O engajamento dos discentes é um dos assuntos em voga na Educação hoje em dia. Observa-se que os novos alunos possuem uma forma diferente de encarar o processo de aprendizagem, uma vez que o modelo tradicional ainda impõe ao aluno o papel passivo em sala de aula. Nessa perspectiva, o uso da gamification surge como uma proposta de estratégia capaz de auxiliar os professores a atrair os seus alunos, uma vez que a estrutura do gamification possui potencial de engajamento. Seu formato é adequado aos anseios atuais, principalmente quando o assunto é aprendizagem em uma época em que os professores disputam a atenção dos alunos com a tecnologia. Assim, esta pesquisa descreve quais as preferências e os determinantes do engajamento de discentes de Ciências Contábeis em relação aos elementos da gamification. São apresentados os fatores determinantes do engajamento de discentes em relação à aceitação de elementos de gamification. Utiliza-se uma abordagem quanti-qualitativa e descritiva como método para coleta dos dados da pesquisa. O campo de pesquisa explorado foi o curso de Ciências Contábeis da UFRGS, no qual participaram 355 alunos de todo curso (43%). A pesquisa revela que os alunos de graduação são experientes com jogos (quase 95% utilizam jogos digitais) e que eles se envolvem com frequência nessa atividade (54,4% frequência pelo menos mensal). Os resultados permitiram identificar que a percepção dos alunos sobre gamification é positiva: 36,62% disseram que se sentem confortável com a ideia. Além desses, 27% demonstraram animação com essa proposta. Os estudantes indicaram serem favoráveis a um sistema com elementos de gamification no ensino, considerando os seguintes elementos: Pontos, Progressão, Equipes, Medalhas, Perfil e Ajudas. Por fim, esta pesquisa contribui na identificação dos fatores determinantes do engajamento dos discentes em relação à aceitação de elementos de gamification (seção 4.5). Acrescenta ainda informações sobre o relacionamento dos discentes com os jogos, tornando possível encontrar uma linha orientadora que possa auxiliar professores a aplicar com sucesso atividades com gamification. / Engagement of learners is one of the most important topics in Education nowadays. It is observed that the new students have a different way of looking at the learning process, since the traditional model still imposes on the student the passive role in the classroom. In this perspective, the use of gamification appears as a strategy proposal capable of helping teachers to attract their students, since the structure of gamification has potential for engagement. Its format is well suited to current yearnings, especially when it comes to learning in a time when teachers challenge students' attention to technology. Thus, this research describes the preferences and determinants of accounting student engagement in relation to the elements of gamification. The determinants of student engagement in relation to the acceptance of gamification elements are presented. A quantitative-qualitative and descriptive approach is used as a method for collecting research data. The field of research explored was the Accounting Sciences course of UFRGS, in which 355 students from all over the course participated (43%). Research shows that undergraduates are experienced with games (almost 95% use digital games) and that they engage frequently in this activity (54.4% at least monthly frequency). The results allowed to identify that the students' perception about gamification is positive: 36.62% said they feel comfortable with the idea. In addition, 27% demonstrated animation with this proposal. The students indicated that they favor a system with elements of gamification in teaching, considering the following elements: Points, Progression, Teams, Medals, Profile and Helps. Finally, this research contributes to the identification of the determinants of students' engagement in relation to the acceptance of gamification elements (section 4.5). It also adds information about the students' relationship with the games, making it possible to find a guideline that can help teachers to successfully apply gamification activities.

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Quantum game theory is an exciting new topic that combines the physical behaviour of information in quantum mechanical systems with game theory, the mathematical description of conflict and competition situations, to shed new light on the fields of quantum control and quantum information. This thesis presents quantizations of some classic game-theoretic problems, new results in existing quantization schemes for two player, two strategy non-zero sum games, and in quantum versions of Parrondo's games, where the combination of two losing games can result in a winning game. In addition, quantum cellular automata and quantum walks are discussed, with a history-dependent quantum walk being presented. / Thesis (Ph.D.)--School of Electrical and Electronic Engineering , 2005.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 130-135).

This study investigated the relationships among children?s creativity, computer games, natural play, TV, and their structured activities daily after school by the analysis of their time spent on computer games, and the other components with the Torrance Test of Creative Thinking (TTCT), using the statistical methods of MANOVA and SEM. Activity 5 of Verbal Form B and Activity 2 of Figural Forms B of the TTCT were used to measure students? verbal and figural creativity scores. Two hundreds and thirty eight 3rd and 6th grade students from one rural and one urban school in the Republic of Korea were studied. The study also examined whether any variables (i.e., gender, grade, location, achievement, genres of computer games and parental Social Economic Status) affected children?s creativity scores and computer game usage. Children using computer games heavily showed significantly higher scores on the scale of Figural Originality than those with moderate usage. Highly structured activity students had significantly higher scores on all Figural TTCT scales than did the moderately structured activity group. There was a significant location difference on Figural Originality and Figural Elaboration, parental SES, and time spent on TV. Time spent on free play did not show any differences on any TTCT scales. Time spent on TV was differently correlated with the Figural TTCT by parental SES. Third graders obtained significantly higher scores than 6th graders on all the Verbal TTCT and Figural Elaboration scales. In this study, the subjects showed a significant preference for Role Playing Game (RPG) and Casual games. Gender differences on preferences of game genres, time spent on computer games and starting period of computer use were found. The MANOVA among genres of computer games on the TTCT scores was significant. The path models showed that the parent factor had strong correlation with children?s figural creativity and the play factor was correlated more with verbal creativity.

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Space is understood best through movement, and complex spaces require not only movement but navigation. The theorization of navigable space requires a conceptual representation of space which is adaptable to the great malleability of video game spaces, a malleability which allows for designs which combine spaces with differing dimensionality and even involve non-Euclidean configurations with contingent connectivity. This essay attempts to describe the structural elements of video game space and to define them in such a way so as to make them applicable to all video game spaces, including potential ones still undiscovered, and to provide analytical tools for their comparison and examination. Along with the consideration of space, there will be a brief discussion of navigational logic, which arises from detectable regularities in a spatial structure that allow players to understand and form expectations regarding a game’s spaces.

Academic language should not be a ghetto dialect at odds with ordinary language, but rather an extension that is compatible with lay-language. To define ‘game’ with the unrealistic ambition of satisfying both lay-people and experts should not be a major concern for a game ontology, since the field it addresses is subject to cultural evolution and diachronic change. Instead of the impossible mission of turning the common word into an analytic concept, a useful task for an ontology of games is to model game differences, to show how the things we call games can be different from each other in a number of different ways.

This paper addresses a theoretical reconfiguration of experience, a repositioning of the techno-social within the domains of mobility, games, and play, and embodiment. The ideas aim to counter the notion that our experience with videogames (and digital media more generally), is largely “virtual” and disembodied – or at most exclusively audiovisual. Notions of the virtual and disembodied support an often-tacit belief that technologically mediated experiences count for nothing if not perceived and valued as human. It is here where play in particular can be put to work, be made to highlight and clarify, for it is in play that we find this value of humanity most wholly embodied. Further, it is in considering the design of the metagame that questions regarding the play experience can be most powerfully engaged. While most of any given game’s metagame emerges from play communities and their larger social worlds (putting it out of reach of game design proper), mobile platforms have the potential to enable a stitching together of these experiences: experiences held across time, space, communities, and bodies. This coming together thus represents a convergence not only of media, participants, contexts, and technologies, but of human experience itself. This coming together is hardly neat, nor fully realized. It is, if nothing else, multifaceted and worthy of further study. It is a convergence in which the dynamics of screen play are reengaged.

This co-authored paper is based on research that originated in 2003 when our team started a series of extensive field studies into the character of gameplay experiences. Originally within the Children as the Actors of Game Cultures research project, our aim was to better understand why particularly young people enjoy playing games, while also asking their parents how they perceive gaming as playing partners or as close observers. Gradually our in-depth interviews started to reveal a complex picture of more general relevance, where personal experiences, social contexts and cultural practices all came together to frame gameplay within something we called game cultures. Culture was the keyword, since we were not interested in studying games and play experiences in isolation, but rather as part of the rich meaning- making practices of lived reality.