Art Education in a metaverse ground.c

Art Education in a metaverse: ground<c> Elif Ayiter Sabanci University ayiter@sabanciuniv.edu Abstract ground<c> is a metaverse environment for art education, inspired by 'The Groundcourse'; Roy Ascott's educational methodology developed during the 1960's; the aim of which was to shake up preconceptions and behavioral patterns through exercises, games, role-play and the implementation of educational 'irritants', in accordance with constructivist theories and Cybernetics. However, ground<c> will also incorporate novel educational theory as well as the findings of cyber psychology into its methodology. The design of an experimental architecture of both changeable/unpredictable components; as well as static spaces designated for gathering and learning, is a crucial component of the author's research. A description of the design process, a visual documentation of all design phases, currently under way in 'Second Life', alongside a description of educational precedents and methodology will constitute the content of this paper. Background While web 2.0 domains have increased user interaction and participation, the metaverse has taken huge steps in the realization of a domain where awareness between participating agents is taken to an entirely new level providing not only the capability of interaction and participation but also that of “presence”, creating far deeper reaching implications than what a mere novel display system or tool would indicate: New forms of embodiment, of presentation as well as perception, and of autopoiesis are being materialized, as has indeed also been the prior case in online games and simulations [Gredler04]. However, while computer games have the disadvantage of predefined structure and purpose, the metaverse poses the opportunity/challenge in that users define their own content and purpose. Thus, while having profound effects on every conceivable profession and walk of life, the effects of the metaverse on the creative arts does merit special consideration: Artistic practice constitutes a specialized field that requires special focus through the development of technology for enhanced presence, and specialized creative as well as educational strategies for the implementation of such novel technology and interfaces, particularly when considered within the emergent schema of the metaverse. While much has been accomplished in online educational systems that address the needs of most mainstream educational needs [Hill03], the open-ended nature of art education requires special solutions which involves opportunities of-predictability, associative processes, perceptual transformation and ultimately behavioral change. While the highly socially interactive and emergent nature of the metaverse herself does indeed provide a satisfactory environment for the implementation of succesful art educational strategies that position themselves in open-ended discourse, it is nonetheless felt by the author that enhanced technology surrounding interaction and space, not yet fully present in the metverse today, would be needed for fully successful implementation of art educational enterprises in the metaverse. “...there is very little point in bringing your PowerPoint into SL and delivering an old fashioned lecture- it is not taking advantage of the unique selling points of the environment which -enables people to experience things they might otherwise not be able to -or brings together groups of people who might otherwise not be able to meet and provides them with the tools to be creative....” Julia Gaimster, University of the Arts London ... If we are trying to instil knowledge we should look to the platforms unique affordances for conveying this. What is it that we can do in the 3D virtual world that we cannot do out of it, or at least what is it that we can do 'just as well' there. I can attend a formalised teaching session and listen to a tutor but if all the time I want to build a castle or fly across to the other side of the island I will not be concerned with the meaning of the class or activity. If the learning tasks we construct involve building and flying then the learning itself is embedded in the platform's unique affordances. This is educationalists current challenge and our biggest questions surround how we might evolve these learning activities. Very few educationalists are currently involved in this... ...We need a way of assessing our impact in Second Life without influencing the process by the observation itself and allowing our assessments to be both valid and reliable. So many factors influence the route to knowledge exchange and the learning of new skills when we start to use immersive technology to teach... ...I think that qualitative pedagogical techniques such as Action Research are valuable in the sense that in immersive learning environments we need to embed ourselves as teachers and get involved in the process of understanding. Traditional VLEs lack this engagement. We cannot just set up a learning environment and step back from it... Simon Bignell, University of Derby ( from “Measuring” the Impact of Second Life for Educational Purposes" by John Kirriemuir in March 2008 for Eduserv Foundation) [Kirriemuir08] Although the two quotes above seem to point precisely at what is lacking in the overriding majority of today’s metaverse learning environments, nonetheless there seems to be an inclination in educational practitioners involved in the matter to somehow integrate standardised VLE learning tools and methodologies into their metaverse teaching practices. A good example to this approach would be the integration of the VLE called Moodle to Second Life [Kemp06]. Furthermore, a study conducted by Jennings in 2008 [Jennnings08] suggests the preference higher educational institutions in Second Life to emulate real life teaching practices as well to confine teaching activity to a dedicated campus, which in many cases is a near exact replica of real life campus architecture. While Second Life is used as a learning platform by hundreds of higher educational institutions worldwide [Lagorio07], the general lack of concern over whether the unique properties of this thoroughly novel human condition can be exploited to develop entirely novel learning strategies is noteworthy. The overriding majority of Second Life universities have appropriated dedicated sims upon which campuses in which learning activity that is entirely cut off from the rest of the metaverse have manifested. Most of these campuses have been built as exact replicas of their physical counterparts, thus metaverse learning activity is considered as a mere extension of education in the physical world. Indeed, in a considerable number of cases teaching is undertaken by faculty whose presence in the metaverse is limited to this activity alone. Art Institutions have followed close suit in establishing a strong presence in Second Life as well. However, as is the case with general higher educational activity in Second Life, teaching is usually seen as an extension of real life studio teaching, with assignments and teaching methodology closely emulating what goes on in the physical campus. Again, in the case of a considerable number of art educational establishments in Second Life the virtual campus at which metaverse teaching occurs is a very close adaptation if not exact replication of the real world campus. In some of the attempts involving the bringing of healthcare education into the metaverse a more integrative approach that addresses some of the affordances of the metaverse can be observed [Bulos07]. However one of the more interesting studies concerning the usage of multi user online 3D environments can be found in the “River City Project”: Although not in Second Life a study conducted by Harvard University, “The River City Project” makes noteworthy usage of the inherent and implicit affordances of the multi-user virtual environment (MUVE) that it is embedded in. The project utilized MUVEs as a vehicle to study the ways in which virtual environments may aid the transfer of learning from classroom contexts into real world settings using a situated learning approach and cognitive studies related to distributed perspective, cognitive processes and situated cognition [Dieterle07]. McPherson and Nunes [Mcpherson 04] propose that the design of online learning environments should be based upon sound pedagogical models, appropriate to a specific educational scenario. For ground<c>, this pedagogical model is the Groundcourse [Ascott03], a methodology, which through the emphasis it put upon behavioral change as an approach to the enablement of creativity, especially through the enactment of new personalities, i.e., role-play, is deemed to be particularly suited to the present quest of the author vis a vis the proposed realm of implementation, i.e. the metaverse. The Precedent Combining cybernetics and constructivist educational theory, The Groundcourse devised a flexible structure, “within which everything can find its place, and every individual his way”. The outcome was a 2 year art foundation course, the aim of which was to create an environment which would “enable the student to become aware of himself and the world, while enabling him to give dimension and substance to his will to create and change”, achieved through a drastic breaking down of preconceptions related to self, art and creativity. Thus the operative tenet that was employed was one of providing an enviroment that fostered the rethinking of preconceptions, prejudices and fixations with regards to self, society, personal/social limitations, art and all the ensuing relationships through a carefully thought out, coordinated and orchestrated range of assignments and exercises that entailed behavioral modification and indeed change. One of the salient points of the methodology was that the student be instructed by active practitioners in their own fields and also that the faculty be large and of varied disciplines and backgrounds, ensuring multiple and diverse feedback loops in the educational process. Thus numerous painters, sculptors and designers as well as scientists were enlisted as faculty members who, in vivid interaction with not only the students but also with one another, formulated the wide range of exercises that spread over the two years. The first year was devoted to countless exercises of creative problem solving, ranging from drawing exercises to the acquisition of artistic skills and perception; that could at times seem absurd, aimless, even terrifying. Empirical enquiry to precise questions was balanced by scientific study; irrational acts by logical procedures. At the core however was a concept of power, the will to shape and change, this indeed being The Groundcourse's overriding educational goal. Cybernetics and behavioral sciences were studied regularly. While the nature of drawing was re-examined, the values of perspective and mechanical and architectural drawing were practiced and tested against problems of space. Natural growth and form was examined in the context of scale and reproduction, while other studies examined the modes of human perception. Students set about analyzing and inventing games, logical propositions, idea sequences, and matrices in which codes were designed and broken. Thus, “in this first-year course, the student is bombarded at every point with problems demanding total involvement for their solution. Ideas are developed within material limitations and in the abstract. For the teachers, the formulation of problems is in itself a creative activity...” During the second year of the Groundcourse the problem that students had to address was the task of acquiring and acting out a totally new personality, which was largely the converse of what they would consider to be their normal “selves.” These new personalities were monitored with “calibrators” that were designed to read off responses to situations, materials, tools, and people within a completely new set of operant conditions. These responses were then used in the creation of mind maps to be utilized as consultational charts enabling handy reference to behavior pattern dictated by change in the limitations of space, substance, and state. These “new” personalities were asked to form hexagonal groups which had the task of producing an ordered entity out of substances and space in their environment, with severe limitations on individual behavior and ideas, forming the “irritants”, i.e. the educational aids of limitation in the pursuit of creative enablement. The irritation of the organism was applied in three different directions: Towards the social relationship of the individual to his environment; towards the limitations implied in material situations; and towards conceptual possibilities. “The groundcourse places the student at the centre of a system of visual education designed to develop in him awareness of his personal responsibility towards idea, persons and the physical environment such that he may contribute to a social context within which his subsequent professional activity may become wholly creative and purposive. The intention of the groundcourse is to create an organism which is constantly seeking for irritation. The term “organism” may be applied to both the individual student and to the groundcourse as a whole.” from the prospectus for 1963/64 at Ealing Students were then invited to return to their former personalities, making a full visual documentation of the whole process in which they had been engaged, searching for relationships and ideas unfamiliar to art, reflecting and becoming aware “of the flexibility of their responses, their resourcefulness and ingenuity in the face of difficulties. What they assumed to be ingrained in their personalities they now tend to see as controllable. A sense of creative viability is being acquired”. The Groundcourse, with its pivotal emphasis on behavioral change as a founding tenet for the enablement of creativity, utilized the creation and enactment of new personalities as an educational process. This corresponds to the present day phenomenon of role-play in MMORPG’s and the metaverse. Research conducted in the emerging field of Cyberpsychology also substantiates the importance of role-play, the aquisition of alternative characters and indeed the aquisition of many alternative selves in the engenderment of behavioral change not only within the virtual environment itself but also, by extension, in real life. Beyond role-play, the importance of playful activity itself as well as the building of concrete objects, i.e. toys, in the development of creative thinking, as proposed by Papert, is yet another key concept that can be adapted with fascility to the fundamental premises of the Groundcourse’s methodology. Thus, it is the position of the author that much insight and benefit can be attained from a critical examination and subsequent adaptation/re-interpretation of the Groundcourse’s educational philosophy and premises as a pedagogical model aiding the enablement of creativity in a metaverse [Ayiter08]. Transformative Learning and Constructionism While Experiential Learning and Cybernetics were pivotal to the educational theory of the Groundcourse; ground<c> will aim to incorporate educational theory that has been formulated between then and now. Two recent developments in adult education, namely Transformative Learning and Constructionism will also be examined and incorporated into the formulation of the educational methodology of ground<c>. As early as 1966 Ascott alerts readers to the emergence of “a new, leisured class” that will be in search of creativity enablement and that falls outside of the boundaries of traditional art educational practice. The current phenomenon of creative participation and sharing via www2 domains seems to amply validate Ascott’s early claim who structured his learning system as a fluid, symbiotic construct within which diverse learner groups could be accommodated: Transformative learning [Sheared01], specifically addresses adult education and lifelong learning, as a process of getting beyond gaining factual knowledge alone to instead become changed by what one learns in some meaningful way. It involves questioning assumptions, beliefs and values, and considering multiple points of view, coming out of Jack Mezirow's earlier theory of perspective transformation. In theorizing about such shifts, Mezirow proposes that there are several phases that one must go through in order for perspective transformation to occur. “Perspective transformation involves a sequence of learning activities that begins with a disorienting dilemma and concludes with a changed self-concept”. While instrumental learning involves cause-effect relationships and learning through problem solving, communicative learning necessitates actively negotiating one's way ‘through a series of specific encounters by using language and gesture and by anticipating the actions of others’ [Mezirow91]. The former is about prescription whereas the latter is about ‘insight and attaining common ground through symbolic interaction’ with other persons. For Mezirow, this is not a dichotomy but two distinct types of learning, both of which are utilized in many human activities. Seymour Papert’s Constructionist [Steffe95] learning is inspired by constructivist theories, as well some of the cognitive theories of Jean Piaget. Constructionism holds that learning can happen spontaneously when people are engaged in actively making things [Kafai96]. Unlike Piaget [Griffin03], for whom it is a mere stage that the infant outgrows in due course of time, Papert places great value on concrete thinking – i.e. thinking with and through concrete objects – as a mode of thinking which is complementary to more abstract, formal modes of thought. To Papert, people best learn through constructing personally meaningful products, or products that express something of importance to them. Moreover, he suggested that people cannot construct something out of nothing, and that meaningful constructions require enabling tools and environments. “To the adage ‘you learn by doing’ we add the rider ‘and best of all by thinking and talking about what you do’” [Papert90]. It is thus, a grave mistake, in Papert’s view, to forsake or cast off concrete thinking, in favor of purely abstract thought. Constructionism is a way of making formal, abstract ideas and relationships more concrete, more visual, more manipulative, and therefore more readily understandable. Some of the research on which “Serious Play” is based has been charted into basic concepts such as play and identity; while the goals of the method are listed as social bonding, emotional expression, cognitive development, and constructive competitio [Papert80]. Within this context play is defined as “a limited, structured, and voluntary activity that involves the imaginary. That is, it is an activity limited in time and space, structured by rules, conventions, or agreements among the players, uncoerced by authority figures, and drawing on elements of fantasy and creative imagination” [Lego07], involving storytelling and metaphor. Emotions such as love, anger, or fear shape the different forms of play in which a player engages, as well as the symbolic expressions the player produces. Since play involves the capacity to pretend, and to shift attention and roles, it provides a natural setting in which a voluntary or unconscious therapeutic or cathartic experience may take place. However, not only “Serious Play”, which according to Sutton-Smith [Sutton-Smith01] would be classified as “good play” in that it entails goal directed learning activity, but also frivolus, aimless play activity is worthy of investigation, particularly when viewed within the context of the metaverse ... The Metaverse ... In recent years, the term has grown beyond Stephenson’s 1992 vision of an immersive 3D virtual world, to include aspects of the physical world objects, actors, interfaces, and networks that construct and interact with virtual environments. The social and economic impact of the metaverse was at the core of Stephenson's fiction, and is still an open question today. ...The Metaverse is the convergence of 1) virtually-enhanced physical reality and 2) physically persistent virtual space. It is a fusion of both, while allowing users to experience it as either. ... Active Worlds, which was based entirely on Snow Crash, popularized the project of creating the Metaverse in 1997 by distributing virtual-reality worlds capable of implementing at least the concept of the Metaverse. ... In 2003, Second Life debuted, the first 3D persistent virtual world that allows its users to retain property rights to the virtual objects they create in the online economy. After a period of low initial growth, by May 2006 Second Life has more than 230,000 downloads to date (paying no subscription fee) and a transaction volume (virtual GDP) of US $60M per year. Though Second Life has no overt goal unlike a role playing game, the culture and economy are now sophisticated and lucrative enough that common physical world goals of exploration, socialization, and commerce have become sufficiently rewarding "in world" for many users. By late 2004 it was clear to early observers that this was the first persistent world platform that had made it "over the hump" into sustainable exponential growth. While performance, interface, and technical issues persist, this version of the metaverse is both a business success and a great training ground for first generation virtual creativity. In 2007, Second Life announced they would release their complex (and for newbies, difficult-to-use) VW viewer software to the open source community for modification and customization. As Rosedale says, "this extends the control Residents can have over the Second Life experience and allows a worldwide community to examine, validate and improve the software’s sophistication and capabilities.” ... The Croquet Consortium takes the metaverse metaphor as a starting point for a new form of operating system, that is built for the increasing power of modern computers, and does not have its foundations in the limitations of the previous century. ... Google Earth is coming from the area of GIS and satellite imagery to build virtual structure on top of real earth data (cf downtown Tokyo). ... In time, many of the Internet activities we now associate with the 2D Web will migrate to the 3D spaces of the Metaverse. This does not mean all or even most of our web pages will become 3D, or even that we'll typically read web content in 3D spaces. It means that as new tools develop, we’ll be able to intelligently mesh 2D and 3D to gain the unique advantages of each, in the appropriate context. The Metaverse Roadmap Summit in 2006-7 produced a 50-page public foresight report on 3D developments that are moving the web toward the Stephenson vision. http://www.metaverseroadmap.org/ [Metaverse08] What differentiates the metaverse from online role playing games is that unlike games, the metaverse has no intrinsic rules that are game related: There are no scores to be gained, no levels to be attained. However metaverse activity can be thought of as a game on a very basic level: These are unstructured virtual environments where characters undertake activities for the purpose of personal enjoyment, i.e. play. But ultimately, they are virtual realms within which real world rules, such as business acumen, social skills, work, creativity, learning, as well as beauty, eccentricity or charm – to mention just a few, are the keys to success. Unlike the real world however, metaverse allow their residents the ability to fly, to teleport, to change gender or even adopt non-human forms and indeed the ability to switch back and forth between these different persona. Each avatar is visible to all other users, and avatars interact with each other in this communal virtual space through software-specified rules. The metaverse uses the metaphor of the real world, but without its physical limitations. Cyber psychology/The Avatar A salient aspect of Ascott’s methodology in the propagation of behavioral change and stimulating creative processes is Role Play, as well as “pure play”, or “frivoluos play” [Sutton-Smith01]. Thus the author proposes to utilize the entire metaverse for creative learning activity, especially for the enactment of different selves through the agency of diverse play activity, which brings into prominence the role of the avatar. Avatars play an important role in structuring social interactions, as their inhabitants both consciously and unconsciously use them in ways very similar to their material body [Damer97]. While the basic avatar is a human of either sex, avatars can have a wide range of physical attributes, and may be clothed or otherwise customized to produce a wide variety of humanoid and other forms. Avatars may be completely creative or representational. Furthermore a single person may have multiple accounts, i.e. “alts”. Also, a single Resident's appearance can vary at will, as avatars are very easily modified. Given that they visually portray an inhabitant and allow visual communication, Suler [Suler07] also contends that avatar appearance is crucial for identity formation in virtual worlds. Avatars are able to move; they can manipulate objects, talk to each other and make gestures. Reid [Reid97] describes them as a “real” person's proxy, puppet or delegate to an online environment'. Research conducted by Bailenson and Yee [Yee07], verifies the profound nature of the relationship of the individual to his/her avatar. Studies on addiction, on whether the changes in self-representation that virtual environments allow individuals affect behavior both in-world as well as in “real life”, the motivations of participation and play, related to demographics such age, gender and usage pattern, investigation into the benefits of embodied perspective-taking in immersive virtual environments, research into whether social behavior and norms in virtual environments are comparable to those in the physical world all show that there is indeed ample material for implementing an educational methodology that embraces the breaking up of behavioral ruts due to preconceptions related to self, society and creativity through the realization and enactment of new personalities, through the avatar. Designing an environment for creative activity and learning The first year of the Groundcourse was devoted to exercises and assignments in perception, visual observation and analysis, drawing and building as well lectures covering a range of topics from cybernetics to behavioral and cognitive sciences. ground<c> intends to follow suit in this regard. Thus environments and structures within which these activities can be accomplished need to be provided and these call for the formulation of a sturdy visual language that will engender a cohesive whole, a gestalt, as the actual design process begins to unfold. Architecture in the Electronic Age is the Figuration of a Vortex of Information Architecture in the Electronic Age Changes the Concept of Barrier Architecture in the Electronic Age is Architecture That Designs Time Architecture has traditionally been linked with nature through figuration of movements of vortices occurring in water and air. With contemporary architecture, we must link ourselves with the electronic environment through figuration of information vortices. The question is how we can integrate the primitive space linked with nature and the virtual space which is linked with the world through electron network. Space which integrates these two types of body will probably be envisaged as an electronic biomorphic one. For, just as the figure of a living body represents the loci of movements of air and water, the virtual space will most likely be figured as the loci of human activities in the electron flow. Toyo Ito, 1997, from “Image of Architecture in the Electronic Age” [Maffei 06]. Free of structural constrictions related to structural engineering virtual architecture can almost be described as a three dimensional embodiment of visionary architecture or paper architecture which is a well established architectural tradition dating back to Piranesi. While built architecture always reflects the compromises designers have to make with physics and economics, unbuilt visionary architectural projects do not have those limitations. Since 3D modelling and animation assists in the conception of very complex spaces, virtual architecture can also be said to situate itself in deconstructivist architecture, characterized by ideas of fragmentation, an interest in manipulating ideas of a structure's surface or skin as well as non-rectilinear shapes distorting architectural elements, such as structure and envelope, the visual appearance of constructivist constructs often stimulating unpredictability and a controlled chaos. However, according to Marcus Novak, the origins of cyberspace can be traced to constructivist artists such as Malevich and El Lissitsky. Malevich recognized magnetism, gravity, radio waves and other invisible forces and pulses in a world of objectless paintings. Along the same lines, he imagined buildings floating with out foundations, buildings that were built over nothing. In Lissitsky's words, “Proun is a transfer station from painting to architecture”. This shows how tenaciously he pursued this ambiguous space between two and three dimensions-a sub-zone, an interval, a transfer station, calling it the “immaterial material”. This immaterial material, born from light and the motion of objects, has elements in common with the space of electronic media. The liquid architecture of cyber space is clearly immaterial architecture. It is architecture that is no longer satisfied with form, light and the other aspects of the real world. It is an architecture composed of changing relationships between a variety of abstract elements [Novak94]. John Dewey [Dewey21] tells us that learning depends on two sets of conditions that enhance the nature of the learning “experience”. First the external, i.e. controllable conditions and second the internal conditions/mindset of the student, which are inevitably beyond the control of the educator. Thus, at least one of the aims of any educational methodology aiming to develop and train minds is to provide an environment which does indeed induce such an activity. Dewey puts high value on the design and structuring of the actual physical educational as well as social environment and its operant components, indeed proclaiming that “in last analysis, all that the educator can do is modify stimuli so that response will as surely as is possible result in the formation of desirable intellectual and emotional dispositions” . A truly successful educational environment then, according to Dewey, is one where the reaching out of an experience may be fruitfully rewarded and kept continuously active, as well as its outcome closely monitored . For ground<c>, which is at its core is a design project, Dewey’s proclamations on the importance of environmental design in education are crucial: While the Groundcourse, with its behavioral restraints and irritants took into account the value of both experience and environmental stimulus, ground<c> will be able to put into practice Dewey’s convictions to even further use by designing the entire architecture to suit the needs of experiential learning by taking full advantage of the affordances of the virtual. Real world constrictions would not have enabled the design of spaces for the Groundcourse that were thoroughly changeable, interactive and indeed unpredictable in the 1960’s: Spaces where space itself could become a hindrance, an obstacle to be surmounted – in short an irritant. Space free of gravity, space with increased/decreased collision detection, space that shrinks and expands, space that is beyond the users control can be used in series of assignments to enhance perception, visual observation and in defining behavioral experiments to aid creative enablement in ground<c>. Indeed such space need not even be perceived identically by multiple learners: It is entirely conceivable to create space that presents itself with differences, ranging from the subtle to the drastic, to different users at the same time. A 3D construct, incorporating highly interactive/kinetic elements, that will provide an unpredicatable, changeable learning environment which can be adapted to specific needs of instruction/experience with great ease. Indeed these spaces will constitute the fulcrum of all learning activity and the entire campus will be structured around them. Complementing these will be static components for auditoriums, meeting areas, display and performance areas etc. The overall manifestation will be a strongly interconnected set of structures, based upon forms of growth and visionary architecture, utilising the sky, the earth as well as the ocean of the metaverse; creating a visionary/virtual campus for creative activity in that geography.In fact what has been described here can be summarized with one word alone: A Holodeck [Murray98]. Conclusion While ground<c> is indeed strongly inspired by the Groundcourse, an exact replication is clearly not intended; nor indeed would such a replication be possible or meaningful, given the changes wrought about by technological, cultural, socio-economic and political change over the past 50 years. Thus, the two principles of the Groundcourse that the author intends to fully adhere to, whilst developing ground<c>, are the irritants in aid of the enablement of creative activity and the very large and diverse faculty for the formulation and instructional implementation of those very irritants. But even here telematic connections, the metaverse and the possibilities engendered by virtual architecture will bring about considerable change and addition to the underlying concepts, as has indeed been delineated above. Just as in the real world, very little is under the instructors or the learners control in a metaverse. Thus the metaverse will challenge and “irritate” with its inherent conditions, socially, geographically, architecturally. From a dedicated campus learners and instructors can then disperse to conduct in-world classes, assignments and experiments that further the learning process. Avatars and all appended social interaction can be used in acquiring and acting out new personalities, as well as their calibration and monitoring, fulfilling the concept at the very heart of Ascott’s educational methodology, culminating in a methodology which may then be considered as a novel approach to instruction for creative enablement in a metaverse, built upon the Groundcourse. A large and diverse faculty, actively engaged in an exchange of ideas and strategies, as well as a wide ranging and diverse student body, can today be established on a far more dramatic scale through the usage of the telematic condition which so easily overcomes geographical divisions. The educational irritants and the element of confusion in Ascott’s teaching methodology, which are felt to carry as much potential educational impact today as at the time of their inception in the early 1960s, can be adapted and implemented through electronic interactivity, programming and the usage of temporal as well as structural electronicspace, in a manner which was not available in the 1960s [Ayiter08]. References [Ascott03] Ascott, R., Shanken. E. (ed). Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, University of California Press. Berkeley, CA. 2003. Pg: 102 -107. [Ayiter08] Ayiter, E., 2008, Integrative art education in a metaverse: ground<c>, Technoetics Arts, Volume 6. no 1 Pg 41 – 53. [Bulos07] Boulos, M. N. 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