+&3' ,*' .#3&)-,1#3' +*)&' S.%/A$?' :01,' :&' :&)&',1$A%#9'1>*.,=':0%/0'7)*(&3',01,'*.)'7)&3%/,%*#-':&)&'1$*#9',0&')%90,'$%#&-;_

;/,' -)$()5!' *.' "/,(+' ()8,!"(54"(*)' /48,' 43+,4$%'>&&#' 7)&-&#,&3' 1,' /*#5&)&#/&-' %#' b&:' c*)A' 1#3'D,))!%384)(4'J+,4$'"/,(+'949,+'()'.#33'*)'945,!'KL'G'YYd;'

Fad or future?

B0&'*$3&)'9&#&)1,%*#'01-'013'+%8&3')&1/,%*#-',*',0&'7)*-7&/,'*5',&1/0%#9'1#3'$&1)#%#9'%#'1'(%),.1$':*)$3;'W*)' -*+&' %,' %-'+&,':%,0'/1.,%*#`'^!0&#':&'-,1),&3='-*+&' 1/13&+%/-' -1:' %,' 1-' 1' 9%++%/A=_' -1?-' 4%-1;'^",0&)-'-&&',0&'7*,&#,%1$'1#3':1#,',*'3&(&$*7'1#3'.-&'%,;_'

We walked around the design space together talking about the architecture, despite being on opposite sides of the Atlantic.

New learners will expect a more interactive virtual learning environment.

[1#?' 1/13&+%/-' 01(&' 9)&&,&3' ,&/0#*$*9%/1$'13(1#/&+&#,'1-'1'7*-%,%(&'*77*),.#%,?'5*)',0&+-&$(&-'1#3',0&%)'-,.3&#,-`'^B0&)&'1)&'1'/*.7$&'*5'%#,&)&-,&3'-,155' :0*' 1)&' $**A%#9' 1,' 3*%#9' 1' 70*,*9)170%/'&80%>%,%*#' %#' 2*$&#,' 4%5&' 1#3' 1))1#9%#9' 1#' *7&#'&(&#%#9' :0%/0' 7&*7$&' 5)*+' 1$$' *(&)' ,0&' :*)$3' /1#'1,,&#3=_'-1?-'2.]%&;'

'^M&%#9',0&'7%*#&&)-'*5'-*+&,0%#9'$%A&',0%-'01-'>&&#'&#*)+*.-='1#3'+1A%#9'0&13:1?'5*)',0&'T#%(&)-%,?',*'13*7,'%,'01-'>&&#')&+1)A1>$&=_')&+1)A-'2.]%&;'^!&L)&'#*,' *#$?' A&&#' ,*' 9&,' ,0&' 7)*@&/,' 9*%#9=' >.,' 1$-*' ,*'9&,'*,0&)'7&*7$&'%#(*$(&3'1#3',*'-0*:'1#3'-01)&'*.)'&#,0.-%1-+'5*)'2&/*#3'4%5&6;_

Virtual reality

H&(&$*7+&#,-' %#' 2&/*#3' 4%5&6' 1)&' 0177&#%#9'1,' $%90,#%#9' -7&&3=' 1#3' ,0&' 5.,.)&' 0*$3-' &#3$&--'7*--%>%$%,%&-;' 2.7&)+1)A&,-' 1)&' -&,' ,*' 9*' (%),.1$='1#3' +.$,%#1,%*#1$' /*+71#%&-' -./0' 1-' J+1]*#' 1)&'&87&)%+&#,%#9':%,0'*#$%#&'5&1,.)&-',01,'&#1>$&'.-&)-'"*':43>'()"*'4'!947,&'9(7>'4'2**>'*..'4'!/,3.'4)$'0(7>',0)*.90'%,'>&5*)&'3&/%3%#9':0&,0&)'*)'#*,',*'+1A&'1'7.)/01-&;

B0&)&' 1)&' #.+&)*.-' *#$%#&' YH' (%),.1$' :*)$3-='%#/$.3%#9' (&)-%*#-' @.-,' 5*)' ,&&#19&)-;' ^B0&' ?*.#9&)'9&#&)1,%*#'1))1#9&',*'+&&,':%,0',0&%)'5)%&#3-'%#',0&-&'

&#(%)*#+&#,-=_' -1?-' 4%-1;' Û,' :*#L,' >&' $*#9' >&5*)&'W1/&>**A,B[=' B:%,,&)B[' 1#3' *,0&)' *#$%#&' 1#3' -*/%1$'#&,:*)A%#9'-&)(%/&-'/*#(&)9&'%#',0&'(%),.1$':*)$3;_'

Watch this space…

4%A&'2&/*#3'4%5&6='2*$&#,'4%5&'01-'+1--%(&'-/*7&',*'3&(&$*7'1#3'&871#3'%#',0&'5.,.)&;'

'ÛL+'%#,&)&-,&3'%#'%,'1-'1'3&-%9#',**$=_'-1?-'2.]%&;'^W*)')&,1%$'1#3'7)*3./,'3&-%9#' ,0&)&' %-' $*,-'*5'7*,&#,%1$'D'5)*+'*#$%#&'%#,&)1/,%*#':%,0'+1#.51/,.)&)-'%#'V0%#1',*' 7)*(%3%#9' 1' -&#-*)?' -71/&' ,*' %#-7%)&' /)&1,%(%,?' D:0%/0':%$$'&(*$(&'&(&)?'?&1)'1-',&/0#*$*9?'3&(&$*7-;_

4%-1' 133-`' Û,' %-' +*-,' (1$.1>$&' 5*)' 7&*7$&' :0*' 1)&'A%#1&-,0&,%/' 1#3' (%-.1$' $&1)#&)-' 1-' %,' %#/*)7*)1,&-' 1'01#3-E*#='7)1/,%/1$'177)*1/0',*',&1/0%#9'1#3'$&1)#%#9='1$>&%,'%#'1'(%),.1$'&#(%)*#+&#,;_

2*$&#,'4%5&'%-'-&,',*'-/1$&'#&:'0&%90,-'#&8,'?&1)',01#A-',*' 5.#3%#9' 5*)' 1' 5.$$E,%+&' 9)13.1,&' %#,&)#' ,*' 0&$7'13(1#/&',0&'7)*@&/,;'

Û'5&&$',01,':&'1)&'13(*/1,&-'*5'-*+&,0%#9'#&:='#*,'@.-,'%#'3&-%9#'&3./1,%*#'>.,'5*)' ,&1/0%#9'1#3'$&1)#%#9'%#'1$$'1/13&+%/'3%-/%7$%#&-=_'/*#/$.3&-'2.]%&;'^4&1)#%#9'01-',*'>&'5.#='1#3'%5':&'/1#'/)&1,&'1'5.#'&#(%)*#+&#,'%#':0%/0' ,*' $&1)#=' %#,&)1/,=' 3&(&$*7' 1#3' &87&)%&#/&=',0&#',01,L-'9)&1,;_'

Being the pioneers of something like this has been enormous.

Learning has to be fun.

Facts of life 08-09


Sarah Dryden, Senior Lecturer in Interior Design at

Southampton Solent University speaks to BA (Hons)

Journalism studentJoseph McLaughlin about her

experience of using Second Life® as a teaching tool, and the

various pros and cons she has encountered along the way.

As a vibrant, malleable world, Second Life® offers a wealth of opportunities for the innovative teaching of interior

design. The immersive virtual world gives students an expansive blank canvas in which to practise their skills and re-design interiors free from physical constraints, where their imagination is their only restriction. Southampton Solent University stands at the forefront of this unique e-learning project, giving students a fresher and more absorbing experience than traditional interior design programmes.

21)10'H)?3&#=' 1'2&#%*)'4&/,.)&)' %#' U#,&)%*)'H&-%9#'1,' 2*$&#,=' %-' 7)*9)1++&' $&13&)' 5*)' YH'H&-%9#=' 1#3'5*)' ,0&' 71-,' ?&1)' 01-' >&&#' 7%$*,%#9' 2&/*#3'4%5&6' ,*'0&$7',&1/0',0&'O%-,*)?'1#3'V*#,&8,.1$'2,.3%&-'.#%,',*4&(&$'F'-,.3&#,-;

Second Life® learning

B0&' FGGe' 7%$*,' /*#-,%,.,&3' 71),' *5' ,0&' T#%(&)-%,?L-'%#%,%1$'5*)1?-' %#,*' ,0&':*)$3'*5'2&/*#3'4%5&6=' $1-,%#9'.*+'4'E?M':,,>'9,+(*$'4)$'+#)'2%'"/,'N4!/(*)&'H,$(4'2,?$%#9='H%9%,1$'[.-%/'1#3'U#,&)%*)'H&-%9#'/*.)-&-=_'&87$1%#-'21)10;

H&-7%,&' >&%#9' #&:' ,*' (%),.1$' :*)$3-=' 21)10' :1-'%+7)&--&3' :%,0' 0*:' S.%/A$?' -,.3&#,-' 1317,&3' ,*':*)A%#9' %#' 2&/*#3' 4%5&6;' ^H.&' ,*' -,.3&#,-L' .-&' *5'-%,&-'$%A&'W1/&>**Af',0&?'1)&'S.%/A',*'/1,/0'*#=_'-0&'-1?-=')&(&1$%#9',01,',0&'-*/%1$'#1,.)&'*5'2&/*#3'4%5&6'%-'9)&1,$?'/*+7$&+&#,&3'>?',)1#-5&)1>$&'-A%$$-'91%#&3',0)*.90'-*/%1$'#&,:*)A%#9;''

V.))&#,$?=' -,.3&#,-' .-&' 2&/*#3' 4%5&6' 7)%+1)%$?' 1-'1' /)&1,%(&' :*)A-71/&' :0&)&' ,0&?' /1#' 7)1/,%-&' ,0&%)'-A%$$-' 1#3' /*$$1>*)1,&' ,*' )&E3&-%9#' %#E:*)$3=' (%),.1$'%#,&)%*)-;' 21)10' &87$1%#-`' ^2,.3&#,-':*)A' %#' 71%)-' D'*#&',0&'/$%&#,='*#&',0&'3&-%9#&)'D',1A%#9'%,'%#',.)#-'%#',47/'+*3,C';/,%'-)$'4)'()",+(*+'!947,'()'<,7*)$'=(.,6'1#3':*)A',*9&,0&)',*')&E3&-%9#'%,;_

Initial student scepticism

T-%#9'2&/*#3'4%5&6'.*+'"/,'-+!"'"(6,'74)'2,'4'$4#)"()5'&87&)%&#/&'5*)'-,.3&#,-=':0*',1A&',%+&',*'1317,',*',0&'%3&1'*5'$&1)#%#9'%#'1'(%),.1$':*)$3'&#(%)*#+&#,;'21)10'13+%,-',01,'+1#?'*5'0&)'-,.3&#,-'01(&'>&&#'%#%,%1$$?'-/&7,%/1$'1>*.,':*)A%#9'%#'2&/*#3'4%5&6='*5,&#'01(%#9'$(.-7#3"%'#)$,+!"4)$()5'("!'9+47"(743'#!,!'4!'4'3,4+)()5',**$='1-'*77*-&3',*'-%+7$?'1#'*#$%#&'91+&;'

^J$,0*.90'$%#A&3',*'1'$&/,.)&'7)*9)1++&='+*-,',**A',%+&',*'/*+&')*.#3',*',0&'%3&1'*5'3&-%9#%#9'%#'%,=_'-1?-'

21)10;'^B0&?'(%&:&3'2&/*#3'4%5&6'1-'1'>%,'*5'1'91+&='*)' 1' -%,&' ,*' @.-,' /01,' %#=' (&)?'+./0' $%A&'W1/&>**Af;'B0&?'5*.#3'%,'01)3',*')&$1,&'1#?',&1/0%#9'1#3'$&1)#%#9',*',0&'-&,'7)*9)1++&;_

O*:&(&)=' -0&' 133-`' ^!01,' >)*.90,' ,0&+' 1)*.#3':1-' $**A%#9'1,'0*:'7)1/,%-%#9' %#,&)%*)'3&-%9#&)-'1)&'.-%#9',0&'-%,&'5*)',0&%)'>.-%#&--;'"#/&'%,':1-'$%#A&3',*'%#3.-,)?=',0&?'&#919&3'>&,,&)':%,0',0&'-%,&'1-'1#'1%3='#*,'1'91+&;_

Discovering virtual potential

J5,&)' :1)+%#9' ,*' ,0&' %3&1' *5' .-%#9' 2&/*#3' 4%5&6='-,.3&#,-' S.%/A$?' 3%-/*(&)' ,01,' :*)A%#9' %#' 1' (%),.1$':*)$3'/*+71)&-':&$$',*':*)A%#9'%#',)13%,%*#1$'3&-%9#'-*5,:1)&;' Û' ,0%#A' 2&/*#3' 4%5&6' $&#3-' %,-&$5' (&)?':&$$' ,*' ,0&' -.>@&/,'+1,,&)'*5' %#,&)%*)'3&-%9#=_'21)10'/*++&#,-;'^B0&-&'-,.3&#,-'/*#-,)./,'1#3':*)A':%,0'-71/&'1$$',0&',%+&='-*'%#'-*+&':1?-'1)&'.-&3',*':*)A%#9':%,0'1'71),%/.$1)'-71/&'.-%#9'3%55&)&#,'-*5,:1)&;_'

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

H&-7%,&' %,-' *>(%*.-' 13(1#,19&-=' ,0&)&' 01(&' >&&#'7)*>$&+-':%,0'-,.3&#,-'1(1,1)-'+*(&+&#,'1)*.#3',0&'(%),.1$'&#(%)*#+&#,'1#3',0&'7&)(1-%(&'#*,%*#'1+*#9'2&/*#3'4%5&6'177&1)-'+*)&'$%A&'1'91+&;'X1),%/.$1)$?'9+*23,64"(7&'(!'"/,'484"4+!B'42(3("%'"*'0%&':/(7/'<4+4/'13+%,-'%-'^#*,'7*7.$1)':%,0'-,.3&#,-'1-'%,'+1A&-',0&'-71/&'5&&$'+*)&'$%A&'1'91+&;_

!0%$&' ,0%-' 5&1,.)&' 3*&-' &#/*.)19&' U#,&)%*)' H&-%9#'-,.3&#,-' ,*' ,0%#A' /)&1,%(&$?=' 1$$*:%#9' ,0&+' ,*' >.%$3'%##*(1,%(&'-,)./,.)&-':%,0*.,',0&'#&&3'5*)',)13%,%*#1$'*>@&/,-'-./0'1-'-,1%)-'*)'$%5,-=',0&'7)*>$&+')&+1%#-',01,'E%*#'4+,')*"'423,'"*'0%'()'Q+,43B'3(.,RSC

Social interaction

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

U#'0&)'&87&)%&#/&='21)10'01-'5*.#3',01,'1'$1)9&'1+*.#,'*5'%#,&)1/,%*#':%,0'*,0&)'.-&)-'%-'#*,'1$:1?-'7*-%,%(&'*)'0&$75.$;'^!0&#',0&'-,.3&#,-'1)&'%#'1'-71/&',)?%#9',*'3&-%9#',0&?'*5,&#'9&,'*,0&)'-%,&'.-&)-',)?%#9',*'@*%#'%#'/*#(&)-1,%*#-=_'-0&'-1?-;'^2*+&':&)&'(&)?'%#,&)&-,&3'%#':01,',0&?':&)&'3*%#9'1#3':1#,&3',*'@*%#'%#='*,0&)-'@.-,':1#,&3',*'+1A&'-%$$?'/*++&#,-;_'

Second Life® limitations

J-':%,0' 1#?' /*+7.,&)E%#,&#-%(&' -*5,:1)&=' ,0&' +1%#'$%+%,1,%*#' *5' 2&/*#3' 4%5&6' %-' ,&/0#*$*9%/1$;' 21)10'#*,&-' ,01,' ^$*99%#9' *#' 1#3' *55' -%,&' %-' -*+&,%+&-'$(.-7#3"'.*+'!"#$,)"!&S'2,74#!,'"/,'7*69#",+'/4+$:4+,')&S.%)&+&#,-' 1#3' ,0&' #&&3' 5*)' 0%90E-7&&3' %#,&)#&,'1//&--' /1#' >&' +%--%#9' *#' 0*+&' *)' *$3&)' /1+7.-'+1/0%#&-;'

J33%,%*#1$$?=' 1-' 1' /*+7.,&)' 9&#&)1,&3':*)$3=' 21)10'&87$1%#-' ,01,'2&/*#3'4%5&6' !#..,+!' .+*6'4)'4+"(-7(43'1&-,0&,%/',01,'+1A&-'3&-%9#-'$**A'3&,1/0&3'5)*+',0&')&1$' :*)$3`' ^B0&' 5&1,.)&-' 1)&' -*+&,%+&-' ,**' -$%/A'$**A%#9='9%(%#9'1'K5&&$L',01,'%,L-'#*,'1'K)&1$L'-%,&=_'-0&'-1?-;''^W*)'&81+7$&='U'9*,',0&'2&8'X%-,*$-',E-0%),'1#3'/.,'*55'@&1#-'>.,'+?'01%)'-,%$$'3*&-#L,'$**A'+&--?&#*.90=' -*' ,0&' 7&)-*#1' %-' #*,' )%90,;' B0&' K$**AL' *5'2&/*#3'4%5&6'3*&-'#&&3',*'%+7)*(&;_'

Second Life® lends itself verywell to the subject matterof interior design.

Avatars’ ability to fly makesthe space feel more like a game.

Future developments

!%,0' ,0&' %#%,%1$' (%),.1$' :*)$3' &87&)%+&#,' *(&)=':%$$' ,0&' U#,&)%*)' H&-%9#' ,&1+' %#/)&1-&' ,0&%)' .-&' *5'2&/*#3'4%5&6'%#',0&'#&8,'1/13&+%/'?&1)g'!0&#'1-A&3':0&,0&)' -0&' ,0%#A-' ,0&' .-&' *5' 2&/*#3' 4%5&6' 01-' -*'51)'>&&#'1' -.//&--='21)10' )&7$%&-'/1)&5.$$?='>.,':%,0'7*)-$,)7,T' EU,!&':,' 4+,' !"4+"()5' "*' 5,"' !*6,:/,+,':%,0'%,;'!*)A%#9'%#'71%)-'%-'#*:'9*%#9',*'>&'1'4&(&$'?':*+>!/*9CS'F)'+,.,+,)7,'"*'"/,':*+>'#)$,+"4>,)'2%'/.))&#,'4&(&$'F'-,.3&#,-='-0&'133-`'^b&8,'?&1)='4&(&$'F'%-'9*%#9',*':*)A'*#'>.%$3%#9'1'/*++.#%,?'$%#A%#9'247>' "*' =,8,3' ?' !"#$,)"!&' :/*':(33' #!,' "/,' ()",+(*+'-71/&-' ,*' $**A' 1,' 3%55&)&#,' -,?$&-' :%,0%#' &1/0' ,%+&'7&)%*3;'O&)&=',0&?':%$$'>&'1>$&',*'-*.)/&'1#3'3&-%9#'7&)%*3')**+-'1-'1'(%-.1$'1%3',*',0&'0%-,*)?'$&/,.)&-;_

J-' :&$$' 1-' %#/)&1-%#9' ,0&' .-&' *5' 2&/*#3' 4%5&6' ,*',&1/0' U#,&)%*)' H&-%9#=' 21)10' %-' 1$-*' 0*7&5.$' ,01,'*,0&)'T#%(&)-%,?'/*.)-&-':%$$'13*7,',0&'(%),.1$':*)$3'7$1,5*)+`' ^V*$$1>*)1,%*#' >&,:&&#' 3%55&)&#,' /*.)-&-':%,0%#'*.)'*:#'3&-%9#' -/0**$' %-' 1$-*'*#' ,0&'/1)3-=_'-0&'&87$1%#-='^&8,&#3%#9'2&/*#3'4%5&6'1-'71),'*5',0&'T#%(&)-%,?'#&,:*)A':*.$3'>&'1'7*-%,%(&'&87&)%&#/&'5*)',0&'-,.3&#,'9)*.7='1#3'5*)'-,155;_

Collaboration betweendifferent courses is on the cards.

Second Life® interior design tips

New to Second Life®, but want to try your hand at virtual interior design? Take a look at our top five tips for designing in an online world.

1) Combine the basic 3D building blocks of Second Life® – known as 'prims' – with detailed textures to create more natural looking objects. Careful use of shading can give the impression of ruffled fabric and make dull, blocky furniture come to life.

2) Second Life® is not real life, and the constraints and restrictions of the physical world need not apply: you don’t necessarily need stairs to reach the second floor, and you don’t need a roof to keep out the weather. The only limitation to what you can design is your imagination.

3) Use 3D modelling software to import more detailed models into Second Life®. This will help create more organic looking furniture and objects; however, as they are more detailed, they may take longer to load!

4) Remember, you don’t need to create every accessory, texture and piece of furniture yourself. Second Life® has a vibrant economy which includes a number of interior design shops that sell an assortment of stylish items.

5) Make use of the Second Life® community to improve your designs. Explore the virtual environment for inspiration, or hold an event or exhibition to attract users to your designs to receive constructive feedback on your work.



With the meteoric rise of social networking websites

such as MySpaceTM, musicians have had to embrace the

internet as a promotional tool. Digital Music students

at Southampton Solent University have discovered that

Second Life® offers not only opportunities for promotion,

but also for inspiration. BA (Hons) Journalism student

Lucy Pearce reports. Bhe virtual world of Second Life® has become a new study space for many British universities. Institutions have

spent thousands of pounds setting up internet-based campuses as a teaching and learning aid for a wide range of courses. Southampton Solent University lecturer Suzie Norris – Head of School of Design and the Solent Life project – recognised the potential of cyber space in helping to teach digital music.

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

Song and dance

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

Face the music

!0%$&'#%90,/$.>-'%#'2&/*#3'4%5&6'1)&'#*,'1'#&:',0%#9='%,' %-' -,%$$' &1)$?' 31?-' 5*)' 2*$&#,' 4%5&;' X)*>$&+-' :%,0',0&' T#%(&)-%,?' #&,:*)A' +&1#,' ,01,' +.-%/' /*.$3' #*,'2,'$*:)3*4$,$'*+'#93*4$,$' ()'6*+,' "/4)'?I@!,7*)$'$**7-=' +1A%#9' %,' .#5&1-%>$&' ,*' -0*:/1-&' -,.3&#,-L':*)A'%#',0&'(%),.1$'/1+7.-'#%90,/$.>;'

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

M&)#01)3'1#3',0)&&'4&(&$'F'-,.3&#,-'D'"$%(&)'!1$-0='V0)%-'[/V.$$190'1#3'B%+'V**A&'D'/)&1,&3'1' -71/&':0%/0' ,0&?' 5&&$' )&7)&-&#,-' ,0&%)' +.-%/`' 31#/&=' 0%7E0*7' 1#3' /*#,&+7*)1)?;' <#,&)%#9' ,0&' 9)&?=' 3%#9?'&#(%)*#+&#,='1$$'?*.'/1#'0&1)'%-',0&'0.+'*5'&$&/,)%/%,?='/)&1,%#9' 1#' .)>1#=' %##&)E/%,?' 5&&$;' !1$A%#9' 1)*.#3='"/,' 4+,4' (!' .#33' *.' 4+":*+>&' 5+4.-"(&' 5+49/(7' (645,!'1#3' %#,)%9.%#9' *>@&/,-=' 1-' :&$$' 1-' ,0&' .>%S.%,*.-'K3*:#,*:#L' V0%#&-&' ,1A&1:1?;' ^"#/&' :&' >&91#'>.%$3%#9' ,0&' -71/&=' %,' >&/1+&' $%A&' 1' YH' -/)17' >**A':0%/0'%#-7%)&3'*.)'+.-%/'7)*@&/,-=_'-1?-'M&)#01)3;

Û,L-'1#'&#*)+*.-'13(1#,19&',*'9&,')&/*9#%-&3'%#'*,0&)'/*.#,)%&h-'71),%/.$1)$?'1-'1'K+%#%+1$',&/0#*'HQL;'B0&'>%99&-,' /%,%&-' 5*)' K+%#%+1$L' 1)&' M&)$%#=' V*7&#019&#'1#3'W)1#A5.),='-*'U'/1#'9&,'+?'+.-%/'0&1)3'%#',0&-&'/*.#,)%&-':%,0*.,'01(%#9',*',)1(&$;'!01,L-'+*)&='3.&',*',0&')&/&#,')%-&'%#'3*:#$*13-',0&)&L-'$&--'+*#&?'%#'7)*3./%#9'+.-%/' 1#3' 1' $*,'+*)&' %#' ,*.)%#9;' 2&/*#3'$%5&6'/*.$3'>&'1')&1$'0&$7'%#'-&/.)%#9'9%9-;_

Picture perfect

4%A&'M&)#01)3='0*:&(&)='+1#?'/*#-%3&)'2&/*#3'4%5&6',*'>&'1,'%,-'>&-,':0&)&'(%-.1$-'1)&'/*#/&)#&3;'J#*,0&)'/)&1,%(&'/*.)-&'1,',0&'T#%(&)-%,?',01,'01-'7$1?&3',*',0%-'-,)&#9,0'%-'MJ'NO*#-P'W1-0%*#':%,0'X0*,*9)170?;'

4&(&$'Y'-,.3&#,-='%#/$.3%#9'b1,01#'B1?$*)'1#3'21#3&&7'i1$-%='01(&'.-&3',0&'(%),.1$'&80%>%,%*#'-71/&'%#'2*$&#,'=(.,'"*'$(!934%'"/,(+'-)43'64P*+'9+*P,7"!C''<4)$,,9'/4!'/)&1,&3' 1' >)%90,=' 5)&-0' 1#3' /*#,&+7*)1)?' 1)&1' ,01,')&-&+>$&-'1'(%),.1$'Ui<J=':%,0'91)+&#,-'01#9%#9'*#'/$*,0&-')1%$-;'b1,01#'01-'7)*3./&3'5*.)'7*3-',01,'&1/0'0*$3'(%3&*-'1#3'%+19&-'*5'3%55&)&#,'-.>E/.$,.)&-='5)*+'K[*3-'1#3'B&33?'>*?-L',*'KU#3%&'1#3'<+*L;'

b1,01#'5&$,',01,'.-%#9'2*$&#,'4%5&',*'-0*:/1-&'0%-':*)A'+,433%'2**!",$'/(!'-)43'!#26(!!(*)C'EF':4)",$'"*'5,"'+?':*)A' %#,*' 1'3%55&)&#,'+&3%.+'1#3'2&/*#3'4%5&6':1-'7&)5&/,'5*)',01,=_'0&'-1?-;'Û,'$**A-')&1$$?'9**3'%#'1' 7*),5*$%*;'[*-,' 7&*7$&'+%90,' 01(&' 70*,*9)170-' %#'>$1/A'1#3':0%,&'*)'/*$*.)='>.,',*'1$-*'01(&'?*.)':*)A'%#'1'(%),.1$':*)$3'%-'3%55&)&#,'1#3'&?&E/1,/0%#9;_'O&'133-`''Û,'1$-*'-0*:-'U'1+'7)*9)&--%#9':%,0',&/0#*$*9?='1#3'%5'2&/*#3'4%5&6'3*&-'3&(&$*7' %#,*'1'+1@*)'>.-%#&--'-*.)/&',0&#'UL+'1$)&13?'*#',)1/A':%,0'%,;_

Great expectations

Y,!9(",'"/,'",7/)(743'$(.-7#3"(,!&'Z4"/4)':4!'93,4!,$',01,'0&'3&/%3&3',*'.-&'2*$&#,'4%5&;'O&'1$-*'*55&)-'-*+&'-.99&-,%*#-' *#' 0*:' *#$%#&' (%),.1$' :*)$3-' /*.$3' >&'%+7)*(&3':%,0%#' 0%90&)' &3./1,%*#;' Û' :*.$3' $%A&' ,*'-&&'.#%(&)-%,?'%-$1#3-'>&%#9'9)*.7&3',*9&,0&)'-*',01,'-,.3&#,-' 5)*+' 3%55&)&#,' %#-,%,.,%*#-' /1#' -01)&' %3&1-'1#3'+1A&'/*##&/,%*#-;_'

T-%#9' 2&/*#3' 4%5&6' 5*)' /)&1,%(&' /*.)-&-' -./0' 1-'W1-0%*#':%,0'X0*,*9)170?'1#3'H%9%,1$'[.-%/'&#1>$&-'-,.3&#,-',*'/)&1,&',0&%)'*:#'%#-7%)1,%*#1$'&#(%)*#+&#,-'1#3' &80%>%,%*#-=':0%/0'+%90,' >&' .#5&1-%>$&' ,*' >.%$3'()' +,43@3(.,' $#,' "*' -)4)7(43' *+' !947,' +,!"+4()"!C' V!'

M&)#01)3' -1?-`' Û#' )&1$' $%5&=' %,':*.$3' >&' %+7*--%>$&',*'/)&1,&'1#'&#(%)*#+&#,'$%A&',0&'*#&'%#'2*$&#,'4%5&;_'

M&)#01)3'%-'0177?':%,0',0&'7)*9)&--'0%-'-,.3&#,-'01(&'64$,' 4)$' (!' 7*)-$,)"' 42*#"' "/,' .#"#+,T' EFB6' +,433%'/499%':("/'"/,',)8(+*)6,)"':,B8,'7+,4",$'G'("'5(8,!'4')&1$'-&#-&'*5':01,':&L)&'3*%#9;_

2*$&#,' 4%5&' +1?' #*,' ?&,' 01(&' $%(&3' .7' ,*' -*+&'&87&/,1,%*#-' >.,' %,' 01-' &8/&&3&3' +1#?' *,0&)-;' B0&'-,.3&#,-L' $&1)#%#9' &87&)%&#/&' 01-' >&&#' &#01#/&3'>?' .#)%(1$$&3' *77*),.#%,%&-' 5*)' %#-7%)1,%*#' 1#3'7+,4"(8("%' ()' "/,' 8(+"#43':*+3$&':/(7/' (!' +,0,7",$' ()',0&%)' 1/13&+%/':*)A;'!0&#' 2*$&#,' 4%5&' 3&(&$*7-' ,*'-0*:/1-&'+.-%/',**='%,'01-',0&'7*,&#,%1$',*'>&/*+&'1',).&'0.>'5*)'&#01#/&3',&1/0%#9'1#3'$&1)#%#9'%#'3%9%,1$'+.-%/;

Breaking news

"#&'%--.&'%#'71),%/.$1)':0%/0'/*#/&)#&3'M&)#01)3':1-'0%-' -,.3&#,-L' 1771)&#,' 3%-%#,&)&-,' %#' #&:-717&)-' 1#3':*)$3'#&:-;'O&'/$1%+-`'^B0&?'@.-,'1)&#L,'%#,&)&-,&3'%#'7*$%,%/-='#&:-'*)':01,L-'9*%#9'*#'%#',0&':*)$3'D'-*+&'*5' ,0&+' 013' #&(&)' &(&#' >&&#' ,*' 4*#3*#;' U' :1#,&3',*' >)*13&#' ,0&%)' 0*)%]*#-' 1#3' 9%(&' ,0&+' 1' >&,,&)'7&)-7&/,%(&;_'

M&)#01)3' /*#/$.3&3' ,01,' 0&'+1?' >&' 1>$&' ,*' 3*' ,0%-',0)*.90' 2&/*#3' 4%5&6;' Û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

Inspired

C%-%,*)-' ,*' ,0&' 3%9%,1$' +.-%/' -71/&' %#' 2*$&#,' 4%5&':(33'-)$'4)'4+,4'$,$(74",$'"*'Y,3(4'Y,+2%!/(+,&':/*'7)*3./&3' ,0&' 3%-,%#/,%(&' -*.#3' *5'!"#$%&' 1#3' 01-')&/&#,$?'>&/*+&')&91)3&3'1-',0&'7%*#&&)'*5'&$&/,)*#%/'6#!(7C'Y,3(4':*+>,$'.*+'"/,'WW['()'"/,'?\]I!&'4'"(6,':0&#',0&'*)91#%-1,%*#'7)&5&))&3',*'A&&7'+&+>&)-'*5',0&':*)A-0*7'1#*#?+*.-'1#3'.#E/)&3%,&3='71),%/.$1)$?':*+&#;'H&-7%,&' >&%#9'*(&)-013*:&3'>?'+1#?'+1$&'+.-%/%1#-'1,',0&',%+&='M&)#01)3'1#3'0%-'-,.3&#,-'01(&'/0*-&#' ,*' )&/)&1,&' 0&)' :*)A-0*7' %#' 2*$&#,' 4%5&;' U,'/*#-%-,-'*5'1',1>$&'/*+7$&,&':%,0',17&')&/*)3&)'1#3'1'9)&&#'$1+7=':0%/0'H&$%1'.-&3',*'0%,'5*)'-*.#3'&55&/,-;

",0&)'71),-'*5',0&'.)>1#'-71/&'%#/$.3&'1':1$$'%#-7%)&3'>?' 1' $*/1,%*#' %#' M)%90,*#' 1#3' (1)%*.-' 7%&/&-' *5'4+":*+>'4)$'5+4.-"(&':/(7/'7*62(),'"*'7+,4",'+,43@3(.,'%#-7%)1,%*#' %#' 1' (%),.1$' -71/&;' ^B0%-' 7)*@&/,' 9*,'+?'-,.3&#,-',*'9&,'*.,',0&)&'1#3'70*,*9)170',0%#9-':0%/0',0&?'/*.$3',0&#'7.,'%#,*'*.)'2*$&#,'4%5&'&80%>%,%*#',*'.-&' $1,&)' 5*)' %#-7%)1,%*#;' J$)&13?=' %,L-' 155&/,&3' ,0&%)'+.-%/'1#3'7*$%,%/1$'1:1)&#&--;_

Space to think<"#$,)"' ;(6' [**>,' -)$!' "/,' ,)8(+*)6,)"' +,433%'%#,&)&-,%#9`' ^B0&' 51/,' ,01,' ?*.' /1#' /)&1,&' ?*.)' *:#'-71/&' 1#3' 3&-%9#' %,' 0*:&(&)' ?*.' :%-0' %-' 7)&,,?'1+1]%#9;'U,L-'1$-*'9)&1,',*'>&'1>$&',*'%#(%,&'7&*7$&'%#,*',01,'-71/&'1#3'9&,',0&%)'5&&3>1/A;_'

V0)%-'[/V.$$190'133-`'̂ T-%#9',0&'2*$&#,'4%5&'/1+7.-'01-' %#-7%)&3' +?'+.-%/' >?' 1$$*:%#9' +&' ,*' >&' +*)&'&87&)%+&#,1$;_'b*,' *#$?' 01-' ,0&' 3%9%,1$'+.-%/' -71/&'0&$7&3'V0)%-' ,*'5*)+'#&:'%3&1-='>.,'0&'1$)&13?'.-&-'2&/*#3'4%5&6',*'-0*:/1-&'0%-':*)A'1#3'0*7&-',01,'0&':%$$'-**#'>&'1>$&',*'3*',0&'-1+&'%#'2*$&#,'4%5&;'

Only the beginning

!0%$&'.-%#9'2*$&#,'4%5&' 5*)'7&)5*)+%#9=' -0*:/1-%#9'1#3'#&,:*)A%#9' %-' ?&,' ,*' 5.$$?' ,1A&' *55='M&)#01)3' %-'*7,%+%-,%/' ,01,' ,0&' ,%+&':%$$'/*+&':0&#'7&)5*)+%#9'1#3' -0*:/1-%#9' +.-%/' %#' (%),.1$' :*)$3-' :%$$' >&' 1'#1,.)1$'&8,&#-%*#',*'+*)&',)13%,%*#1$'*.,$&,-;'^!01,L-'#%/&'1>*.,'2*$&#,'4%5&'%-',01,'%,L-'*#$?',0&'>&9%##%#9;'M&/1.-&' %,L-' #&:=' ,0&)&' %-' 1' $*,' *5' -71/&' 5*)' %,' ,*'%+7)*(&;_'

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

b&(&),0&$&--='+.-%/' 9%1#,-' -./0' 1-'<[U' 1)&' 1$)&13?'1/A#*:$&39%#9' ,0&' 7*,&#,%1$' *5' 2&/*#3' 4%5&6;' <[U'[.-%/' )&/&#,$?' 177*%#,&3' /*E5*.#3&)' *5'4%#3&#'41>'1#3'*#&'*5',0&'2&/*#3'4%5&6'/)&1,*)-='V*)?'"#3)&@A1='1-'2&#%*)'C%/&EX)&-%3&#,',*'3)%(&'<[UL-'3%9%,1$'-,)1,&9?;'<[U'-,1,&3',01,'0%-'.#%S.&'&87&)%&#/&'>.%$3%#9'*#$%#&'&#(%)*#+&#,-':%$$'>&'%#(1$.1>$&',*'<[U'1-'%,'/)&1,&-'#&:'3%9%,1$'/*++.#%,%&-'5*)'51#-'1#3'1),%-,-;''

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

It became like a 3D scrap book which inspired our music projects.

I wanted to get my work into a different medium and Second Life® was perfect for that.

Solent Life has inspired mymusic, allowing me to bemore experimental.


Other world libraries 18-19

A research report by two Southampton Solent University

librarians aims to challenge preconceptions about

virtual reality, and examine the creative and collaborative

potential of Second Life® as a modern academic

environment. Joseph McLaughlin reports.

2econd Life® is a daunting thing. Whilst it is easy to grasp the rationale behind fantasy-themed virtual worlds like

World of Warcraft™, it is more difficult to understand the concept of a virtual environment that offers to replicate the real world in all its mundanities. Slaying dragons and completing epic quests in Warcraft’s expansive online world sounds exciting, whereas the thought of becoming an online estate agent or virtual greengrocer in Second Life® is tedious in comparison.

[1#?':*.$3'S.%/A$?'3%-+%--',0&'.-&5.$#&--'*5'2&/*#3'4%5&6'1-'1#'&8/%,%#9='3?#1+%/'$&1)#%#9',**$'1#3'71--'("' *..' 4!' 4' $#33' 4+"(-7(43' +,@(645()()5' *.' +,43("%C'O*:&(&)=' 1' )&-&1)/0' )&7*),' >?' 2*.,01+7,*#' 2*$&#,'T#%(&)-%,?' $%>)1)%1#-' J$%-*#' !%$$%1+-' 1#3' [1)?'O.3-*#=' 1%+-' ,*'/01$$&#9&' ,0%-'(%&:'1#3' -0*:'0*:'(%),.1$')&7)&-&#,1,%*#-'*5',0&')&1$':*)$3'/1#'>&'.-&3',*'%#-7%)&'-,.3&#,-'%#'1'+*3&)#'1/13&+%/'&#(%)*#+&#,;'

Ease of orientation

B0&' )&7*),' >&%#9-' >?' ,1/A$%#9' ,0&' A&?' %--.&' 51/%#9',0&' %+7$&+&#,1,%*#' *5' 1#?' #&:' ,&/0#*$*9?`' @.-,'0*:' &1-?' %-' %,' 5*)' 7&*7$&' ,*' 1/,.1$$?' .-&g' 2&/*#3'4%5&6=' 1-' 1' (%),.1$' )&1$%,?' %#' :0%/0' .-&)-L' 1/,%*#-'1)&' /*#,)*$$&3'>?'1'A&?>*1)3'1#3'+*.-&=' ,0)*:-'.7'+1#?'*>-,1/$&-'5*)',0&'.#%#%,%1,&3;'B0&')&7*),'5*.#3'

"/4"' $#,' "*' "/(!' 4+"(-7(43' ()",+.47,&' ),:' #!,+!' *.",)'/48,'$(.-7#3"%'7*693,"()5'.4(+3%'!(693,'"4!>!'!#7/'4!':1$A%#9=' /01#9%#9' 177&1)1#/&=' /$%+>%#9' -,1%)-' 1#3'&(&#' -%,,%#9' 3*:#;' B0&-&' )&-,)%/,%*#-' 0%#3&)' 1/,%(&'94+"(7(94"(*)' 4)$' 64>,' -+!"' ,19,+(,)7,!' ()' <,7*)$'4%5&6'^71),%/.$1)$?'5).-,)1,%#9_'5*)'+1#?'.-&)-;'

U#'133%,%*#',*'$&1)#%#9'0*:',*'/*#,)*$',0&%)'1(1,1)=',0&')&7*),'1$-*'%#3%/1,&-',01,'#&:'.-&)-'+.-,'1317,',*',0&'/01#9%#9'-*/%1$'&87&/,1,%*#-'*5'1'(%),.1$':*)$3;'!0%$-,'-*+&',)13%,%*#1$'-*/%1$'#*)+-'1)&'7)&-&#,' %#'2&/*#3'4%5&6' D' 5*)' &81+7$&=' )&-7&/,%#9' 1#*,0&)L-' 7&)-*#1$'-71/&'D'+1#?')&1$'$%5&'-*/%1$'#.1#/&-'3*'#*,'&8%-,'%#'1' (%),.1$' &#(%)*#+&#,;' B0&' )&7*),' /$1%+-' ,01,' ,0&)&'1)&'+1#?' 51/,*)-':0%/0' 01(&' 1' 3%-E%#0%>%,%#9' &55&/,'*#'>&01(%*.)':%,0%#'2&/*#3'4%5&6=' -./0'1-'^)&$1,%(&'1#*#?+%,?=' ,0&' $1/A' *5' 70?-%/1$' )%-A' 1#3' ,0&' 1>%$%,?',*'&1-%$?'1$,&)'?*.)'1(1,1)L-'177&1)1#/&'1#3'9&#3&)_;'B0&-&' 51/,*)-' /*+>%#&' ,*' /)&1,&' 1' -*/%1$' -?-,&+':0&)&='5*)'&81+7$&='#*-%#9'1)*.#3'1#*,0&)L-'7)*7&),?'*)'7*),)1?%#9'1#'1(1,1)':%,0'1'3%55&)&#,'9&#3&)',*',0&'.-&)'%-'#*,'*#$?'-*/%1$$?'1//&7,1>$&='>.,'&#/*.)19&3;'

H&-7%,&' ,0&' $1)9&' 1+*.#,' *5' #&:' -A%$$-' 1' .-&)' %-')&S.%)&3',*'$&1)#=',0&')&7*),'-.99&-,-',01,'*)%&#,1,%*#':%,0%#' 2&/*#3' 4%5&6' %-' &8,)&+&$?' (1)%1>$&' 1#3' ,0&'

,%+&' #&&3&3' ,*' >&/*+&' 5.$$?' 1/S.1%#,&3' %-' &#,%)&$?'3&7&#3&#,' .7*#' ,0&' .-&)L-' 7)%*)' &87&)%&#/&' :%,0'(%),.1$' )&1$%,?;' B0&' )&7*),' 5*.#3' ,01,' .-&)-' 1$)&13?'51+%$%1)' :%,0' YH' /*+7.,&)' 91+&-' *)' ,&8,E>1-&3'(%),.1$' :*)3-' 1//$%+1,%-&' +*)&' )17%3$?' ,01#' ,0*-&':0*'1)&'#*,'D',0%-'%-'>&/1.-&'+1#?'*5',0&'%#,&)1/,%(&'-A%$$-'91%#&3',0)*.90'-./0'&87&)%&#/&'1)&',)1#-5&)1>$&',*'2&/*#3'4%5&6;'

Learning within Second Life®

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`'%#'2&/*#3'4%5&6='1'.-&)L-'1(1,1)'^-$.+7-',0&%)'0&13'1#3'-0*.$3&)-'15,&)'1'/&),1%#'7&)%*3'*5' %#1/,%(%,?_':0%/0'3)1:-' 1,,&#,%*#' ,*' 71--%(&' $&1)#&)-' 1#3' &#/*.)19&-',0&+',*'@*%#'%#'3%-/.--%*#-;'B0%-'7)*(%3&-'1#'13(1#,19&'*(&)'*,0&)'&E$&1)#%#9'51/%$%,%&-'>&/1.-&'%,'&#-.)&-',01,'1$$'-,.3&#,-'71),%/%71,&'>?')&+*(%#9',0&'1>%$%,?',*'$.)A'%#'3%-/.--%*#-':%,0*.,'/*#,)%>.,%#9;'

Social interaction within Second Life®

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

Planning Second Life® buildings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

The futureJ//*)3%#9' ,*' )&/&#,' )&-&1)/0' >?' ,0&' V&#,)&' 5*)'U#5*)+1,%*#'M&01(%*.)'1#3',0&'<(1$.1,%*#'*5'R&-&1)/0='-,.3&#,-'1)&'%#/)&1-%#9$?'-7&#3%#9'+*)&',%+&'(%-%,%#9'(%),.1$':*)$3-' ,01#' .-%#9' 70?-%/1$' $%>)1)?' )&-*.)/&-'*)',)13%,%*#1$'&3./1,%*#1$':&>-%,&-;'B0%-'%#3%/1,&-',0&'9)*:%#9'#&&3',*'&-,1>$%-0'1'-,)*#9'.#%(&)-%,?'7)&-&#/&'%#'(%),.1$':*)$3-='*5':0%/0'2&/*#3'4%5&6'%-'/.))&#,$?'1,',0&'5*)&5)*#,;'T,%$%-&3'/*))&/,$?=',0&')&7*),'-.99&-,-',01,' 2&/*#3' 4%5&6' /1#' 3&(&$*7' &E$&1)#%#9' 5)*+' 1'-,1,%/='3%-/.--%*#'>*1)3'>1-&3'7$1,5*)+'D':0%/0'/1#'/1.-&' -,.3&#,-' ,*' 5&&$' 3&,1/0&3' 1#3' 3%-/*##&/,&3'5)*+'$&1)#%#9'D',*'1'(%>)1#,'1#3'%#,&)1/,%(&'$1#3-/17&',01,'-.77*),-'-,.3&#,-'1#3'&#/*.)19&-',0&%)'-,.3%&-;

Many would pass it off as a dull artificial re-imagining of reality.

Users have a visible in-world presence which discourages passive bystanders and inspires participation.

Students are increasingly spending more time visiting virtual worlds than using physical library resources.


Virtual worlds are taking the internet by storm, but

just what will the future bring for Second Life® and

Southampton Solent University’s virtual campus?

Lucy Pearce finds out.

Second Life® OpenSim

Since the launch of Second Life® in 2003, more than one and a half million people have signed up to create an

avatar, and statistics from 2007 suggest that 10,000 people join every day. Businesses and entrepreneurs are discovering its economic potential, and higher education institutions such as Southampton Solent University are experimenting with its educational potential. But, while there is no denying the opportunities for teaching and learning in the virtual world, will Second Life® survive its rivals and its cynics?

Learning opportunities

2/&7,%/1$'*)'#*,='+*-,'19)&&',01,'2&/*#3'4%5&6'/1#'9*'1'$*#9':1?'%#'0&$7%#9'3%-,1#/&'$&1)#&)-',0)*.90',0&%)'3&9)&&;'B0&'YH'*#$%#&':*)$3'+1A&-'%,'7*--%>$&'5*)'*55E/1+7.-' -,.3&#,-' ,*' 3&(&$*7' 1' -&#-&' *5' /*++.#%,?=',01#A-' ,*' )&9.$1)' *#$%#&' /$1--)**+' %#,&)1/,%*#;'^$#74"*+!' 4+,' 43!*' -)$()5' "/4"' <,7*)$' =(.,6' %-' 1'9**3':1?' ,*' %#,)*3./&' 1#' %#,&)#1,%*#1$' 7&)-7&/,%(&;'R&>&//1' b&--*#=' 1' $&/,.)&)' %#' J+&)%/1=' ,*$3Vbb;/*+',01,'-,.3&#,-'1-'51)'1:1?'1-'i*)&1'&#919&'%#'-*+&'*5'0&)'*#$%#&'/$1--)**+'3%-/.--%*#-',01,'1)&'*7&#',*',0&'7.>$%/;

U,'%-'1$-*'.#3&#%1>$&',01,'-,.3&#,-'/1#'1/0%&(&',0%#9-'%#'2&/*#3'4%5&6',01,',0&?':*.$3#L,'#*)+1$$?'>&'1>$&',*'%#'K)&1$'$%5&L̀ '-*+&'.#%(&)-%,%&-'.-&'2&/*#3'4%5&6',*',)423,'-36'4)$'6,$(4'!"#$,)"!'"*'/*3$'-36'.,!"(843!'1#3' -0*:/1-&' ,0&%)' :*)A' ,*' 1' 7*,&#,%1$$?' +1--%(&'9$*>1$'1.3%&#/&;

H4)7/,!",+'H,"+*9*3("4)'_)(8,+!("%':(33'2,'"/,'-+!"',*').#'1$+*-,'1#'&#,%)&'3&9)&&'/*.)-&',0)*.90'2&/*#3'4%5&6;'X)1/,%/&'V**)3%#1,*)' 5*)' ,0&'MJ' NO*#-P'W%$+'1#3'[&3%1'/*.)-&='X1.$'M**,0='%-'*7,%+%-,%/'1>*.,',0&'5.,.)&'*5'-./0'(%),.1$':*)$3-':%,0%#'0%90&)'&3./1,%*#;'^2&/*#3'4%5&6':*)A-')&1$$?':&$$='#*,'*#$?'5*)'3%-,1#/&'$&1)#%#9='>.,'&S.1$$?':%,0%#',0&'/$1--)**+'-%,.1,%*#=_'0&' -1?-;' ^2*+&,0%#9' $%A&'jGk'*5'.#%(&)-%,%&-' %#' ,0&'Ti'1)&'-*+&0*:'%#(*$(&3'%#'2&/*#3'4%5&6;_

War of the worlds

!0%$&'2&/*#3'4%5&6'%-',0&'7)&3*+%#1#,'(%),.1$':*)$3'.-&3' >?' Ti' 1/13&+%1=' ,0&)&' 1)&' 7$&#,?' *5' -%+%$1)'&#(%)*#+&#,-' ,01,' /*.$3' >&' .-&3' 5*)' &3./1,%*#1$'7.)7*-&-;

21)10' R*>>%#-' *5' M1$$' 2,1,&' T#%(&)-%,?' )&/&#,$?')&$&1-&3' 1' /*+71)1,%(&' /01),' $%-,%#9' +*)&' ,01#' lG'(%),.1$':*)$3-='%#/$.3%#9'"7&#2%+.$1,*)f'N"7&#2%+P='

B0&)&f=' J/,%(&' !*)$3-f' 1#3' [.-&f=' +1#?' *5':0%/0'01(&'-*+&'A%#3'*5'&3./1,%*#1$'7*,&#,%1$?' ;'"5'1$$' ,0&-&' 1$,&)#1,%(&' 7$1,5*)+-=' ,0&' >%99&-,' K>.]]L' %#',0&'Ti'1/13&+%/'(%),.1$':*)$3'/*++.#%,?'/*#/&)#-'"7&#2%+='?&,'+*-,'.#%(&)-%,%&-'-,%$$'/0**-&',*'.-&'%,'%#',1#3&+':%,0'2&/*#3'4%5&6;'J),'1#3'H&-%9#'-,.3&#,-'1,'4&&3-'[&,)*7*$%,1#'T#%(&)-%,?=' 5*)'&81+7$&='01(&'1#' %#%,%1$' 7)*@&/,' :0%/0' .-&-' +1%#$?' "7&#2%+=' >.,'%-' 5*$$*:&3'>?'1'+*)&' %#,&#-&=' ,0*.90'-+1$$&)E-/1$&='.#3&),1A%#9'%#'2&/*#3'4%5&6;'''

X1.$'M**,0'>&$%&(&-',01,=':0%$&'"7&#2%+'1#3'2&/*#3'4%5&6' 1)&' &--&#,%1$$?' (&)?' -%+%$1)=' ,0&' $1,,&)' :%$$'.$,%+1,&$?'/*+&'*.,'*#',*7`'Û',0%#A'2&/*#3'4%5&6'%-',0&'>&-,;'"7&#2%+'/*.$3'7)*>1>$?'3*' ,0&' -1+&' @*>='>.,'2&/*#3'4%5&6' %-' @.-,'+*)&'7*7.$1);_'O&'133-`'Û':*.$3#L,'-1?',01,'*#&'%-'>&,,&)',01#',0&'*,0&)'>&/1.-&',0&)&' 1)&' 3%55&)&#/&-=' >.,' UL+' (&)?' *7,%+%-,%/' 1>*.,'2&/*#3'4%5&6='71),%/.$1)$?'%#'0%90&)'&3./1,%*#;_

J#' 1/13&+%/' 3&(&$*7&)' A&&7%#9' 1' :1,/05.$' &?&' *#',0&-&' (%),.1$' &#(%)*#+&#,-' -1%3' %#' 1' )&/&#,' )&7*),'>?' <#3.-&)(`' Û' 7&)-*#1$$?' 3*.>,' ,01,' "7&#2%+='-,1#31$*#&'*)'#&,:*)A&3=':%$$'>&'5&1-%>$&'5*)'.-'1-'1')&7$1/&+&#,'5*)'2&/*#3'4%5&f'%#',0&'#&8,'1/13&+%/'?&1);_F

M.,':01,'1>*.,'(%),.1$':*)$3-',01,'1)&'?&,',*'/*+&g'Û,'+1?'*#$?'>&'1'+1,,&)'*5',%+&'>&5*)&'-*+&,0%#9'&$-&'/*+&-'1$*#9'1#3',1A&-'*(&)=_'-1?-'X1.$;'^M.,'7&*7$&'01(&'+13&',0&'+*-,'%#(&-,+&#,'%#'2&/*#3'4%5&6'1#3'-*'%,'%-'.#$%A&$?',0&?':%$$'-%+7$?'-,*7'.-%#9'%,;_

Popularity contest

X1.$L-' +1%#' /*#/&)#' 1>*.,' 2&/*#3' 4%5&6' :%,0%#'&3./1,%*#' %-' ,01,' %,' %-' #*,' ?&,' 0.9&$?' 7*7.$1)' :%,0'-,.3&#,-' 1#3' 5*)' +./0' *5' ,0&' ,%+&' /1+7.-&-' 1)&'&+7,?;'^!%,0'W1/&>**Af='+1#?'-,.3&#,-'1)&')&$./,1#,'5*)' ,&1/0&)-' ,*' >&/*+&' %#(*$(&3' %#' 5*)+%#9' 9)*.7-',*' 1%3' /*++.#%/1,%*#' >&/1.-&' ,0&?' -&&' %,' 1-' ,0&%)'K7)%(1,&'-71/&L=_'0&'&87$1%#-;'^W*)',0*-&':0*'

Statistics suggest that 10,000 people join Second Life®

every day.

Second Life® works really well, not only for distance learning, but also within the classroom.

Something like 80% of universities in the UK are somehow involved in Second Life®.

1)&'51+%$%1)':%,0'(%),.1$':*)$3-='7&)017-',0%-'%-'0*:',0&?' 5&&$' 1>*.,' 2&/*#3'4%5&6;'B0&)&' 1)&' 1$-*' -15&,?'/*#/&)#-`'7&*7$&'/1#'7)&,&#3' ,*'>&'-*+&*#&' ,0&?L)&'#*,;'M.,',0&)&L-'1':1?'1)*.#3'>*,0'*5',0&-&='&#/$*-%#9'%-$1#3-',*'+1A&',0&+'+*)&'7)%(1,&'1#3'+1A%#9',0&+'71--:*)3'7)*,&/,&3='5*)'&81+7$&;_

W*)' ,0*-&' -,.3&#,-':0*'1)&'#*,' %#,&)&-,&3' %#'(%),.1$':*)$3-' 1$,*9&,0&)=' X1.$' 13+%,-' ,0&' )&1-*#' +1?' >&'>&/1.-&'%,L-'-&&#'1-',0&')&-&)(&'*5'/*+7.,&)'K9&&A-L̀ '^M.,' ,0&#'1#?'#&:',&/0#*$*9?'%-'-&&#'1-'9&&A?=_'0&'!4%!C' ^8,)' :/,)' ",3,8(!(*)' 2+*4$74!"()5' :4!' -+!"'$1.#/0&3' ,0&)&' :&)&' /?#%/-' D' !%#-,*#' V0.)/0%$$')&5.-&3' ,*' 9%(&' 1' ,&$&(%-&3' %#,&)(%&:' 3.)%#9' 0%-'"(6,'()'*.-7,C'ED,*93,'4+,'!*6,"(6,!'4.+4($'*.'),:',&/0#*$*9?='>.,'%,':%$$'@.-,',1A&',%+&'5*)',0*-&'7&*7$&',*'9&,'.-&3',*'%,=_'-1?-'X1.$;'

B*'9&,'1)*.#3',0&'%--.&-='X1.$'-.99&-,-',01,'.#%(&)-%,%&-'-0*.$3' +1A&' ,0&%)' (%),.1$' /1+7.-' $**A' /*+7$&,&$?'3%55&)&#,' ,*' )&1$E$%5&' >.%$3%#9-=' 1#3' $&,' 1)/0%,&/,.)1$'$,!(5)'+,0,7"'"/,'3,4+)()5'*#"7*6,!C'<*3,)"'_)(8,+!("%'

01-='$%A&'[1#/0&-,&)'[&,)*7*$%,1#'T#%(&)-%,?=':*)A&3'01)3',*'&#-.)&',0%-;'O*7&5.$$?='*#/&'-,.3&#,-'9&,',0&%)'0&13-' 1)*.#3' ,0&' %3&1=' ,0%-':%$$' &#/*.)19&' ,0&+' ,*'&87$*)&',0&'#&:'1#3'&8/%,%#9'&#(%)*#+&#,;'

U,'177&1)-',01,'+1#?'/*+7.,%#9'&87&),-'1#3'1/13&+%/-'19)&&' ,01,' ,0&)&' %-' 0.9&' 7*,&#,%1$' %#' .-%#9' 2&/*#3'4%5&6'5*)'0%90&)'&3./1,%*#'1#3',01,'%,'%-'.#$%A&$?',*'>&'>&1,&#'>?'&8%-,%#9')%(1$-'*)',0*-&':0*'1)&'?&,',*'/*+&;'M?'7%*#&&)%#9'1'/)&1,%(&'1#3'&#919%#9'2&/*#3'4%5&6'/1+7.-='%,'-&&+-',01,'2*.,01+7,*#'2*$&#,'T#%(&)-%,?'%-':&$$E7$1/&3'1#3'>&,,&)'7)&71)&3'5*)',0&',%+&':0&#'-,.3&#,-' %#&(%,1>$?' 9&,' 1//.-,*+&3' ,*' ,0&' %3&1' *5'$&1)#%#9'%#',0&'(%),.1$':*)$3

Second Life® OpenSim

There are more than 70 virtual worlds, many of which have some kind of educational potential.

1 Robbins S, 2009, Virtual Worlds Facet Study, [online], http://tinyurl.com/baplzf [accessed 9 July 2009].

2 Kirriemur J, 2009, Spring 2009 snapshot of virtual world use in UK further and higher education, [online], www.eduserv.org.uk/research/sl/uksnapshot022009.aspx [accessed 9 July 2009]


The Solent Life journey: Part I 24-25

Like any expedition into the unknown, a research journey

can be long and challenging, with uncertain rewards.

Despite some false starts, the Solent Life project has

forged forward, evolving and maturing since its launch.

Research Assistant and Project Co ordinator Imelda

Byrne considers the prospects of this pioneering

pedagogic expedition into the virtual world.

I joined the Solent Life project team in May 2008 to help with the research and to keep the project moving forward in the face of the

enormous business-as-usual demands on the rest of the team members from their academic and management roles within the School of Design.

F"' /4!' 2,,)' 4)' ()",+,!"()5' ?]' 6*)"/!C' F' >),:' 4' 3(""3,'1>*.,' 2&/*#3' 4%5&6' 5)*+' )&/)&1,%*#1$' .-&;' [?' )&/&#,'>1/A9)*.#3'013'>&&#'%#'7)*@&/,'+1#19&+&#,'%#')&$1,%*#'"*' "/,' $,8,3*96,)"' *.' F;' `#43(-74"(*)!' 4)$' F' /48,' 4'+1-,&)L-'3&9)&&'%#'/*+7.,&)E>1-&3'%#5*)+1,%*#'-?-,&+-;'U'/*.$3'-&&',0&'7*,&#,%1$'*5'2&/*#3'4%5&6'1#3'*,0&)'#*#E91+&'(%),.1$':*)$3-',*'>&/*+&'+1@*)'7$1?&)-'%#'-017%#9',0&'#&8,'9&#&)1,%*#':&>=':01,'-*+&'/1$$'!&>'Y;G'D'#*,'@.-,' %#,&)1/,%(&'1#3'-01)&3'N!&>'F;GP'>.,' )&1$E,%+&'1#3'/*$$1>*)1,%(&=' :%,0' YH' 1#3' 1(1,1)' 19&#/?' 133%#9' 1#'&$&+&#,'*5'7)&-&#/&'1#3'%3&#,%,?':0%/0'7-?/0*$*9%/1$$?'+1A&'*#&L-'&87&)%&#/&'*5'%,'(&)?'K)&1$L;

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

B0&'1%+'*5' ,0&'2*$&#,'4%5&'7)*@&/,' %-' ,*'7)&71)&' 5*)',0&'5.,.)&'>?'&87&)%+&#,%#9'#*:':%,0',0%-'&+&)9&#,',&/0#*$*9?'1#3'&87$*)%#9' %,-'7*,&#,%1$' 1-' 1' ,&1/0%#9'1#3'$&1)#%#9',**$='*#&',01,'>*,0'&#01#/&-',0&',&1/0%#9'1#3' $&1)#%#9' &87&)%&#/&' 1#3' -.//&&3-' %#' &#919%#9':%,0' #&8,' 9&#&)1,%*#' $&1)#&)-' ,0)*.90' )&/*9#%-%#9',0&%)' &8%-,%#9' -A%$$-' 1#3'-1(*%)' 51%)&':%,0' %#,&)1/,%(&'/*$$1>*)1,%(&',&/0#*$*9?;

J'-+1$$'>&9%##%#9'01-'>&&#'+13&'3.)%#9',0&'$%5&'*5',0&'7)*@&/,'-*'51);'B0&)&'01(&'>&&#'%#&(%,1>$&',&/0#%/1$'7)*>$&+-='+1#?' *5':0%/0' 01(&' >&&#' )&-*$(&3' 1$*#9'"/,':4%&' 7*)-+6()5' "/4"' ",7/)(743' 9+*23,6!' !/*#3$'#&(&)'>&'1$$*:&3',*'-,1#3'%#',0&':1?'*5',0&'3)&1+;'

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

Solent Life exploits the capacity of a virtual world to be fun and fantastical yet still recognisable.

We have learned a huge amount about the possibilities and limitations of the medium.

Real Life Second Life®: Blurring the teacher-learner relationship

Head of the School of Design, Suzie Norris (Lulu); Academic Leader, Teaching,Learning & Recruitment, Lisa Mann (Enigma) – Southampton Solent University.

Abstract

The authors, aka ‘Enigma’ and ‘Lulu’, have identified opportunities to explore new teaching practice and methodologies within the virtual learning environment. Both authors are academics within the School of Design and are embarking on developing a virtual fashion and lifestyle university within a virtual environment, promoting early adoption and integration of e-learning and the virtual learning environment (VLE) into the curriculum.

Both authors have recognised the growth and popularity of virtual societies and the addictive nature of becoming a Resident in such a world. Online virtual worlds present much more than just gaming opportunities, with the potential for teaching and learning development and collaborative social integration to come together. This potential has yet to be fully explored, particularly in the creative industries, which has led the authors to consider and identify contemporary learners and learning relationships. The purpose of this paper is to identify new and emerging ‘learner types’ within the specific subject disciplines of fashion and lifestyle. Academic communities need to understand and embrace the ‘next generation learner’, and question how the future student may ‘look’ and how they might learn or even want to learn. An emerging trend for pedagogic practice within the VLE is evident. New learner types will be identified through investigation of student and staff perceptions, and the varying approaches to teaching and learning relationships. Cultural triangulation maps lifestyle influences, ethnographic swings and accessibility via technological influences.

Students engage readily with online resources where participation is key, including Moodle™ and Blackboard™, and the wider appeal of MySpace™ and Facebook™. All of these encourage a sense of collaboration and community which now needs to be embraced through teaching and learning practice.

Introduction

Virtual worlds in existence: MUVEs (Multi-User Virtual Environments) There™ Kaneva™ Playstation Home™ Football Superstars™ Habbo™ – A social learning world aimed at 13-16 year olds with around 100 million registered users. Second Life™ - A social networking world aimed at adults with around 15 million registered users worldwide. A world where adults network, build and create their own virtual environments. Whyville™ – A social learning world aimed at 8-15 year olds with around four million registered users. ActiveWorlds™ HiPiHi™ Gaia Online™

These statistics highlight how we can begin to predict the huge boom that is yet to hit our traditional world. The 13-16 year old markets are currently accounting for the largest proportion globally of users of virtual world environments, more than all the users of the ‘adult’ worlds put together! In 2007, UCAS (University Central Admissions Service, UK) launched a virtual island in Second Life® to assist applicants through the Clearing system. The island aims to be a recreational space; an open-air festival feel is achieved where unsigned bands play music to help applicants relax. The onset of the ‘A-Tech (academic technology) revolution’ is now broadening the learning and

“Another recent trend is the shift from focusing on the organisation and provision of learning content to how learning activities are planned and delivered.” (Christina Smart, 2005)

teaching opportunities for staff and students from a broad global perspective. The VLE narrows the gap between old-school academia and the new ‘techno plug 'n' play’ generation and is about to transform the way we all disseminate and consume knowledge. Active learning is the key. “Participation in the A-Tech revolution is not an option but a matter of urgent need,” (Professor John Rees, Southampton Solent University, 2008). The world we live in is going through a cultural transformation which is embracing the ‘social meta-verse’, where social collaboration, sensory perceptions, interconnectivity and experiential (active) life-long learning are key to stimulating development of new and innovative pedagogic practice via advanced tools of communication. Web 2.0 media is about recognising interactivity and richer engagement; a two-way channel of communication through blogs, wikis, forums and social networking sites, which thrives on accessible user interfaces such as Facebook™, Bebo™, YouTube™ and eBay™. The virtual learning arena provides educators with a platform for scenario building, role-play, experimentation and simulation, encouraging collaborative and interactive learning activities in a socially inclusive environment. Students are able to learn within a community-led environment where they can interact with people from a diverse range of cultural, social and geographical settings with no perceived barriers. Colm O’Brien of IBM comments on how virtual worlds are assisting this idea of inclusion: “IBM believes that virtual worlds are going to be the next big evolution of the web and if this happens it is not right for blind people to be missing out on what the rest of us have available” (Colm O’Brien, 2007).

Recognising the ‘virtual u’

Methodologies used by the fashion forecasting and trend prediction industries, lifestyle consumer and advertising agencies, adopt a ‘crystal ball’ approach to estimation and demand planning which then triangulates across social change, lifestyle influences and new media technologies. Introducing and

“Just look at Global Kids. They’re overcoming the digital divide.” (Sarah Robbins, 2007)

28-29

implementing these research methodologies from a pedagogic perspective has led to interpretation and investigation of how new and emerging learner types may look.

The ‘virtual u’ describes the importance of ‘self’ and applies to the fusing of both teacher and learner: a learner-controlled environment offering a truly blended approach to learner engagement. The virtual U fits with the ‘lifestyle pleasure’ mix where social confidence and inter-reality can be what the learner wants it to be. Martin Raymond of Futurelab talks of the future generations – the ‘Slash/Slash Generation’ and the new ‘Mass Affluents’ – in its Spring 2008 Trend Briefing paper:

“The Slash/Slash Generation – Perhaps one of the most influential and culturally savvy youth groups ever! They don’t just design clothes but style, DJ, present and act and have no qualms about putting their image ‘out there’… New Mass Affluents – The UK’s dominant masstige consumers are among our highest earners, with salaries upwards of £70k. NMAs are protective of their wealth and place increasingly high emphasis on value, service and a one-to-one approach.” (Martin Raymond, 2008)

Multiple triangulation

Primary research into teens, student and academic perceptions provides the underpinning evidence that suggests these early predictions of the value of experiential and active learning within a virtual environment are the subject for current topical debate. No longer is knowledge a one-way street, nor information mutually exclusive to the ‘teacher’. Do educators need to provide visible value if they are to be valued?

Marc Prensky (2001) writes: “Our students have changed radically. Today’s students are no longer the people our educational system was designed to teach.” Jessica Pykett and Tash Lee (2007) of Futurelab, write: “Steve Moss, Assistant Education Director for Partnerships for Schools and responsible for the Building Schools of the Future Programme in the UK, at Futurelab’s ‘Spaces, Places and Future Learning’ conference, November 2006 spoke of ‘the need in the 21st century learning environment to blend physical and virtual spaces’. Steve argued that ‘technology could not be seen as a panacea for educational problems’ and emphasis should be placed on ‘reconceptualising pedagogy from an imaginative and questioning position’.”

Exploring the potential of the ‘A-Tech revolution’

To investigate the notion of what a ‘new learner type’ might begin to look like, a small research study of 13–16-year-olds, final-year undergraduate students and academics involved in teaching was carried out by way of a questionnaire, titled Learning in a Virtual World. A. When asked how they enjoy learning,the students valued active and experiential learning, ie ‘learning by doing’. Interaction with peers/teachers and visual learning were also of great importance.

“Doing something active, being able to experiment and try things out yourself.” “I enjoy visual learning and learning through doing.” “Interacting with lecturer and peers in small groups.”

B. When asked how students learn best, the contrast in answers highlighted the differences in perception between academics and students (figure 1). 41.7% of students felt that interacting with the lecturer was most important, whereas only 33.3% of academics felt this to be the case. A further contrast can be found in the area of group discussion, where only 12.5% of academic teachers felt students learn best in this way, whereas 25% of students felt it was an important way of learning. Both academic teachers and students acknowledge that listening to lectures is not the way students learn best.

Academic Teacher

Percentage ResponsesListening to lectures 0 0Interacting with lecturer 33.3 8Interacting with Peers 16.7 4Group discussion 12.5 3Other 37.5 9

Total responses 24

Student

Percentage ResponsesListening to lectures 5.6 2Interacting with lecturer 41.7 15Interacting with Peers 13.9 5Group discussion 25.0 9Other 13.9 5

Total responses 36

Figure 1. How do you think students learn best?

C. Students were asked who they consider to be most important to discuss their learning and ideas with. 69.4% said that their lecturer was the most important. This was followed by industry professionals and then by peers. The academic teachers, by contrast, placed the lecturer first at 41.7% and peers at 29.2%; they did not mention industry professionals.

“Tutors are important when it comes to discussing ideas. If they can support my ideas it gives me confidences in my creative ability.” “Lecturers can help aid and develop your ideas.” “Other students have a lot to share.”

D. Research indicates that around 78% of students think that computer gaming and social networking could be used to help their learning (figure 2). Examples were given highlighting the value of social networking as a learning and communication tool.

“Second Life™ and Facebook™ give students a chance to interact about projects and fashion ... you can talk to people you would not necessarily see every day and meet new people who are studying similar subjects and you can discuss ideas and courses.” “By sharing knowledge and discussing ideas.” “Social networking can help students to be more confident and open to chat with people, this will help their communication skills. It will also help them network future purposes. Computer gaming helps others to communicate in a relaxed enjoyable environment.”

70% of academic teachers agreed with the students questioned, but within the commentary, the academic teachers were more cautious of the learning activities and methodologies. This indicates that academic teachers may be slower to embrace the learning potential, benefits and uses of these new media interfaces.

“It’s a fashion and should only be used to complement learning.” “Too much fun within the classroom environment can cause the students to think it was a bit of fun, students may lose interest, course would lose reputation with regard to teaching.” “It’s a fashion and is not sustainable. Facebook™ is great but you get bored with it. Plus, you always have to be on a computer to participate.”

We, as academics, need to consider the importance of ‘now’ as this evidence needs to be recognised and used to implement change as the A-Tech generation (HABBO™: 13-16yrs) will soon be upon us.

E. The results from our research highlight the trend towards ‘open learning’ and ‘fexible learning’ (figure 3). Sharing and reflecting with self and others and the flexibility to learn any time, any place prove to be the most popular learning methods. We are two years away from the A-Tech generation (HABBO™: 13-16yrs) entering UK higher education, when ‘en

Figure 2. Do you think that computer gaming and social networking could be used tohelp your learning?

YES77.78%

NO22.22%

YES

NO

30-31

mass’ the use of new virtual technologies will be an assumed part of the learning mix.

A. Use of technology now! (selfish learner) B. Flexibility to learn any time any place (casual learner) C. Sharing/reflecting with self and others (open learner) D. Other

F. When asked ‘What does ‘learning in a new world’ mean to you?’, the commentary from undergraduate students illustrated that some are already beginning to foresee the benefits of change and integration of new technologies within the curriculum. “I would think it is a new way of learning, to help students find the best and most comfortable way of studying.” “Understanding and adapting to new technology and a new way of life – accepting change.” “Being faced with something totally new, which may mean different learning techniques and methods.”

The A-tech Generation – identified learner types

We have identified three main learner types that reflect characteristics of future learners: the Techno Plug ‘n’ Play (Selfish Learner), the Free Range Learner (Casual Learner), and the Wiki Worlder (Open Learner). The common denominator of all three is that they are all users of Phase 4 media technologies. We are in a world where this A-Tech Generation has grown accustomed to living in an experiential, dynamic and wireless world where real-time hyper-connectivity and mixed reality is the norm. The A-Tech Generation will see their learning as a multi-dimensional process that involves them in a range of learning situations; enterprise will be a recognised skill.

New learner types – Attributes

Techno Plug ‘n’ Play Generation (Selfish Learner): This learner has their finger on the pulse, they know what they want and they want it now. Their global perspective on life forms an intrinsic part of the lifestyle they choose to lead. Their ‘techno’ genes ensures they are ‘switched on’ 24/7, showing ‘spod’-like characteristics as and when it suits them. They spend quality time in their ‘spod pit’ cruising the net, unwittingly becoming a compulsive hoarder of useful and useless information. This ‘surface’ approach mixes routine daily living with the dynamic capabilities of web 2.0 media and the immersive environments of virtual worlds.

The immediacy of these interfaces appeal particularly to the ‘Plug ‘n’ Play’ learner. Importance is placed on social networking to form part of the vehicle to assist in the learning process, an expansion of collaborative opportunities, where there are no global limitations. Everything has to be easy; the quicker the better – if not yesterday! This tech savvy generation has no patience for yesterday’s technologies. Only the latest gadgets will do and they must work and fit expectation; if not, they are unceremoniously dumped. They fast-forward to the next ultimate entertainment tool to feed their impatient hunger for the next big thing. Learning must be entertaining, fast, fun, valuable and rewarding.

Connectivity Interactivity Global thinkers Immediacy Exposure Freedom Networking (own terms) Insular/own world Currency

The Free Range Learner (Casual Learner): Serious players in the learning world, where a personal and bespoke learning journey is a priority. They schedule their daily lives and activities around managing their aspirations and personal learning portfolio. They are in tune with their strengths and limitations. A skilled thinker, they research and invent as they go along in their busy schedule, seeking guidance on a ‘need to know’ basis. They are a self sufficient learner and graze enough information to keep the knowledge bank topped up.

Figure 3. As a learner what is most important to you?

This free range approach allows them to set their own learning limits and negotiate from an individual perspective how to stay on track with their personal expectations. This learner thrives on a range of learning situations where personal preference blends the academic environment, the workplace and community, which allows alignment with their lifestyle ambitions. This also reflects the ‘any time, any place’ mentality, where time has no boundaries and allows for ultimate efficiency. The technologies utilised by this learner include gaming, pod-casting, social networks and blogs, which are used in a measured way and to enhance and merge the real and virtual worlds with real-life connectivity. Personal time management is key, and blended opportunities blur the boundaries of where lifestyle stops and learning starts. The experiential nature of this rich environment is blended to a point so far as to become a second reality to the casual learner.

Flexibility Blended Inclusion Timeless (any time, any place) No boundaries Debate Second reality Ability to switch on and off Grazers Efficient

Wiki Worlders – By Learners for Learners (Open Source Learner): A knowledge driven learner who thrives on absorbing knowledge within an environment saturated with like-minded learners. Live-streaming media, webcasts, blogs, social networks and wikis are everyday tools for these learners, used for recording their lives, creating experiences, self promotion and to encourage the involvement of others.

They are part of the advanced knowledge economy: consumers of knowledge from the day they are born, and producers of knowledge from the moment they are able. These learners are now credible, enterprising individuals and stakeholders in the new knowledge exchange.

They thrive on interaction and participation with like-minded people and openly participate in debate and discussion to evolve ideas, create and invent with limitless potential. This non-centred approach to life-long learning provides unlimited sharing opportunities, and a generous ethos that becomes embedded in the thinking of the open learner. They are information gatherers, a thinking learner keen to adopt new ideas and seek change at the earliest opportunity. The wiki worlder is like a knowledge tree, a stakeholder in the future world, continually

absorbing, growing and spreading new knowledge and emergent themes because learning is ‘for learners by learners’ and must be participatory, experiential and inclusive.

Dissemination Participation Knowledge exchange Producers of knowledge Consumers of knowledge Collective Evolving Currency Non-centred Generous Ability to reflect with self and others Willingness to ask and answer Peer to peer

These identified new learners have some characteristics that blend across all types, all are accustomed to using Phase 4 media technologies, using these for their learning is ‘obvious’ to them. This is not, however, obvious to the current generation of academics. More emphasis is needed to break down the barriers and limitations that are thrown up by skills shortages, a blinkered view of innovative pedagogic practice and a lack of willingness to embrace this.

The social metaverse

The social metaverse provides opportunities to create: virtual spaces incarnate as lecture theatres, cinema, galleries, auditorium, performance stages and catwalks; areas for display, design, build, filmmaking, and workshop facilitation; role-play scenarios; social spaces; virtual exchange programmes; buy, sell and trade centres (IPR – real economies!); learning

C58.33%

D11.11%

B27.78%

A2.78%

A. Use of technology now! (selfish learner)

B. Flexibility to learn any time any place (casual learner)

C. Sharing/reflecting with self and others (open learner)

D. Other

32-33

resource centres and libraries offering real-time dynamic (virtual) possibilities. The benefits of embracing these multiple platforms are membership, integration, a sense of community and social belonging. Role-play is inclusive where team work, negotiation skills, customer service, management skills and creative thinking can be valued, tested and exercised. Support for international students and students with disabilities can be explored in a variety of contexts, scenarios and outcomes. Research opportunities, information sharing, networking, experimentation and the ability to reflect with self and others are clear, and areas from which the academic community can benefit.

Developing learning scenarios in a virtual world: ‘U-labs’ (Stage 3)

We now need to look to how we provide students with an educational platform where the boundaries of learning, lifestyle and fun are blurred. The ultimate learning scenario where active learning forms part of the learning mix. We have outlined below a small sample of learning scenarios set in a virtual environment (U-Labs) that are being developed with academics from the School of Design at Southampton Solent University. These will be expanded upon and implemented as the next stage of this research and trialed in the Solent Life campus in Second Life®.

U-Lab 1 – Merchandising product through retail display Learners can discuss, debate and review product ranges; design and plan retail displays; and merchandise products in an e-trade environment.

U-Lab 2 – Interior and sensory spaces Learners can develop design ideas, explore proportion, colour and texture. Sensory perception and ambient space can be contemporary or traditional. Immediate feedback can be sought, stimulated through discussion and debate via teachers, peers or industry.

U-Lab 3 – Exploring personal criteria Learners can be the creators of self-image or explore new identity.

U-Lab 4 - Virtual portfolio A platform for students to display and exhibit work to a global audience.

U-Lab 5 – Induction Students can meet in a virtual world where ice breaking exercises can be developed and scenarios can be staged in formats that all learners can access.

REFERENCESDe Nood, D. and Attema, J. (2006) The Second Life® of Virtual Reality EPN Report, [online], www.epn.net/interrealiteit/EPN-REPORT-The_Second_Life_of_VR.pdf [Accessed: January 2008]

Gibson, W. (1999) NPR Talk of The Nation Broadcast [NPR], 30 November 1999, [online], www.npr.org/templates/story/story.php?storyId=1067220 [Accessed: January 2008]

O’Brien, C. (2007) IBM Creates 'Sonar' to Make Virtual Worlds Accessible, [online], Virtual Worlds News, www.virtualworldsnews.com/2007/09/ibm-creates-son.html [Accessed: December 2007]

Prensky, M. (2001) Digital Natives Digital Immigrants, On The Horizon, NCB University Press. Vol. 9, No. 5, October 2001 [online], www.marcprensky.com/writing/Prensky%20-%20Digital%20Natives,%20Digital%20Immigrants%20-%20Part1.pdf [Accessed: March 2008]

Prensky, M. (2006) Don’t Bother me Mom – I’m Learning. London: Paragon House Publishers.

Pykett, J. and Lee, T. (2007) UK Futurelabs’ Places, Spaces and Future Learning Conference. London, November 2006

Raymond, M. (2008) The Future Laboratory Trend Briefing Day, [online], www.urbanview.net/fin/tfl_ohjelma.pdf [Accessed: February 2008]

Robbins, S. (2007) Blogging the SLCC: A Futurists’ View of Second Life Education, [online], www.virtualworldsnews.com/2007/08/blogging-the--5.html [Accessed: January 2008]

Salmon, J. (2007) Second Life® Media Zoo, University of Leicester/TwoFour Learning, [Online], www.youtube.com/watch?v=y7TMQzzFFdQ [Accessed: February 2008]

Schmidt, R.A. and Wrisberg, C.A. (2004) www.newman.ac.uk, [online], www.slideshare.net/HandheldLearning/marc-prensky-keynote/ [Accessed February 2008]

Smart, C. (2005) Why Focus on Pedagogy?, [online], www.elearning.ac.uk/features/whyped [Accessed: January 2008]

BIBLIOGRAPHY

Ashwin, P. (2006) Changing Higher Education, The Development of Learning and Teaching. London: Routledge.

Carr, P. and Pond, G. (2007) The Unofficial Tourists Guide to Second Life®. London: Boxtree Ltd.

Collis, B. and Moonen, J. (2001) Flexible Learning in a Digital World: Experiences and Expectations (Open & Distance Learning). London: Routledge.

Colvin Clark, R. & Kwinn, A. (2007) The New Virtual Classroom Evidence Based Guidelines for Synchronous E-Learning. San Francisco: Pfeiffer.

Duke, C. (2002) Managing the Learning University. Buckingham: Open University Press.

Dunne, E. (1999) The learning society: International perspectives on core skills in higher education. London: Kogan Page.

Hiltz, SR. (2005) Learning Together Online Research on Asynchronous Learning Networks. Mahwah, NJ: Lawrence Erlbaum.

Mansfield, R. (2007) How to do everything in Second Life®. New York: McGraw Hill.

“The future has already happened; it’s just not very evenly distributed” William Gibson, science fiction author and journalist (1999)

Palloff, RM. and Pratt, K. (2001) Lessons from the Cyberspace Classroom: The Realities of Online Teaching. San Francisco: Jossey-Bass.

Porter, LR. (1997) Creating the virtual classroom: Distance learning with the Internet. Chichester: Wiley.

Rada, R. (2001) Understanding Virtual Universities. Bristol: Intellect.

Richardson, W. (2006) Blogs, Wikis, Podcasts and other powerful web tools for classrooms. California: Corwin Press.

Robins, K. and Webster, F. (2002) The virtual university? Knowledge, Markets and Management. Oxford: Open University Press.

Rymaszewski, M. Wagner, J. Ondrejka, C. Platel, R. Van Gorden, S. Cézanne, J. Cézanne, P. BatstoneCunningham, B. Krotoski, A. Trollop, C. Rossignol, J. (2008 2nd Edition) Second Life®: The Official Guide (Paperback). New Jersey: John Wiley & Sons, Hoboken.

Simpson, O. (2002) Supporting Students in Online, Open and Distance Learning 2nd Edition. London: Kogan Page.

Stasz, C. (2004) Outcomes and Processes in Vocational Learning: A Review of the Literature. London: Learning and Skills Research Centre. LSRC Research Report.

Weller, M. (2007) Virtual Learning Environments: Using, Choosing and Developing Your VLE. London: Routledge.

WEBSITES/ONLINE RESOURCES

E-Evolve, Enhancing Employability,www.uclan.ac.uk/facs/lbs/staff_res/t_l_strat/evolve_site/overview/index.htm, [email protected] [Accessed: January 2008]

www.kzero.co.uk/virtual-worlds.php [Accessed: December 2007]

www.habbo.com/ [Accessed: December 2007]

www.futurelab.org.uk/resources/documents/event_presentations/learning_spaces/Ian_Pearshouse_presentation.pdf [Accessed: February 2008]

www.thefuturelaboratory.com [Accessed: January 2008]

www.globalkids.org [Accessed: January 2008]

http://education.guardian.co.uk/elearning/story/0,,2074241,00.html [Accessed: January 2008]

www.slideshare.net/HandheldLearning/marc-prensky-keynote/ [Accessed: March 2008]www.eduserv.org.uk [Accessed: January 2008]

JISC Publications (2007) Game Based Learning Briefing Paper,www.jisc.ac.uk/publications/publications/pub_gamebasedlearningBP/pub_ gamebasedlearningBP_content.aspx [Accessed: March 2008]

Hartley, P. (2007) New Technology and The Modern Universitywww.jisc.ac.uk/media/documents/events/2007/04/next_gen_keynote.pdf [Accessed: March 2008]

YouTube video, Educational Uses of Second Life®, Mary Ann CLT,www.youtube.com/watch?v=qOFU9oUF2HA, 10 August 2007, [Accessed: January 2008]

YouTube video, Education in Second Life®: Explore the Possibilities, xxArete2xx, www.youtube.com/watch?v=TMGR9q43dag&feature=related, 29 May 2007, [Accessed: December 2007]

You Tube Video, NMC Campus: Seriously Engaging, alanlnmc,www.youtube.com/watch?v=S9VZKTT6gZ8&feature=related, 3 July 2006, [Accessed: November 2007]

ACKNOWLEDGEMENTS

Research funded by the Centre for Advanced Scholarship in Art & Design, Southampton Solent University Solent Life Fashion & Lifestyle Virtual Campus: Funded by TQEF (Teaching QualityEnhancement Fund) 2008

Thanks are given to Professor John Rees, Faculty of Technology, Southampton

Solent University and the staff and students who contributed to our research.

34-35

Reflections in Wonderland

Information Librarians Alison (Wynne Merlin) Williams and Mary (Merry Mayo) Hudson – Southampton Solent Unviersiy

Introduction

Second Life® (SL) is a 3D virtual world created by Linden Research Inc in 2003. It now has more than 10 million resident avatars and its own currency, the Linden dollar. Library activity there includes the Info Islands archipelago where there are re-creations of many US and some UK libraries. Some educational institutions have also bought their own islands.Our explorations of SL were undertaken as one part of a project looking at the Library’s use of MoodleTM, Southampotn Solent University’s virtual learning environment (VLE), and the longer term possibilities offered by SL and other 3D virtual worlds. We also want to explore the possibilities offered by linking MoodleTM and SL via the mash-up, Sloodle. Our reflections go back to March 2007 when our second lives began.

Learning to fly and other new skills

In accessing SL from work we initially encountered IT barriers but, thanks to helpful colleagues, these were overcome. The first barrier encountered was that the University firewall blocked access completely, and this had to be reconfigured to allow project staff access. We then found that although we had access, we were unable to teleport. We sent an unlikely looking email request to an IT colleague for ‘help with teleporting please!’ that very promptly led to a further tweak to the firewall. Access has now been extended to all University staff.

On first exploring SL we discovered that some considerable skills development was required in order to feel confident in living and working in a virtual world. Apparently, simple things such as creating and dressing your avatar, moving around (which can be done by walking, flying and teleporting), climbing stairs and even sitting down can all be problematic, and its not possible to participate fully until these skills are developed. This can make early experiences of SL particularly frustrating.

In addition, there are further, higher level skills involved in taking part in social interactions in a virtual world and adjustments that have to be made in expectations. Some real life social norms carry over

– for example, not sitting or standing too close to another avatar – but in others ways SL has different norms. Various factors tend to have a disinhibiting effect on behaviour: the relative anonymity, the lack of physical risk, the ability to easily alter your avatar’s appearance and gender, and the ‘new frontier’ atmosphere.

For Wynne, the initial orientation was made a little easier due to her typist’s previous experience of text-based virtual worlds. This began with a visit to IPL Moo – part of the Internet Public Library at the University of Michigan and one of the first virtual reference services – as long ago as 1997. She also has experience of 3D adventure games such as Zork and Myst, and the skills learned in these have proved to be largely transferable. As another way of developing skills she found it useful to create a second avatar or ‘alt’ with which to explore the more social and playful aspects of SL.

Merry’s typist’s prior experience was totally different, consisting of only a few visits to the Church of Fools – a 3D virtual church sponsored by the Methodist Church which was open from May until September 2004 – before joining the SL community. The initial orientation phase has therefore taken much longer and may still be continuing.

We have realised that we cannot fix a definite time scale on how long it takes to become orientated within SL. For Wynne there were fewer new skills to learn. For Merry, it felt that it took forever before moving became more natural – sitting down, in particular, and landing gracefully after flying have proved difficult skills to conquer. What can we do in here?

On exploring SL we found that our preconceptions about what we might do in there soon had to be revised. Initially, we had assumed that we would want to create a library building, a virtual equivalent of our physical library building. Possibly with certain added extra features along the lines of the Alternative Library developed by one of the authors in partnership with a colleague in 20001. Our experience has led us to reconsider whether this would be the most

appropriate way to go. Simply creating a building and adding content to it would not, we feel, be making full use of the potential of this new world, and may not even be necessary.

It may, though, have potential as a ‘safe’ way for those suffering from library anxiety to explore the library building in SL and so become used to the university library before dealing with it in reality. This may be important to some students. In the book, Alter Ego, Avatars and Their Creators2 a student is quoted as saying: “The barrier of not being face-to-face with people helped,” and we need to be aware of this.

It might be possible to combine these approaches by creating the frontage of the building so that those who have visited in SL will recognise the same building in the real world and feel more confident in entering it. While the inside of the building need not exactly mirror the real life building, it would be possible to create an approximation of where the different areas of the library are, without the physical world’s constraints, such as doors and stairs.

The elements we have found to be vital to success in SL are the presence of people, interactive events and real-time synchronous communication. Fundamentally, it is a social space, a place where people meet. We have observed a tendency for people to gravitate to other people, rather than to places or to information points.

The Reference Desk on Info Island acts as a focal point for librarians especially, attracting quite a crowd at times (usually in the afternoon and evening because of the number of US librarians actively involved), which seems to be because it is out in the open and regularly staffed. Many of the more impressive library buildings, most of which have content but no staff or staffing only at limited times, attract only occasional, usually lone visitors, unless there is an event or exhibition.

While exploring alone helps with the practical skills of moving around, the opportunity to network with other librarians and the subsequent exchange of ideas is one of the main benefits of SL to us so far. Without meeting others and socialising, it is not easy to see all the possibilities provided by virtual worlds. Talking and bouncing ideas off each other has been fun and informative.

Taking part in courses and attending meetings in SL gave us further opportunities to observe how learning and teaching operate there. In 2007 we took part in two online courses on Librarianship in Virtual Worlds provided by the University of Illinois. These courses comprised six weekly two-hour classes, each held in SL, along with VLE facilities provided via MoodleTM. This gave us the opportunity to experience being students in a virtual world and VLE, as well as providing valuable course material on how SL is being used by libraries and educators.

Attending classes in SL and taking part in the course via Moodle were very different experiences. The SL classes were intense and immersive, particularly when they involved visits to exhibits or manipulation of virtual objects, and discussions by course members were lively and wide ranging in class sessions, much more so than between classes in the online forums. It was much harder to arrive late for a class or leave it early than it was to log in and out of a forum, and the fact that you have a visible presence in SL makes it difficult to lurk and take no active part, as so many people do in online chat sessions and discussion forums. It was also necessary to pay attention in class as avatars slump their head and shoulders after a certain period of inactivity, giving a clear visual signal of their typists’ attentiveness, or lack of it!

Using the VLE in conjunction with the SL class gave an opportunity to look back on the class discussion and to ask questions again afterwards. While we were in SL at the same time as others on the course, we never ‘chatted’ in real time with anyone in the VLE

36-37

owing to the different real-world time zones.

It was interesting that neither element would have been complete without the other and each added a different perspective to the learning that took place within each course.

Is Second Life® the way forward?

The often frustrating nature of the SL interface is evident to all who take part in it. Even experienced residents find there is a comic tendency to bump into things and other avatars, and to sit in inappropriate places. Ad Agency DRAFTFCB caught the look and feel of the SL imperfections perfectly in their video3 available via YouTube™.

With all its limitations, however, SL is currently the most successful virtual world in terms of both numbers of people taking part and high profile organisations such as IBM and Reuters establishing a presence in-world. When we checked in March 2008, we found that 1,347,560 avatars had been active in SL during the previous 60 days. Given the social nature of virtual worlds, and the fact that participation can help to develop skills that are transferable to other virtual worlds, it seems it is the place to be at the moment.

While SL may not be the perfect platform in the long term, the general trend of online activity is towards real-time connection and social interaction. With the growth of social networking and integrated Web 2.0 applications, we increasingly go online in order to make contact with others and interact with them.

A recent report by the Centre for Information Behaviour and the Evaluation of Research4 suggests that students are spending more time working online in this type of virtual social space, rather than visiting either physical library buildings or traditional library websites. We need to find ways to be present and to develop the skills appropriate to working within this new type of online world.

Next steps

University courses are increasingly delivered in a blended learning mode, with more use being made of the various facilities offered by the VLE, and it may be possible to integrate virtual worlds into this, for example by means of the Sloodle mashup between MoodleTM and SL.

What virtual worlds have to offer here is a sense of presence, as described by Lombard and Ditton in their paper At the Heart of it all: the Concept of Presence5, which notes that it is a key factor in student engagement with online learning, both in terms of telepresence (being there) and of social presence (being there with others). This could change the experience of blended or distance learning from one where learners and teachers can sometimes feel disconnected and isolated from one another, to one of being involved in an active online learning community.

In the remaining time our project has to run we would like to develop some kind of library presence in SL, although we are as yet unsure of exactly what form this should take. Staff and students in the University are just beginning to experiment with SL and we would hope to have a visible presence there, as we do on the real world campus.

Just as a VLE is, or can be, much more than a repository for lecture notes, a virtual world has the potential to be much more than a three dimensional version of a website, but exactly what we do there is something that can only develop through experiment and experience and in collaboration with the academic staff within our own university and with other librarians worldwide.

REFERENCES

1. Timothy Collinson and Alison Williams, The Alternative Library, Aslib Proceedings: new information perspectives, 56 (3), 2004, pp 137-143. http://www.solent.ac.uk/library/altlib/alternativelibrary.pdf

2. Robbie Cooper, Alter Ego: Avatars and their Creators, London: Chris Boot. 2007.

3. DRAFTFCB 2007. Debut sur Second Life. [Video] http://uk.youtube.com/watch?v=flkgNn50k14 (Accessed: 6 March 2008)

4. Centre for Information Behaviour and the Evaluation of Research (CIBER), Information Behaviour of the Researcher of the Future. London, UCL. 2008. http://www.jisc.ac.uk/media/documents/programmes/reppres/gg_final_keynote_11012008.pdf (Accessed: 6 March 2008)

5. Matthew Lombard and Theresa Ditton, At the Heart of It All: The Concept of Presence. Journal of Computer-mediated Communication 3 (2), 1997. http://jcmc.indiana.edu/vol3/issue2/lombard.html (Accessed: 6 March 2008)

38

Really enjoyed Southampton Solent (Life) University Second Life island. Light, spacious, open plan, uncluttered. Poss. favourite UK uni one.

John Kirriemuir - Major SL Researcher(Twitter Message, 9.57 am Feb 3rd 2009)

Documents

Second Life Publication July 09