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The SECRIOUS project takes a game-based approach to improving knowledge and attitudes in cybersecurity practices. Our methodology includes interdisciplinary Serious Game co-design with coders and aims to produce critical reflection on participants’ own coding practice. To encourage this we created a series of Small Provoking Games (SPGs) about the project’s three overarching topics (Code Security; API Security; Security Lifecycle) and five co-produced themes (Coder Practices; Code Motivation; Morality; Resources; Communication). Games and play are well-suited for creating both reflection-in-action and reflection-on-action. Provoking a lasting change in attitudes towards secure coding practice requires dialogic or inquiry-based reflection leading to transformative reflection We define a ‘provoking game’ as one that uses the techniques of reflective game design to produce cognitive and affective challenge – a eudaimonic appreciation of the player experience. This emphasises a player’s sense of purpose and aims to create exo-transformation (change in attitudes and/or practice outside the game.) SPG design foregrounded Khaled’s principles of reflective game design and was led by serious game experts, a cybersecurity expert, and a playwright, and included input from the entire SECRIOUS team to define each game’s specific focus. Two SPGs were produced: Protection (which challenges the assumption of ‘absolute’ cybersecurity protection) and Collaboration (which highlights communication in cybersecurity developer teams.) A third game is in development. SPGs feature highly exploratory gameplay, expected failure, and focus on metaphor (of both game objects and player actions) to create doubt, contradicting existing mental models and encouraging the players to question the game rules and underlying concepts. The games were used within game-jams to provoke critical discussion, a creative mindset, and group reflection. This paper analyses the design process of these two SPGs and reflects on our contribution to reflective game design.

Objective: To determine whether health care providers (HCPs) would find an interactive digital 3D application (webapp) showing pelvic and genital anatomy to be helpful in patient consultations about female genital mutilation or cutting (FGM/C). Design: Qualitative study using semi-structured interviews. Setting: Recorded audio/video calls with HCPs in migration-destination countries of USA, UK, Sweden, France, Belgium, and Switzerland. Sample: Seven HCPs from various disciplines experienced in care for women and girls with FGM/C in migration-destination settings. Methods: Audio- and video-recorded usability testing with semi-structured interview protocol, transcribed manually and analysed thematically. Main outcome measures: Contextualised data regarding HCP’s willingness to use a 3D webapp visualising anatomy in FGM/C in consultations with patients. Results: All but one of the seven HCPs interviewed expressed keen interest in using this webapp and its 3D visuals of anatomy after FGM/C in consultations with patients. In their feedback, participants shared the common contexts for the use of visuals in health care for FGM/C and the concepts they are used to reinforce. Participating HCPs also highlighted the need for visuals that patients can relate to, as well as features that would adapt to and improve the continuum of care for women and girls with FGM/C. Conclusions: Digital applications with interactive 3D models of pelvic and genital anatomy that are accessible, accurate, and adaptable are likely to aid HCPs in communicating clinical information about FGM/C to patients in consultations. Funding: N/A Keywords: FGM/C, FGM, FGC, 3D, pelvis, interactive, patients, consultations, application, webapp, genital, vulva, anatomy, female genital cutting

This paper explores how a legacy digital artefact can be adopted within formal education settings and can be used by teachers and students to support teaching and learning activities within primary and secondary classrooms. In particular, through a comparative case study of three schools in the UK, the paper investigates the potential of using a virtual 3D model of the 1938 British Empire Exhibition in formal educational settings and highlights a number of salient issues and challenges that emerged. As the data suggests, engagement with the model created opportunities for playful learning, facilitated motivation and collaboration, and enhanced student interest. However, participation was often compromised by the wider pressures of the curriculum, assessment regimes and teacher time as well as technical barriers and limitations. In light of the above, the paper considers the range of actors and factors that underpin the outcomes and sustainability of such a project and concludes by considering the implications of these findings.

Knowledge of the anatomy of the skull and its bones forms an important part of the understanding required for the study and practice of safe clinical dentistry. The use of serious games in healthcare education is well-documented, but there is comparatively little evidence for their use in dental education. Intrinsically integrated rewards are a game mechanic that can be motivational for serious game users. A research gap was identified in the delivery of skull anatomy education to dental undergraduate students via a serious game with intrinsically integrated rewards. A serious game, titled Visualisation Studio Sim, was developed with Unity, featuring three-dimensional models and assets designed and modified with 3ds Max and Instant Meshes. Two versions of the game were built, one with the addition of intrinsically integrated rewards and one without it, and the game versions were tested by a convenience sample to gather open-ended feedback on the usability and suitability of the game mechanic for dental undergraduate education. Feedback suggested that it was straightforward to interact with the skull models but that the rewards were not as well integrated into the flow and immersion of the game as intended, and the game might not have been as challenging as desired for the intended cohort warranting future refinements in these aspects.

Knowledge of the anatomy of the skull and its bones forms an important part of the understanding required for the study and practice of safe clinical dentistry. The use of serious games in healthcare education is well-documented, but there is comparatively little evidence for their use in dental education. Intrinsically integrated rewards are a game mechanic that can be motivational for serious game users. A research gap was identified in the delivery of skull anatomy education to dental undergraduate students via a serious game with intrinsically integrated rewards. A serious game, titled Visualisation Studio Sim, was developed with Unity, featuring three-dimensional models and assets designed and modified with 3ds Max and Instant Meshes. Two versions of the game were built, one with the addition of intrinsically integrated rewards and one without it, and the game versions were tested by a convenience sample to gather open-ended feedback on the usability and suitability of the game mechanic for dental undergraduate education. Feedback suggested that it was straightforward to interact with the skull models but that the rewards were not as well integrated into the flow and immersion of the game as intended, and the game might not have been as challenging as desired for the intended cohort warranting future refinements in these aspects.

Research skills are challenging to teach in a way that is meaningful to students and has ongoing impact in research practice. This paper investigates constructivist and experiential strategies for the effective learning and deep understanding of postgraduate research skills and proposes a game-based learning (GBL) solution. A (non-digital) game called How to Fail Your Research Degree was designed and iteratively developed. Gameplay loop analysis identifies various learning and game mechanics and contextualises them in relation to GBL theory. Evaluation of gameplay (n=127) demonstrates effective transmission of intended learning outcomes and positive game experience based on Keller’s Attention-Relevance-Confidence-Satisfaction (ARCS) model. Discussion proposes that the game has high cognitive authenticity, relies heavily on tutor facilitation, can create tension between knowledge and confidence, and is applicable to multiple domains and learning situations. GBL is proposed to be an original and effective approach to teaching high-level, functional learning outcomes such as academic research skills.

This paper describes a learning-objective-centric workflow for modifying (‘mod-ding’) existing tabletop games for educational purposes. The workflow combines existing research for serious games design with novel systematic analysis tech-niques for learning and game mechanics and gameplay loops to improve the un-derstanding and rigour of the process. A detailed worked example applies the workflow to the development of a serious tabletop game with the educational goal of increasing knowledge and confidence of performing postgraduate literature re-views. Systematic application of the workflow to a real example supports the val-ue of this approach and provides a useful template for educators to follow for in-creasing the quality and feasibility of self-designed serious games.

Live broadcasts of theatrical events result in complex documentation processes for performance at the points of production, consumption, interpretation and further production. The increasing popularity of live broadcasts offers brand new possibilities for documenting performance, not only for theatres but for audiences. Acknowledging the temporal, spatial and conceptual distances between the theatre production of a particular play and discrete audiences enabled via the NT Live streaming, this chapter focuses in particular on the concept of paradocumentation, asserting a notion of unity between performances and their documents, borne in part from the technology of NT Live. An analysis of a production and livecast of Hamlet in 2015 identifies key features of the Barbican Centre and NT Live production with particular attention to the merging of performance and its documents. The latter part of the chapter expands upon the notion of paradocumentation, with an exploration of data gleaned from an audience survey, and analyzes and suggests patterns of evidence for audience-created paradocumentation.

This paper explores how a pre-existing virtual 3D model of the British Empire Exhibition of 1938 was used to deliver innovative teaching and learning materials into schools. With digital and mobile technologies now forming an integral feature of schools, a range of tools can be used to support students and teachers in their every day lessons. However, despite the wealth of research on digital technology use within schools, few studies have so far looked at the teaching and learning potential of 3D models and in particular the re-use of the large number of existing digital heritage datasets originally generated for a range of purposes. Through a comparative case study of three primary and secondary schools in the UK, this paper investigates how the 3D model was used by teachers and students to support teaching and learning activities across different subject areas. In particular, it evaluates the potential and impact of using such a tool in formal educational settings and highlights a number of salient issues and challenges that emerged. These include, amongst others, the wider pressures of teacher time and curriculum regimes, the role of the motivation and interest of individual teachers as well as the drivers for student engagement. In light of the above, the paper considers the range of actors and factors that underpin the outcomes and sustainability of such a project and concludes with some suggestions for the future use 3D models and supporting software.

When a theatrical performance is digitally broadcast live to cinemas, the limitations of temporal and spatial specificity are removed and the theatrical experience is simultaneously opened up to a wider audience and inherently altered. One such production, Coriolanus (Donmar Warehouse, 2013-14), starring an actor with a particularly enthusiastic online fan community, was broadcast to cinemas by National Theatre Live, where fans recorded it on digital devices, extracted clips and produced animated gifs, which they captioned to reinterpret the play, sharing them online, removed from their original context. The transformation of theatre texts to cinemas to social media platforms raises exciting questions related to how fans interact with culture both as consumers and as producers of new media texts. How do the different transformations (technical and actively fan-produced) affect both the narrative and the cultural experience? How do new texts function as surrogates for, and extensions of, the ‘official' narrative, as well as new interactive narratives in their own right? This paper addresses these questions in the context of a specific theatrical event as it crossed the boundary from a live, co-located experience first into cinema, and then into interactive hypertexts and memes. Drawing on theories of fandom and participatory culture, as well as post-Web 2.0 analyses of Internet behaviours, the paper examines fan production of new media texts and how they both transmit and transform the source narrative via interpretation, re-interpretation, and misinterpretation. Image Credit: Still of fromhiddleswithlove (2014)

This paper investigates representations of performance and the role of the archive. Notions of record and archive are critically investigated, raising questions about applying traditional archival definitions to the performing arts. Defining the nature of performances is at the root of all difficulties regarding their representation. Performances are live events, so for many people the idea of recording them for posterity is inappropriate. The challenge of creating and curating representations of an ephemeral art form are explored and performance-specific concepts of record and archive are posited. An open model of archives, encouraging multiple representations and allowing for creative reuse and reinterpretation to keep the spirit of the performance alive, is envisaged as the future of the performing arts archive.