Bullying
資料來源:
http://www.parentscentre.gov.uk/educationandlearning/schoollife/ifthingsgowrong/bullyingproblems/
Bullying can happen anywhere. This site offers advice
to parents who are concerned that their child may be
affected by bullying at school. Bullying is unacceptable
and parents, teachers and others working with children
all share responsibility for tackling it.
**************************************************************
Identifying the problem and dealing with it
One of the most difficult times in a child's school life
can be if they are bullied. Bullying can be defined as
deliberately hurtful behaviour, repeated over a period
of time, where it is difficult for those being bullied
to defend themselves. The three main types of bullying
are:
* physical (e.g. hitting, kicking, theft)
* verbal (e.g. name calling, racist remarks, being
called a chicken)
* indirect (e.g. spreading rumours, excluding someone
from social groups)
**************************************************************
Signs to watch out for
Parents and families are often the first to detect
symptoms of bullying, though sometimes school nurses
or doctors may first suspect that a child has been
bullied. Common symptoms include headaches, stomach
aches, anxiety and irritability. It can be helpful
to ask questions about progress and friends at school;
how break times and lunchtimes are spent; and whether
your child is facing problems or difficulties at school.
You should trust your instincts if your child is acting
out of character at home and contact the school
immediately.
**************************************************************
What you should do if your child is being bullied
It is required by law that your child's school has an
anti-bullying policy which sets out how it deals with
incidents of bullying. You have a right to know about
this policy which is as much for parents as for staff
and pupils.
If your child tells you they are experiencing bullying
at school, there are certain people you can speak with
in order to resolve the problem. Initially, you should
write to the head teacher and express your concerns.
Try to work and resolve the issue. If that does not help,
you could then write to the Chair of Governors, and then
to the local authority (LA). If the problem still remains
unresolved, the Department for Education and Skills can
investigate the allegations with the school.
**************************************************************
Help your child's school deal with bullying
Parents have an important role to play in helping schools
deal with bullying. What you can do to help is:
* whenever the anti-bullying policy at your child's
school is reviewed, think about contributing your
ideas to the consultation process.
* watch out for signs that your child is being bullied,
or bullying others.
* discourage your child from using bullying behaviour
at home or elsewhere.
If a child is being bullied, they can get free advice
and support by calling ChildLine on 0800 11 11, 24 hours
a day, seven days a week. Another useful site is
Bullying Online.(http://www.bullying.co.uk/)
**************************************************************
If your child is bullying
Often parents are not aware that their child is the one
involved in bullying. This can be embarrassing for you,
but it is important to remember not to become angry with
your child. Try to stop their bullying by:
* talking with your child. Let them know what they are
doing is unacceptable and making other children unhappy.
* discourage other family members from bullying behaviour,
or from using aggression or force to get what they want.
* show your child how they can join in with other children
without bullying.
* make an appointment to see your child's teacher or form
tutor and explain the problems your child is experiencing.
* discuss with the teacher how you and the school can stop
them bullying.
* regularly check with your child how things are going
at school.
* give your child lots of praise and encouragement when
they are cooperative or kind to other people.
Find out more information and advice on how you can deal with
bullying from the Department for Education and Skills'
anti-bullying website.(http://www.dfes.gov.uk/bullying/)
**************************************************************
2008年2月21日 星期四
2008年2月4日 星期一
MMORPGs as a "Public Space"
MMORPGs as a "Public Space"
Retrieved from "http://www.digra.org:8080/Plone/dl/db/05164.45486.pdf" on 16/01/2008
The Similar Eye: Proxy Life and Public Space in the MMORPG
By:Julian Holland Oliver
171 Proceedings of Computer Games and Digital Cultures Conference,ed. Frans Mäyrä. Tampere: Tampere University Press, 2002.
(171)We must begin to think of the MMORPG as a public space. More importantly it provides tools for thinking how this rich platform for human interaction is actually produced.
(172)Game-play in an MMORPG is in this way constantly affirming, historicizing and complexifying inter-animations of the agent in a place, whose whole momentum is to be capable enough for the world.
(173)The exercising of these skills in turn affirms individual’s value within the context of the group.
(173)The players of an MMORPG are united in interest by way of similar predicament. This ‘world opposition’ in turn gives benevolence a utility; gamers in an MMORPG soon find themselves helping other gamers as a means of ensuring prolonged and successful game-play.
(173)But action, or the practices of people, has never been enough to produce
a public space.
(173-174) According to Gibson, cyberspace is about total immersion in the media itself, ultimately in order to take the agent away from all encounters with daily life: “a consensual hallucination ... the point at which media (flows) together and surrounds as ... the ultimate extension of the exclusion of daily life. With cyberspace ... you can literally wrap yourself in media and not have to see what is really going on around you” [19].
(174)Within the dominant configuration of productive opposition in MMORPG game worlds we find an interior zoned with other ‘dispositions’ of landscape. These can largely be broken down to the zones of city (settlement), quest, and wilderness. a)_Cities or settlements are where game-play begins, resources are most concentrated. b)_Wild is the realm of the game world nature / super-nature. c)_Quests are areas dedicated to objective driven game-play.
(175)When the character dies or resources run out they are forced to return to the city or settlement to gather items and recoup lost health.
(175)The wild of the world is unstable, unsafe, populated by storms, surprises and death...Cities and settlements therefore become safety zones, where players recoup equipment, find team members, and re-address failed efforts...At some point, co-habitation, regardless of moral alignment becomes an inevitable function of game-play; the city or settlement must be the first and final fold. This is how MMORPGs have, at their very core, a mechanism that produces and supports the formation of public-space.
(175)In her thesis, “Inhabiting the Virtual City,” Judith Donath asserts--There are parallels both between real-world cities and virtual environments as well as between real-world architect and virtual system designers. Both real-world and virtual cities are (or should be) vibrant gathering places of people, centers of commerce and entertainment. [8]
(176)
Retrieved from "http://www.digra.org:8080/Plone/dl/db/05164.45486.pdf" on 16/01/2008
The Similar Eye: Proxy Life and Public Space in the MMORPG
By:Julian Holland Oliver
171 Proceedings of Computer Games and Digital Cultures Conference,ed. Frans Mäyrä. Tampere: Tampere University Press, 2002.
(171)We must begin to think of the MMORPG as a public space. More importantly it provides tools for thinking how this rich platform for human interaction is actually produced.
(172)Game-play in an MMORPG is in this way constantly affirming, historicizing and complexifying inter-animations of the agent in a place, whose whole momentum is to be capable enough for the world.
(173)The exercising of these skills in turn affirms individual’s value within the context of the group.
(173)The players of an MMORPG are united in interest by way of similar predicament. This ‘world opposition’ in turn gives benevolence a utility; gamers in an MMORPG soon find themselves helping other gamers as a means of ensuring prolonged and successful game-play.
(173)But action, or the practices of people, has never been enough to produce
a public space.
(173-174) According to Gibson, cyberspace is about total immersion in the media itself, ultimately in order to take the agent away from all encounters with daily life: “a consensual hallucination ... the point at which media (flows) together and surrounds as ... the ultimate extension of the exclusion of daily life. With cyberspace ... you can literally wrap yourself in media and not have to see what is really going on around you” [19].
(174)Within the dominant configuration of productive opposition in MMORPG game worlds we find an interior zoned with other ‘dispositions’ of landscape. These can largely be broken down to the zones of city (settlement), quest, and wilderness. a)_Cities or settlements are where game-play begins, resources are most concentrated. b)_Wild is the realm of the game world nature / super-nature. c)_Quests are areas dedicated to objective driven game-play.
(175)When the character dies or resources run out they are forced to return to the city or settlement to gather items and recoup lost health.
(175)The wild of the world is unstable, unsafe, populated by storms, surprises and death...Cities and settlements therefore become safety zones, where players recoup equipment, find team members, and re-address failed efforts...At some point, co-habitation, regardless of moral alignment becomes an inevitable function of game-play; the city or settlement must be the first and final fold. This is how MMORPGs have, at their very core, a mechanism that produces and supports the formation of public-space.
(175)In her thesis, “Inhabiting the Virtual City,” Judith Donath asserts--There are parallels both between real-world cities and virtual environments as well as between real-world architect and virtual system designers. Both real-world and virtual cities are (or should be) vibrant gathering places of people, centers of commerce and entertainment. [8]
(176)
2008年2月3日 星期日
MMORPGs
MMORPGs_retrieved from http://en.wikipedia.org/wiki/MMORPG 15/01/2008
Massively multiplayer online role-playing game (MMORPG) is a genre of online computer role-playing games (CRPGs) in which a large number of players interact with one another in a virtual world.
As in all RPGs, players assume the role of a fictional character (most commonly in a fantasy world),[1] and take control over many of that character's actions.[2] MMORPGs are distinguished from single-player or small multi-player CRPGs by the number of players, and by the game's persistent world, usually hosted by the game's publisher, which continues to exist and evolve while the player is away from the game.
MMORPGs are very popular throughout the world, with combined global memberships in subscription and non-subscription games exceeding 15 million as of 2006.[3] Worldwide revenues for MMORPGs exceeded half a billion dollars in 2005,[4] and Western revenues exceeded one billion USD in 2006.[5]
Depending on the number of players and the system architecture, a MMORPG might actually be run on multiple separate servers, each representing an independent world, where players from one server cannot interact with those from another. In many MMORPGs the number of players in one world is often limited to around a few thousands, but a notable example of the opposite is EVE Online which accommodated around 200,000 players in the same world as of August 2007 and 41,690 users online in December 2007.[10]
Ultima Online, released in 1997, may be credited with first popularizing the genre,[11] though Nexus: The Kingdom of the Winds was primarily responsible for mainstream attention throughout Asia which was released in 1996, about a year earlier than Ultima Online. It was EverQuest that brought MMORPGs to the mainstream in the West.[11]
Sherry Turkle, a clinical psychologist, has conducted interviews with computer users including game-players. Turkle found that many people have expanded their emotional range by exploring the many different roles (including gender identities) that MMORPGs allow a person to explore.[13]
Many players report that the emotions they feel while playing an MMORPG are very strong, to the extent that 8.7% of male and 23.2% of female players in a statistical study have had an online wedding.[16]
Other researchers have found that the enjoyment of a game is directly related to the social organization of a game, ranging from brief encounters between players to highly organized play in structured groups.[17
Game publishers usually prohibit the exchange of real-world money for virtual goods. However, a number of products actively promote the idea of linking (and directly profiting from) an exchange. Some players of Second Life have generated revenues in excess of $100,000.[24] However, in the case of Entropia Universe, the virtual economy and the real-world economy are directly linked. This means that real money can be deposited for game money and vice versa. Real-world items have also been sold for game money in Entropia.
Some of the issues confronting online economies include:
* The use of "bots" or automated programs, that assist some players in accumulating in-game wealth to the disadvantage of other players.[25]
* The use of unsanctioned auction sites, which has led publishers to seek legal remedies to prevent their use based on intellectual-property claims.[26]
* The emergence of virtual crime, which can take the form of both fraud against the player or publisher of an online game, and even real-life acts of violence stemming from in-game transactions.[27]
Trends as of 2008
One of these developments is the raid group quest, or "raid",[36] which is an adventure designed for large groups of players (often twenty or more).!!paul!!
Another is the use of instance dungeons. These are game areas that are "copied" for individual groups, which keeps that group separated from the rest of the game world.
Increased amounts of "Player-created content" may be another trend.[37]
The use of licenses, common in other video game genres, has also appeared in MMORPGs.
The introduction of free trials, making titles into shareware, has also become more common, as developers expect that players will become "hooked" by their worlds and begin to pay for them.
Another trend that has shown great presence in MMORPGs is "player-driven" gameplay. Player-driven gameplay relies on the players themselves for events and wars, instead of having these things come from non-player characters (NPCs).
the average MMORPG development project requires enormous investments of time and money, and running the game can be a long-term commitment. As a result, non-corporate (or independent, or "indie") development of MMORPGs is less common compared with other genres.
The Multiverse Network is also creating a network and platform specifically for independent MMOG developers.[41] The Torque MMO Kit can be used to create massive multiplayer online roleplaying games and is intended for indie developers who can't afford or don't want to pay for expensive engines. [42]
Massively multiplayer online role-playing game (MMORPG) is a genre of online computer role-playing games (CRPGs) in which a large number of players interact with one another in a virtual world.
As in all RPGs, players assume the role of a fictional character (most commonly in a fantasy world),[1] and take control over many of that character's actions.[2] MMORPGs are distinguished from single-player or small multi-player CRPGs by the number of players, and by the game's persistent world, usually hosted by the game's publisher, which continues to exist and evolve while the player is away from the game.
MMORPGs are very popular throughout the world, with combined global memberships in subscription and non-subscription games exceeding 15 million as of 2006.[3] Worldwide revenues for MMORPGs exceeded half a billion dollars in 2005,[4] and Western revenues exceeded one billion USD in 2006.[5]
Depending on the number of players and the system architecture, a MMORPG might actually be run on multiple separate servers, each representing an independent world, where players from one server cannot interact with those from another. In many MMORPGs the number of players in one world is often limited to around a few thousands, but a notable example of the opposite is EVE Online which accommodated around 200,000 players in the same world as of August 2007 and 41,690 users online in December 2007.[10]
Ultima Online, released in 1997, may be credited with first popularizing the genre,[11] though Nexus: The Kingdom of the Winds was primarily responsible for mainstream attention throughout Asia which was released in 1996, about a year earlier than Ultima Online. It was EverQuest that brought MMORPGs to the mainstream in the West.[11]
Sherry Turkle, a clinical psychologist, has conducted interviews with computer users including game-players. Turkle found that many people have expanded their emotional range by exploring the many different roles (including gender identities) that MMORPGs allow a person to explore.[13]
Many players report that the emotions they feel while playing an MMORPG are very strong, to the extent that 8.7% of male and 23.2% of female players in a statistical study have had an online wedding.[16]
Other researchers have found that the enjoyment of a game is directly related to the social organization of a game, ranging from brief encounters between players to highly organized play in structured groups.[17
Game publishers usually prohibit the exchange of real-world money for virtual goods. However, a number of products actively promote the idea of linking (and directly profiting from) an exchange. Some players of Second Life have generated revenues in excess of $100,000.[24] However, in the case of Entropia Universe, the virtual economy and the real-world economy are directly linked. This means that real money can be deposited for game money and vice versa. Real-world items have also been sold for game money in Entropia.
Some of the issues confronting online economies include:
* The use of "bots" or automated programs, that assist some players in accumulating in-game wealth to the disadvantage of other players.[25]
* The use of unsanctioned auction sites, which has led publishers to seek legal remedies to prevent their use based on intellectual-property claims.[26]
* The emergence of virtual crime, which can take the form of both fraud against the player or publisher of an online game, and even real-life acts of violence stemming from in-game transactions.[27]
Trends as of 2008
One of these developments is the raid group quest, or "raid",[36] which is an adventure designed for large groups of players (often twenty or more).!!paul!!
Another is the use of instance dungeons. These are game areas that are "copied" for individual groups, which keeps that group separated from the rest of the game world.
Increased amounts of "Player-created content" may be another trend.[37]
The use of licenses, common in other video game genres, has also appeared in MMORPGs.
The introduction of free trials, making titles into shareware, has also become more common, as developers expect that players will become "hooked" by their worlds and begin to pay for them.
Another trend that has shown great presence in MMORPGs is "player-driven" gameplay. Player-driven gameplay relies on the players themselves for events and wars, instead of having these things come from non-player characters (NPCs).
the average MMORPG development project requires enormous investments of time and money, and running the game can be a long-term commitment. As a result, non-corporate (or independent, or "indie") development of MMORPGs is less common compared with other genres.
The Multiverse Network is also creating a network and platform specifically for independent MMOG developers.[41] The Torque MMO Kit can be used to create massive multiplayer online roleplaying games and is intended for indie developers who can't afford or don't want to pay for expensive engines. [42]
Changing Teachers, Changing Times--Andy Hargreaves 1994
Changing Teachers, Changing Times--Teachers' Work and Culture in the Postmodern Age
By Andy Hargreaves 1994, Cassell, UK
ix_Practice-orented research lead to a deeper understanding of educational practice and how to improve it.
ix_understand how teachers grow and develop.
4_Struggles of teachers:
__A_the pressure of postmodernity are felt.
__B_innovations multiply as change accelerates, creating senses of overload among teachers and head teachers.
__C_the collapse of moral certainties.
__D_the methods and strategies teachers use are constantly criticized as scientific certainties lose their credibility.
5_The substance of change:
__A_prepare the generation for the future.
__B_global competitiveness
__C_economic regeneration
__D_be expected to help rebuild national culture and identities
__E_multicultural migration
__F_resurrect traditional values and senses of moral certainty
__G_severe fiscal restraint
8_Current patterns of educational change is a powerful and dynamic struggle between two immense social forces: those of mondernity and postmodernity
__mondernity:
____rational scientific process
____overnature technology
____control and improve the human condition.
__postmodernity:
____fast, compressed, conplex, and uncertain.
____placing old ideological certainties in disrepute.
____smaller goods, on demands, information and images more than products.
____blurring of roles and boundaries. Flexible accumulation.
____the needs for empowerment and interpersonal relationship are increased; the security and continuance are decreased.
11_The involvement of teachers in educational change is vital to its success.
11_Do not ignore, misunderstand or override teachers own desires for change.
13_
48_
49_
50_
52_
59_
77_
82_
95_
96_
97_
99_
103_
107_
108_
109_
112_
120_
By Andy Hargreaves 1994, Cassell, UK
ix_Practice-orented research lead to a deeper understanding of educational practice and how to improve it.
ix_understand how teachers grow and develop.
4_Struggles of teachers:
__A_the pressure of postmodernity are felt.
__B_innovations multiply as change accelerates, creating senses of overload among teachers and head teachers.
__C_the collapse of moral certainties.
__D_the methods and strategies teachers use are constantly criticized as scientific certainties lose their credibility.
5_The substance of change:
__A_prepare the generation for the future.
__B_global competitiveness
__C_economic regeneration
__D_be expected to help rebuild national culture and identities
__E_multicultural migration
__F_resurrect traditional values and senses of moral certainty
__G_severe fiscal restraint
8_Current patterns of educational change is a powerful and dynamic struggle between two immense social forces: those of mondernity and postmodernity
__mondernity:
____rational scientific process
____overnature technology
____control and improve the human condition.
__postmodernity:
____fast, compressed, conplex, and uncertain.
____placing old ideological certainties in disrepute.
____smaller goods, on demands, information and images more than products.
____blurring of roles and boundaries. Flexible accumulation.
____the needs for empowerment and interpersonal relationship are increased; the security and continuance are decreased.
11_The involvement of teachers in educational change is vital to its success.
11_Do not ignore, misunderstand or override teachers own desires for change.
13_
48_
49_
50_
52_
59_
77_
82_
95_
96_
97_
99_
103_
107_
108_
109_
112_
120_
訂閱：
文章 (Atom)