Comunicar 39-ingles - Revista Comunicar

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148Comunicar, 39, XX, 20129.6. Focus or defocus9.7. Illumination and color temperature9.8. Props9.9. Protagonist space and/or hyperspace9.10. Absent space or suggested space9.11. Selection space with representation: coincident or different9.12. Hyperspace10. Aspects of the interactional spaces and type of interactionavailable: selective, transformative or constructive11. Values or spiritual principles and unscrupulous values thatavailable to activate through the interaction with the narrative characteristsof the spaces. Values and unscrupulous values thatappear potentially related with the interaction developed11.1. Ethical values11.2. Unscrupulous values12. Characteristics of the time represented in the interface andgeneral description of the potential interactions with the time12.1. Order: flashback, flashforward, metaretrospective or metaprospective12.2. Duration: pure diegesis, impure diegesis, open or close12.3. Frequency: repetitive sequence or singular multiple12.4. Temporal localization: past, present, future, changing orinexistent12.5. Iteration13. Aspects of the interactional times and type of interaction available:selective, transformative or constructive14. Values or spiritual principles and unscrupulous values thatavailable to activate through the interaction with the narrative characteristicsof the times. Values and unscrupulous values thatappear potentially related with the interaction developed14.1. Ethical values14.2. Unscrupulous valuesbehaviors of the interface users. The multidisciplinaryresearch team Neurocinema, at the University of Aal -to, Finland, is a good example. This multidisciplinarygroup is using fMRI for observing how certain moviesequences and interfaces excite some parts of thebrain to create more emotional, perceptual and psychologicalimmersions (Wallenius, 2010). This makesit possible to observe information about how to implementeffective communications between the differentlevels of biological and technological media, within theinteractions human-human, human-machine orhuman-machine-human. It will be also necessary tocount on programmers, designers, creators, professorsand artists for the optimal production of edutainmentvideo games. Public and private investments and collaborationswith more formal research groups and academicprograms in the area of interactive media communications,narratives and pedagogy are necessaryfor establishing a solid interdisciplinary field.4.2. Educational interactive media in the universitiesCurrently, there are very advanced informaticssystems, generators of artificial intelligence, virtual reality,of real time rendering which have been developedby the video game industries. The commitment of thevideo game industry with the development of educationalgames, and the collaborations between culturaland educational institutions, ministries, universities,and others can be a motivation to exchange knowledgeand resources. For instance, the University of Cali -fornia San Diego made some agreements with thevideo game company Sammy Studios and Sony Enter -tainment, in addition to others, to sell and/or lend thedifferent informatics resources of video game designfor the development of scientific and artistic visualizations.There are many new media companies alreadywilling to establish collaborative bridges for the developmentof educational applications. The Inter activeMedia Division, School of Cinematic Arts, Uni versity ofSouthern California, counts on the support of the videogame company, Electronic Arts, to develop its GameLab: a place where professors and students help toinnovate and research new video games. For instance,the internationally awarded video game «Darfur isdying» by Susana Ruiz was created there, and served tobuild on the called «serious games» where the playershelp the resolution of social conflicts.Hopefully, more video games and classes basedon interactive media systems will be seen, classes thatwill be more entertaining for the students and a renew -al in education for the professors. Institutions and universitiessuch as M.I.T, Massachusetts Institute ofTechnology, in the Department of ComparativeMedia, developed educational video games that aregood prototypes and examples of the edutainmentpotential that videogames represent. Games about literature,history, engineering, physics, chemistry andothers will fill the classes in the near future, since commercialvideo games already fill the students´ conversationsin the present. Henry Jenkins (2007), head ofthat Department at that time, lead a virtual multiuserenvironmental space, The River City Project, to studythe relationships and learning transferences developedin augmented realities, mixing the context of the classroomand real life. The adjective commercial or popularwill be applicable also to edutainment video games,to those that will offer enough quality. This will bepossible thanks to the application of models of analysisin hypermedia interfacing, and the increase of researchin the area of interactive multimedia applied to multidirectionaleducational communication. At the end,what is more attractive in education than learningwhile playing?© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 139-149
149SupportsFunded on 2008-2010 by MAEC/AECID Postdoctoral Research atthe UNSAAC and the Museum Convento de Santo Domingo-Qorikancha. Funded on 2006-2008 by MEC/Fulbright PostdoctoralResearch Grant; at the School of Cinematic Arts, University ofSouthern California, Los Angeles California and Laboratory pfDigital Culture (UCM) Cooperation Grants.ReferencesARCILA, C. & SAID, E. (2011). The Cyber Media in Latin Americaand Web 2.0. Comunicar, 37, 125-131. (DOI: 10.3916/C37-2011-03-04).GEE, J.P. (2003). What Video Games Have to Teach Us AboutLearning and Literacy. New York: Palgrave MacMillan, 200-212.GONZÁLEZ-FARACO, J. & GRAMIGNA, A. (2009). Learning with vi deo -games: Ideas for a Renewal of the Theory of Knowledge and Edu -cation. Comunicar, 36, 158-164. (DOI: 10.3916/c33-2009-03-007).DAVENPORT, G. & INTERACTIVE CINEMA GROUP (2000). TheShareable Media Project. Massachusetts: MIT.Jenkins, H. (2007). Convergence Culture. NY: New York Uni ver -si ty Press. (http://muve.gse.harvard.edu/rivercityproject/) (01-03-2009).DUART, J.M & OSORIO, L.A. (2010). Interaction Analysis in HybridLearning Environment. Comunicar, 37, 65-72. (DOI: 10.3916/ -C37- 2011-02-06).KOJLER, C. (2005). Power Up: How Japanese Video Games Gavethe World an Extra Life. Indianapolis: Brady Games, Pearson Edu -cation Inc, 272.MANOVICH, L. (2001). The Language of New Media. Cambridge:MIT Press.MARTÍN-SERRANO, M. (1982).Teoría de la comunicación. Madrid:Cuadernos de Comunicación.MEADOWS, M. (2003). Pause & Effect: the Art of InteractiveNarrative. USA: New Riders: Voices that Matter, 37-39.MORA-FERNÁNDEZ, J. (2008). Multicultural Videos: An InteractiveOnline Museum Based On An International ACM Digital Library,Association of Computing Machinery, and the DVD ACM Multi -media 2008. WS-Communicability MS2008, 1-8. (http:// dl. -acm.org/citation.cfm?id=1462045) (04-01-2012).MORA-FERNÁNDEZ, J. (2009). Interacciones hipermedia y videojuegos:inmersión comunicativa interfacial y narrativa. Icono 14, 12,218-241. (www.icono14.net/monografico/interacciones-hipermedia-y-videojuegos)(16-01-2012).MORENO-MUÑOZ, A. (2000). Diseño ergonómico de aplicacioneshipermedia. Barcelona: Paidós.MORENO-SÁNCHEZ, I. (2002). Musas y nuevas tecnologías: El relatohipermedia. Barcelona: Paidós.WALLENIUS, K. (2010). Video Annotation for Studying the Brain inNaturalistic Settings. Faculty of Electronics, Communications andAutomation (pp. 1-4). Finland: Aalto University, School of Scienceand Technology.WARDRIP-FRUIN N. & HARRIGAN, P. (2004). First Person: NewMedia as Story, Performance and Game (pp. 2-33). Massachusetts:Institute of Technology.Comunicar, 39, XX, 2012© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 139-149
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