Treasure quests in virtual worlds

can help students develop

multi-literacy communication
skills and promote community,
offering insights about art
teaching and learning.

Art Treasure Quests in

Second Life:

A Multi-Literacy Adventure
MARY STOKROCKI
s part of the new media literacy, students explore the offerings of Second Life (SL),
a virtual world, as a series of quests. Multi-literacy involves communication. Through
their avatars, students search in teams for art treasures. They act as participant observers
recordinggesturesandchat, photographing their quest events, interviewing SL artists, and
analyzing these documents in search for meaningful patterns. Students used Blackboard,
SL Chats and IM (instant message), and Web 2.0 tools (Survey Monkey, Flickr, and blogs) to
facilitate interaction. Discovered treasures ranged from traditional to functional, political
art forms that they could use in teaching, role-playing, and creating artworks.
Besides navigational and procedural
learning, students expanded their perceptual experiences of art treasures threedimensionally, using close-up views and
from various angles which included the
artwork's cultural environment and purpose.
Teammates offered additional process and
historical information and together they
researched additional meanings (politically
and economically). Critically, my students
and I raised such value judgments such as
superstition, authenticity, stereotype and
respect for cultural beliefs. Implications
for Second Life teaching in K-12 schools
and building online community groups
both informally and formally are offered.

Finding Art Treasures in Second

Life: A Multi-Literacy Adventure
who doesn't love a treasure hunt?
Searching for treasures, cherished or
symbolic, has been a quest, similar to a game
that people have found challenging for years.
Commonly regarded, a game is an amusement and even a sport. In real life, Hopkirk
(1984) wrote about the search for the lost
cities and treasures from Turkey to China.
Google Scholar search shows studies of board
games, such as Pirates, by using the physical
world map where the islands in the archipelago can be explored in search for treasures
(Bjork, Falk, Hansson, & Ljungstrand, 2001).
The games are all different in real life and
now online, not only in terrain and what
types of merchandise and valuables can be
found, but also in what kind of dangers can

be encountered. Scholars have studied game

play and why players continue to engage in
them and discovered the attraction is the
goal, such as achieving the best warrior status
or finding hidden treasures, that keeps them
coming (Choi & Kim, 2004). In art education. Kapp (2007) labeled 10 basic learning
archetypes: co-creation, critical incident,
group forum, guided tours, conceptual
orienteering, operational application, roleplay, small group work, social networking,
and treasure hunt (p. 26). Also consider
the addition of peregrination (navigating)
and assessment into these model behaviors
(Scopes, 2009, p. 36). Parks (2008) studied
students playing the Peacemaker game
and discovered learning tolerance. What
makes these game quests so compelling?
Besides having fun, students involved in
game quests are learning, but differently.

March 2014/ART EDUCATION

37

If art teachers cannot yet bring their classes into SU they can exhibit students'
works on SL and/or on other websites, and print Screenshots of the event.
Prensky (2001) earlier validated gaming
as a form of inductive discovery learning,
"Games generation workers rarely even
think of reading a manual. They'll just
play with the software, hitting every key
if necessary, until they figure it out" (p.
59). Similarly, virtual worlds such as
Second Life invite this type of learning.
As a student in an education colleague's SL
class, I participated with two other classmates (undergraduates) in a series of quests
that they reported to be both informative and
fun (Guzzetti & Stokrocki, 2013). Together
we learned SL digital skills such as using the
camera tool to view a section of the Sistine
Chapel ceiling from varying perspectives and
points of view. We articulated educational
uses, including a simulation of what it feels
like to be inside an atom, and developed
critical problem-solving questions for determining fraudulent painting claims. Lastly,
we identified ways to address obstacles
like staging an artwork as a 3-D installation with fore-, middle-, and background.
Within a 6-week summer class, as part
of the new media literacy, my students
explore the offerings of SL as a series of
quests. Through their avatars, students
search in teams for art treasures. They act
as participant observers recording gestures
and chat, photographing their quest events,
interviewing SL artists, and analyzing
these documents in search for meaningful
patterns. Students used Blackboard, SL
Chats and IMs, and Web 2.0 tools (Survey
Monkey, Flickr, and blogs) to facilitate
interaction. Discovered treasures ranged
from traditional to functional and political
art forms that they could use in teaching,
role-playing, and creating artworks.

What is Second Life?

Although some people may regard SL as a
game, it is a popular multi-user virtual world
or simulated environment where everything
is built by avatar-residents, except the basic
land (Robbins & Bell, 2008). Some virtual
worlds are distributed with no central server,
and others are centralized, existing on one
server (Dragojlov, 2008). Unlike most video
games, people are residents here and can join
communities with similar interests. On SL,
residents do nearly everything that people do
in real life, such as develop avatars, personal

38

ART EDUCATION/March 2014

stories, and social networks. SL residency is

a unique experience among virtual worlds in
the amount of freedom that users have. With
scripting privileges, avatars have the ability
to create "in-world" objects as well as to
import textures and images created in other
applications (Stokrocki & Andrews, 2010).

SI Virtual World and New

Media Multi-Literacy
Postmodern art education in a global
world demands multiple ways of communicating. Traditionally, art education literacy
usually involved reading and writing text
to obtain knowledge, especially vocabulary involving video game terminology.
New forms of literacy are emerging called
digital or media literacy (Snyder & Bulfin,
2007). Media literacy can be integrated with
text-based culture to participate in a new
global society that is currently emerging
(Delacruz, 2009). Duncum (2004) argued
for multiliteracies, "the making of meaning
through the interaction of different communicative modes," including "music, gesture
and motion, sounds, and pictures" (p. 253).
More specifically, virtual worlds, including
video games, require operational, cultural,
and technological literacies (Guzzetti,
EUiott, & Welsch, 2010). Similar to video
games, virtual worlds do not substitute literacy activities, but produce new
literate activities coUaboratively, such as
machinima, that are videos made on virtual
worlds (Gee, 2007). I explore these literacies further in an NAEA policy white paper
cafled "Visual Arts and Multiliteracies in
the Digital Age" (Stokrocki, 2011) and in
Exploration in Virtual Worlds: New Digital
Multi-Media Literacy Investigations for
Art Education (Stokrocki, in press).

Second Life in Art Education

SL offers multifarious ways of educating
people. Wright (2008) recorded over 101
educational uses for SL including career
building, hosting events and meetings,
exploring gender and race stereotypes,
developing resources, and taking courses
(language and scripting), to name just a
few of its many possibilities. On SL, most
universities simulate traditional classrooms
where avatar instructors lecture using whiteboard PowerPoints and their avatar students

discuss related instructional issues. Similarly,

in 2008 Lu invited guest art educators to
appear in avatar form and present their
research at different locations on her Art
Caf Island and to view her students' creative
activities, such as architectural building,
in other locations. Lu (2010) later offered
practical learning principles for designing
digital events for students in virtual worlds,
including learning by exploring, being
through avatar identity, collaborating,
championing by collecting or uploading
personal own artworks, building their own
rooms and sculptures, and expressing and
recording adventures with snapshots and
writing reflections. Other educators offer SL
for identity exploration and transformation
with avatars (Liao, 2008). When teaching
on SL, Han (2013) discussed the hidden
curriculum of images there with students.
On the Floaters site', Stokrocki and Andrews
(2010) mentored participants to create
business ventures, such as disenfranchised
youth sefling in-game architecture for Linden
dollars and homeless women selling paintings through PayPal. Floaters dealt with principles of sustainabilit)' that provide avatar
and real people with basic life necessities that
include shelter, food, and clothing quests.

My Quests in Second Life

Learning with students involves participant observation in three stages: data
collection, content analysis, and comparative analysis (Stokrocki, 1997). Students
accumulated data (e.g., chat, photographic
screen shots, and avatar interviews). Then
they analyzed the content, searching for
repeated patterns of meaning in tables as
the study evolved. Finally, they compared
their results with other related studies.
I structured the class events as a series
of quests, similar to WebQuests.
In promoting socially responsive visual
culture, Keifer-Boyd (2010) explained a
WebQuest as:
an inquiry-oriented activity in which
learners construct knowledge through
interacting with, evaluating, and
connecting diverse, and sometimes
contradictory, resources on the Internet
in order to form new insights that they

share in a tangible form intended to

make a difference in the world, (para. 2)
Teachers can create WebQuests by
documenting their hyperlinks. Such quests
begin in simple description and expand
to bigher-level thinking, which includes
synthesis, analysis, problem-solving,
creativity, and judgment strategies, as part of
Keifer-Boyd's Visual Culture & Educational
Technologies syllabus (http://explorations.
sva.psu.edu/322). Hence the idea of using
art quests on SL became an attractive way
to teach and learn with my students.
Since this was our first semester exploring
quests and technology on SL, our versions
are simpler. My quests were a series of SL
explorations for critical response. I challenged my six students in a 5-week online
summer class to find art treasures on SL in
three different sites. Course information
and quests began with Blackboard. Avatar
students gathered once a week at different
sites. The first site was my own Art Ark
that I built at the New Media Consortium
(NMC). Here the group had to fly up to
see my Turkish kilim rug and find hidden
treasures. Second, they had to find other
treasures on this island. Third, they needed
to fly around SL to find an art treasure of
their choice in another site; note its location,
the artist, art type, and why they chose
this art piece; and ofler any critical issues
on a communal blog. I also linked my SL
course to other Web 2.0 platforms, such as
Flickr, to store pictures of their treasures.

[2010/07/26 19:16] Deborah Copperfield:

The borders have sheep horns as a
treasure. The rug is made of sheep wool.
[2010/07/26 19:16] Deuce Bloobury:
I found a glass bead treasure!
2010/07/26 19:17] Marylou Goldrosen:
Glass beads represent what?
[2010/07/26 19:17] Deuce Bloobury: was
it something to protect from evil spirits?
[2010/07/26 19:18] Chojiro
Restless: Snakes?
[2010/07/2619:18] Deborah
Copperfield: From the evil eye.
[2010/07/26 19:18] Marylou Goldrosen: Yes,
the beads are protection from the evil eye.
[2010/07/2619:18] Marylou
Goldrosen: What about the snakes?
[2010/07/26 19:18] Chojiro
Restless: They have legs.
[2010/07/2619:18] Lindamarie
Lionheart: I don't know if they are bad!
[2010/07/26 19:19] Marylou Goldrosen:
What colors are valuable here?
[2010/07/26 19:19] Deborah
Copperfield: Red?
[2010/07/26 19:19] Deuce Bloobury: it's
a rare pigment and hard to collect... the
blood of little bugs. I just found out that
you could find those bugs on cacti.

[2010/07/26 19:20] Lindamarie

Lionheart: From the desert?
[2010/07/26 19:20] Deborah
Copperfield: Yes, the cacti.
[2010/07/26 19:20] Marylou Goldrosen:
These bugscochineal grow on
the prickly pear cactus. What story
do you think the rug tells?
[2010/07/2619:20] Deborah
Copperfield: Noah's Ark because
there are two of each animal.

Students were able to record their

answers by clicking on the Art Ark sign
that sent them to Blog.spot.com (Figure 1).
Deborah reflected, "This was a very interesting assignment. The questions could be
interpreted differently. At first, I thought
the ark was the [tent-like] structure above.
Now I see that the ark is an aerial view in
the middle of the rug." She found that this
red dye was so valuable that historically wars
were fought over it (Greenfield, 2005). She
continued, "I found that explorers discovered Noah's Ark on Mount Ararat in Eastern
Turkey (CBN News, 2010, April). The rug
comes from the nearby city of Diyarbakir"
(Stokrocki, 2001, p. 323). Students thus can
expand their judgment to argue the ideas
of superstition, excavation, authentication,
and respect for diverse cultural beliefs.

Exploring a Turkish Kilim

I invited students (using their avatar
names) to meet me at my Art Ark, fly up
to see my Turkish rug, and find its hidden
treasures. Their discussion follows.
[2010/07/2619:15] Marylou
Goldrosen: welcome to my Art Ark.
Where is the Ark in the Rug?
[2010/07/26 19:15] Lindamarie Lionheart:
I think the ark is the white area around it?
[2010/07/26 19:16] Deuce Bloobury:The
ark is in the middlefrom an aerial view.
[2010/07/26 19:16] Marylou Goidrosen:
What treasure did you find in the rug?
[2010/07/26 19:16] Lindamarie
Lionheart:The animals are the
treasure.This is a beautiful southwestern
design. I would love to have one.
[2010/07/26 19:16] Marylou Goldrosen:
Good guess, but the rug is actually
a Turkish Mmflat vi/eave.

Figure 1. Deborah flew up to examine my kiiim in my Art Ark located on

the NMC and found the red color to be valuable (SLURL is http://maps.
secondlife.com/secondlife/Teaching%2010/67/225/33)

March 2014/ART EDUCATION

39

Figure 2. Lindamarie's sky treasure is a four-levei, SL new media

learning space for classes from the University of Applied Sciences
Dusseldorf, Department of Social and Cultural Studies, European
Science. (SLURL pad in the sky is http://maps.secondlife.com/
secondlife/Teaching%202/4V177/76)
Treasure Hunt Nearby on the
New Media Consortium Island
Lindamarie discovered a "very comical
looking cartoon" building in the sky above
my Art Ark property on Teaching 2. "The
bright colors, large eyeballs, and mechanical
look" (personal communication, July 22,
2010) attracted her (Figure 2). She found a
freebie T-shirt, movie, and links to other sites
there. Since much of the information was in
German, she found it difficult to translate,
even after IM-ing the avatar owner GePeMe
Magic. She wondered why this organization
represented itself in this comical manner.
Some quests need additional expertise and
practice and not all group owners responded.

Treasure Hunt Expanded to

Other Second Life Islands
In response to this question, students
reported that they really enjoyed collecting
Screenshots of their favorite places and
art treasures at different sites. I had to
constantly remind them to share their locations. Here are some of their examples.
Deuce Bloobury invited me to join him
at the Cultural Arts Museum where he tried
on a Benin antelope helmet-style mask that

40

ART EDUCATION / March 2 0 1 4

Figure 3. Deuce Bloobury wears a Benin mask (Anonymous,

ND) that he treasured at the Cultural Arts Museum for teaching
his students (SLURL is http://maps.secondlife.com/secondlife/
Cultural%20Arts%20Museum/61/67/37).The museum is no
longer there.

he could use to teach his students about the

role the mask plays in its society (Figure 3).
He found on the accompanying note card,
"the mask is worn with raftia to cover the
dancer's body that is used to eliminate bad
spirits." As a SL undergraduate, he found
this type of learning less strenuous than
reading research reports about the mask.
He explained that "creating a mask with
basic forms on Second Life" offered greater
retention (personal communication, July
21, 2010). With more time (since he was
overwhelmed with student teaching), he
e-mailed that he would contact the museum
owner to discuss its cultural meanings.
Although he could find no YouTube video
(some ceremonies are sacred and not
photographed), he found a related website
that discussed different mask types and uses
(Lotus Masks & World Imports, 2011).
Sig Darkwatch was fascinated with
this Mona Lisa installation that he
found at the Art Caf (Lu, 2010).
(See Figure 4.) He explained:
I really enjoyed this SL art installation;
certainly something that could only
exist in the virtual realm but it plays
with realistic objects and deals with

interesting conceptual underpinnings

related to the merging of traditional
and new media. This Ipod [sic] Touch
Phone with the Motia Lisa image
depicts a fusion of classical arts with
new genre, contemporary devices.
Ergo, it functions as a multigenerational piece appealing to classic art
enthusiasts as well as contemporary
patrons as well. Also has an interesting
embedded sound application, which
is engaging. He wondered about the
appropriation of classical images on
commercial communication devices,
which could lead to a copyright discussion, (personal communication, July
22,2010).

Findings and Significance

Using participant observation, students
developed multi-literacy skills, explored
SL art treasures, generated insights about
art teaching and learning, and discussed
critical issues related to their findings.
Furthermore, students discovered the future
of SL for teaching in K-12 schools and
how SL be used to promote community.

What Multi-Literacy
Communication Skills Did
Students Develop?
Students used different SL and V^eb 2.0
tools. They typed and read the SL Chat
logs that scrolled down their screens,
including creative letter formations such
as a coyote icon. Students' avatars also
exchanged gestures, jumping for joy or
laughing. The Flickr log revealed four
pages of documented photos with captions
and the blog site noted all of their entries.
Students used Survey Monkey for pre and
post questionnaires and four students
met in real life either because they craved
technical assurance or they would assist in
teaching. In addition, IMs popped up as
the Chat was rolling down the screen. Such
simultaneous communication demanded
ambidextrous and multisensory thinking.
Besides navigational (getting around
SL) and procedural (tool usage) learning
(Prensky, 2001), students expanded their
perceptual experiences of art treasures threedimensionally (close-up views of details
and from different angles) and contextually, which included the artworks cultural
environment and purpose (Anderson &
Milbrandt, 2005). From attached notecards
obtained by clicking on works, they learned
information about the artist, date of the
work, and process. Teammates added additional information both process-oriented and
historical (knowledge of Southwest dyes).
Due to the WebQuest challenge, students
for example later researched additional
historical and political meanings of the
artworks and discovered the economic
trade value of the cochineal color (www.
colormatters.com/factoid_2001_2.html).
As in real life, students learned about the
legal limitations. They learned that even on
SL, avatars couldn't perforrn certain culturally sensitive performances related to some
anthropological works. Students discovered
that they couldn't add attachments to sites (as
in real life) without permission (copyright
and image appropriation). One student later
designed her own quest for students to find

Figure 4. Sig, dressed as an alien creature avatar, responded to the Mona Lisa Installation
at the Art Caf. Note that he accumulated parts of his avatar costume from nearby places.
(SLURL is http://maps.secondlife.com/secondlife/Art%20Cafe/185/206/29)
Romare Bearden's artwork in Virtual Harlem,
and when she couldn't find it and attach it
to one of the brick walls in SL, she placed
the artwork on the walls of her own online
screen shot in her PowerPoint presentation.
In summary, my students and I raised such
value judgments as superstition, authenticity,
stereotype, and respect for cultural beliefs.
Students were disappointed to learn
that they couldn't use SL in their classes.
For several years, SL offered a stand-alone
experimental platform called Teen Second
Life. Due to increased costs. Linden
Labs shut it down and the owners of SL
are renegotiating with parents, educators, and others about how to allow teens
(16-17 years old) to enter SL at a "general"
frequency setting to limit their exposure to
mature problems (griefing, cyber bullies,
and predators). Educators have pleaded
for a family-centered experience (Fears,
2010) as well. The NonProfit Island recently
allowed 16-17-year olds to intern there.
If art teachers cannot yet bring their
classes into SL, they can exhibit students'
works on SL and/or on other websites,
and print Screenshots of the event. Avatar
McWhinnie (2011) hosted and mounted an
anime exhibit of teens from the Kensington
Culinary Art High School in Philadelphia.
This case study (Crooks, 2011) began with a
tour of the exhibition area and the students'
anime works, followed by an introduction of
her mentor, June Julian, interviewing art club

director Tracey Weatherby at the Cerulean

Gallery at SL Emerald Caye.^ Teens can
view their anime works on Flickr at http://
tinyurl.com/47hwcks. McWhinnie hosted
one of my classes on her SL Ed Media Center
as well. These technologies are changing
so fast that teachers are empowering
students to learn with them and share their
treasures (Stokrocki & Andrews, 2010).

How Can SL Be Used to

Promote Community?
Finally, SL can be used to promote and
build various online communities. Some
people meet informally to find and discuss
art education possibilities on SL (Taylor,
Ballengee-Morris, & Carpenter, 2010).
Avatars mentor, comfort each other, and
create works, such as on Virtual Ability
Island. Other people congregate once a week,
such as the Nonprofits, one of the largest
groups on SL. They plan their strategies
for raising money and public awareness
about caring for people or the environment
(Ecolsland, Sierra Club). Lu (2010) continues
to invite art education speakers to her Art
Caf to present their latest research. Han
(2013) offers a monthly meeting for her
International Art Education Association
(see InAEA invitation to join on Facebook).
Avatars fly in from around the world to
discuss art education issues and to share
art treasures that they find on afieldtrip.

March 2014/ART EDUCATION

41

Conclusion
These exploits provided more WebQuest
venues for exploring art treasures in SL
and discussing their educational implications. Students achieved a maturity level 2:
expansion of existing learning structures
(Kapp, 2007) by engaging in these treasure

hunts. They were able to navigate the links

and follow procedures to find the artworks,
use extemporaneous role-play, contribute to
small-group discussion with some critical
awareness of VW ethical limitations, establish their own art quest, and later engage in
social networking with each other. Virtual
worlds now can promote multi-literacies

or art treasure quests on other virtual sites,

like OpenSim, with younger students.^
Mary Stokrocki is Professor and Art
Education Area Coordinator at Arizona
State University, Tempe, Arizona.
E-mail: mary.stokrocki@asu.edu

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Worlds: New Digital Multi-Media Literacy
Investigations for Art Education. Reston, VA:
National Art Education Association.
Stokrocki, M., & Andrews, S. (2010). Empowering
the disenfranchised through explorations in
Second Life. In R. W Sweeny (Ed.). Digital
visual culture: Intersections and interactions
in 21st century art education. Reston, VA:
National Art Education Association.
Taylor, P. G., Ballengee-Morris, C , & Carpenter,
B. S. (2010). Digital visual culture, social
networking, and virtual worlds: Second Life
and art education. In R. W. Sweeny (Ed.), Inter/
Actions/Inter/Sections: Art Education in a
Digital Visual Culture (pp. 210-218). Reston,
VA: National Art Education Association.
Wright, T. (2008). Second Life as a virtual
learning environment. Retrieved from www.
dokimos.org/secondlife/education

ENDNOTES
1 http://maps.secondlife.com/secondlife/
Plush%20Nonprofit%20Commons/92/221/28
2 See the Youtube video of this interview at
www.youtube.com/watch ?v=mRUngKqdHiQ
3 Mary Stokrocki is currently exploring the
VIEW OpenSim with middle-school children
with Christine Liao, Karen Keifer-Boyd,
and Hsiao-Cheng [Sandrine] Han, who
developed the VIEW at The University of
British Columbia's sponsored OpenSim.

AUTHOR NOTE
An earher version of my paper (from the
2010 InSEA Conference) was pubhshed:
Gaul, Emil, Krpti, Andrea, Pataky, Gabriella,
nis, & Anik (Eds.) (2013). A mvszetoktats
terei. Tanulmnyok a vizualis neveUs nemzetkzi
szakirodalmbl. (Spaces of art education. A
collection of international studies.) Budapest,
Hungary: Nemzedekek Tudasa Tankonyvkiad.

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