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Learning through Digital Game Design and Building in a Participatory Culture

An Enactivist Approach


Qing Li

This book discusses topics concerning digital game-based learning focusing on learning-by-game-building and Web 2.0. Grounded in the new theoretical perspective of enactivism, this book shows how such an approach can help students gain deep understanding of subjects such as mathematics and history, as well as undergraduate or graduate students’ learning of pedagogy and also adult driver’s learning of road safety rules. Written for undergraduate students in teacher education, experienced teachers, and graduate students, this book is an ideal text for courses related to technology integration and digital game-based learning. It is also beneficial for researchers, educators, parents, school administrators, game designers, and anyone who is interested in new ways of learning and digital games.


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Part 4: Value


! • P A R T F O U R • Value ! • C H A P T E R S E V E N • Enactivist Learning World and Value This chapter looks at enactivist learning worlds in relation to value, demonstrating how students develop values of professional practices in such learning worlds: to value the things professionals think of as important, interesting, and meaningful. Further, it describes powerful learning in such a world through students’ identity transformation. In addition to a discussion of the affective domain—a critical aspect of learning, focusing on emotions— this chapter also explores ethical issues, including questions related to privacy. Finally, the chapter concludes with a dialogue about important aspects of assessment. Value and Identity Effective learning occurs when learners participate in a social group or a learning community, and they take on new social identities. To borrow Gee’s (2007) ways of explanation, I enjoy dancing in my leisure time and have joined different dance schools during the last several years. Although I have a lot of experience dancing and watching performances, my views about dance have been largely shaped and continue to be reshaped by the many social groups of which I have been a part (such as the dance schools with the dance teachers and students). How should I interpret a particular type of dance in certain contexts? When I receive feedback about my dance movements, how do my reactions affect my performance? When I wear a costume representing a certain nationality, how should my movements...

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