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DOI: 10.4018/IJGBL.2017100103
International Journal of Game-Based LearningVolume 7 • Issue 4 • October-December 2017
Wise Humanising Creativity:Changing How We Create in a Virtual Learning EnvironmentKerry Chappell, University of Exeter, Graduate School of Education, Exeter, United Kingdom
Chris Walsh, James Cook University, Townsville, Australia
Heather Wren, University of Exeter, Graduate School of Education, Exeter, United Kingdom
Karen Kenny, University of Exeter, Graduate School of Education, Exeter, United Kingdom
Alexander Schmoelz, University of Vienna, Vienna, Austria
Elias Stouraitis, Ellinogermaniki Agogi, R&D Department, Greece
ABSTRACT
Thisarticleinterrogateshowaparticularconceptionofcreativity:‘wisehumanisingcreativity’(WHC)ismanifestwithinavirtuallearningenvironment(VLE)withchildrenandyoungpeople.ItreportsontheoutcomesofC2Learn,athree-yearEuropeanCommissionfundedprojectwhichintroducedinnovativedigitalgamingactivitiestofosterco-creativityintheVLEbetweenplayers.Theoreticallythepaperbuildsonpreviouswork,whichhasconceptualisedthepotentialforWHCwithinVLEs,aswellasothereducationalcontexts.WithinC2Learn,argumentshavebeenmadeforWHCasanantidotetooverly-marketised,competitivenotionsofcreativity,aswellasforWHCsupportingaviewofchildhoodandyouthasempowered—rather than ‘at risk’—withindigitalenvironments.Inparticular,thispaperfocusesonoutcomesoftheproject’sfinalpilotinginEngland,GreeceandAustriaacrosstheprimaryandsecondaryageranges.Thisresearchemployedabespokeco-creativityassessmentmethodologydevelopedfortheproject.InordertodocumentWHC,thismethodologyoptedtoevidencedevelopmentsinlivedexperienceviaqualitativemethodsincludingteacherandstudent interviews, fieldnotes, video capture, observation and student self-assessment tools.ThepaperarticulateshowWHCmanifests inC2Learn’suniqueVLEorC2Space,and itspotential todevelopmorenuancedunderstandingsofcreativityacrossdigitalenvironments.ItthengoesontoconsiderWHCasausefulconceptforchanginghowwecreatewithinVLEs,andtheimplicationsforeducationalfuturesdebatesandwiderunderstandingofcreativityineducationasalessmarketisedandmoreethicallydrivenconcept.
KEyWoRdS(WHC), C2Learn, Co-creativity, Digital Gaming, Gameful Design, Social Networking, Wise Humanising Creativity
ThisconceptualentryintothedigitalarenawasmarkedbytheCreativeEmotionalReasoningComputationalToolsFosteringCo-CreativityinLearningProcesses(C2Learn)1Project(www.c2learn.eu).Thiswasathree-yearEuropeanCommissionfundedresearchinitiative,whichaimedtointroduceandpilotan innovativeVLE to fosterco-creativity in learningprocesses in formaland informaleducational settingswithseven internationalpartners.Rather than focusoncreativecompetitionand‘winning’,theC2Learncomputationaltoolsandenvironmentweredesignedtoincorporatethefundamentalelementsofco-creativitysuchasWHC,PT,the4Ps(Walshetal.,2014;Walshetal.,2017)aswellas reframing(Stenninget.al,2016)andemotive lateral thinking (Scaltsas,2016).TheseincludedtheWHCnotionthatthecomputationaltoolscoupledwithengagingexperiences,couldpotentiallyencouragestudentstogoonjourneysof‘becoming’(Chappelletal.,2012).Thesejourneysarebasedonthereciprocalrelationshipbetweentheparticipants’creativeideasandtheirdevelopingidentity.Astheyco-create,itisarguedstudentscollaborativelyandcommunallydevelopnewideasbutastheythemselvesarethesubstanceofthoseideas,theyarealsocreatingor‘becoming’themselves.Inthissense,studentsthroughco-creatingwitheachotherandVLE’sartificialintelligence(AI),aremakingandbeingmade.Thesejourneysarecharacterisedbyco-participativegenerativity(studentsplayingwithoneanother,withadultsandAI),withinsharedgroupcreativeidentities,forexamplewithinthedigitalquests,gamesandactivities.Thetoolsalsoraisedilemma-basedquestions
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TheC2LearnVLEwasinfluencedbyagamefullearningdesign(Walshetal.,2014)sothatthesejourneysofbecomingwere informedbyplayersexperiencing thecorePossibilityThinking(PT)activitiesof‘whatif’and‘asif’thinking(Craft,2002;Craft,Chappell&Walsh,2013).Thesebothrequiregameplayerstounderstandthesystemofthegame—orsystems-basedliteracypractices—intermsofhowthegameandgameplayerworktogetherinacyberneticrelationship,effectingvariousactions of the digital game by successfully understanding and navigating those structures thatunderlietheirparticipation(Walsh,2010).Thisnavigationwasdesignedtobeinformedbythe4Psofplayfulness,possibility,participationandpluralities(Craft,2011).
C2Learn’s VLE or C2SpaceInC2Learn’sVLEorC2Space(Figure1),studentsandteachersindividuallyandcollaborativelyexplorenewideas,faceandovercomechallenges,playgamestoassisttheminreachingtheirgoalsandconnectwithothersthroughengaginginfun,contextuallyrelevantandmeaningfulplayful‘C2Experiences’.TheC2Spaceencouragesexplorations,gamesandqueststhatprovidestudentsandteacherswithmultipleopportunitiestoputforthnewideas—meaningfultothemandtheircommunities—thatrequirethemtoimaginemorenewideasorsolveproblemsviaplayfulC2Experiences.Inthisjourney,theyareassistedbyeachotherandAIorCo-CreativityAssistants(C2Assistants)thatinteractwiththemandtheirteacherstochallengetheirestablishedthinkingpatternsandenablethemtousemechanismsofcreativethinkingandtheirimagination.
The C2Space allows students to draw on their gaming literacy to interact creatively andcollaborativelywitheachother(Apperley&Walsh,2012;Beavis,Bradford,O’Mara,andWalsh,2009).Figure2showsaC2Spacepageofferingethically-drivenquestsinthemiddlewhichwhenselected offer the choice of games to be played within the quests; 4scribes (Eladhari, Lopes &Yannakakis, 2014), Iconoscope (Liapis, Yannakakis, Alexopoulos & Lopes, 2016) and CreativeStories(Koukourikos,Karampiperis&Karkaletsis,2016)beingthe3mainC2LearngamesavailableintheC2SpaceorVLE.Designedinthisway,theC2Spaceaimstoleveragegames’deeplysatisfyingpropertiesthrough‘playfulexperiences’,orC2Experiences.Withinthese,playerscanautonomouslyandcollaboratively:explore;faceandovercomechallenges;playgamestoassisttheminreachingtheirgoals;connectwithothersbyengaginginfunandmeaningfulactivities;andevidencecompassionandsharedvaluesorputforthnewideasthatrequireotherstudentstoimaginenewideas.Thisprovidesaco-collaborativecontextforthemtoshiftfrom‘whatis’tonewpossibilitiesof‘whatmightbe’.Figure3,then,showsoneoftheC2Learngames,4Scribes,inthemiddleofplaywhereplayersareco-generatinganethicallydrivenstory.
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Figure 3. 4Scribes game mid-game
Figure 2. C2Space in action
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agency,emotion,andrelevantchallenges,overgamifiedelementssuchaspoints,levels,andrewards.Figure2,above,showsdifferentcolourediconsfortheC2Learnfeedbacksystemontheright-handside.ThesearebettersuitedforC2Learnbecausetheyhavethepotentialtoincreasestudents’intrinsicmotivation(Amabile,1998)andcapacityforactivelearninginawaywhichismoresympathetictothewidergoalofWHC(Deterding,2012,2013).ThistakesplacethroughplayfulC2Experiences,asopposedtogame-orientedstrategies.This‘gamefuldesign’stanceaddressesthewidely-theorisedcritiqueofgamificationwithingamestudieswhicharguessuchgameorientedstrategiesprovideprimarily extrinsic rewardmotivators (Nicholson,2012).The intentionof theC2LearnLearningDesign’s gameful design is to harness students’ motivation and engagement through enjoyablelearningandagoal-orientedapproachthatfostersco-creativity(incorporatingbothWHCandCER).
Classroom-basededucationalscenariosusedwithintheC2Spaceprovideaframeworkinwhichdigitalgamesareusedtohelpdeepenstudents’relationshipswithreal-lifecontextsthroughactionandplay,tofacilitateco-creativity(Dimaraki&Koulouris,2013).Thecorescenariosweredevelopedin an iterative co-designed process with teachers and in collaboration with school communities(Dimaraki,Schmoelz,Koulouris,2013).Theyareappropriateforarangeofcontextsandlearners,andaddressspecificlearningobjectives.Theyalsoprovideacontentframeworkinwhichtheinnovativetechnologiesandpracticesoftheprojectaredeployed.ExamplesofthekindsofscenariosdevelopedcanbeseeninFigure2wherethequestscontainelementsofthescenariosofferedtothestudents(CreativityFuturesintheclassroom).Duringpiloting,studentsplayedwithC2Learngamesdescribedabove.Themethodologydescribedbelowwasdesignedtodocumentthemanifestationoftheirlivedexperienceofco-creativity,includingWHC.
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data CollectionQualitativedatacollectionmethodsdeterminedtheextenttowhichstudents’andteachers’participationintheC2SpacehadthepotentialtofosterWHC.Clearprotocols(Scaltsasetal.,2014;Walshetal.,2017)weredevelopedbyarepresentativeteamfromthe3pilotcountriesinordertoensurethattoolswereusedasconsistentlyaspossible.ThereweresixmaintoolsforcollectingdataintheC2Learnpilots;thesearedetailedinTable3andTable4.Gameplayaudioandvideocapture(Foster,2006)allowedobservationofphysicalandlinguisticbehaviour,whilstself-assessmenttools,suchascreativitywheels(seeFigure6andFigure7intheAppendix)(drawingonEdmond,2005;Spencer,LucasandClaxton;2012);andparticipationaxes(ChappellandCraft,2011)wereusedtounderstandhowstudentsexperiencedC2Learn.Thesemethodswereaugmentedbyteacherobservations,gatheredduringinterviews(Kvale,1996),whichfollowedasemi-structuredschedule,andresearcherfieldnotes.
data AnalysisForthisarticle’sfindings,richinstancestakenfromtheaudioandvideowereusedtoidentifywhetherthe WHC characteristics listed in Table 2 were inherent in the digital contexts within C2Space.Analysiscommencedwithcodingtothepre-specifiedcategories,whereinstanceswereclassifiedasstrong,mediumorweak.Stronginstanceswerethentranscribed.Thisanalyticstagewasextremelythoroughwithidentificationcriteriahonedbetweenresearchersfromthethreecountries.Thisaimedforagreementonwhatvisuallydefinedarichinstanceieevidenceofthekeysub-categoriesinorderthatresearcherswerenotsimplyover-assumingthepresenceofWHCbecausetheVLEhadbeendesignedtofacilitateit.Triangulationofthestronginstanceanalysiswasconductedbyatleastonememberoftheresearchteamfromeachlocation,usingaprocessofblindanalysisfollowedbycomparison,againtowardagainstassumption.Thetriangulatedanalysisandstrongrichinstanceswerethenanalysedinconjunctionwithanalysisoftheteacherinterview,fieldnotesandself-assessmenttoolsinlightoftheresearchquestions,inordertoproducethesecondstageanalysis.Itwasimportantthatdetailedfilmanalysiswasthefirstlevelanalyticprioritywithteacherinterviewsandstudentself-reportusedforanalyticverificationratherthanleadinganalyticoutcomes.Itmustbetakenintoaccountthough,thatWHCcategoriescouldbesaidtobeapparenttoparticipantsthroughthecreativitywheelandteacherinterviewquestionstructure,aswellasthroughteachers’interestandinvolvementintheC2Learnprojectintentions.Thiswasafurtherreasonforprioritisingfilmrichinstanceanalysisoverthesedatasources.Followingthissecondstageanalysis,thedatawasthenanalysedbothgeographicallyandwithinageranges,resultinginoverallprimaryfindingsandoverallsecondaryfindings.Aswehavewrittenuptheanalysisofthefindingsbelowwehaveacknowledged,whereappropriate,howthedifferentactivitiesundertakenindifferentcountriesarelikelytohaveimpactedonthewayinwhichfindingsvary.
Quality and TrustworthinessTrustworthiness, quality, and rigour were ensured via adherence to the principles of credibility,transferability,dependabilityandconfirmability(LincolnandGuba,1985)withparticularattentionpaidtodataandcolleaguetriangulationtechniques,negativecaseanalysisandevidenceofcleardatatrailsforallcodingandcategorisation.
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10 – 12 year oldsEachofthefivesub-categoriesofco-creativityisevidencedinturnforthisagegroup.Intermsoftheethicsandimpactsub-category,therewasasmallamountofdata(e.g.atleastthreerichinstancesinEnglishprimary1)acrossthethreesiteswhichsuggestedsomestudentswereexhibitingawarenessandconcernfornewideasaboutthegroup’svalues,exploringandactioningnewideasthatmakeadifference(wheeldatashowedstudentsmostlyratedthemselves‘quitealot’here)andcreatingnewassociationsbetweenideas.Insupportofthis,theEnglishprimary2teacherobserved:“theydidthinkaboutethicalissuesmorethroughthissystem”andtheGreekteachercommentedtothiseffecttoo.AlsoinGreece,withinthegeographyscenario,Sakis,astudentpointedoutthatgameplay“putsmeinthoughtprocess”and“it(gameplay)dependsonpeoples’imagination”,highlightingthatstudentswereexploringnewideas.AnEnglishprimary2studentwasalsoseensteeringtheethicaltrajectoryofthestory:“MeandMetalMarioaregoingtoshareit,we’regoingtostealitfromyou–I’mgoingtobelikeRobinHood,stealitfromthewealthygiveittothepoor”.
Across all three sites, dialogue was mostly used for debating ideas. In English primary 1,the teachernoticed that studentsweredebating theirco-constructedstory:“ithadengaged themenoughforthemtokeepgoing,discussing,andgoingoverwhatthingshadhappenedandwhattheymightchange”. InEnglishprimary1, rich instancesofdataanalysis indicated thatdialoguewasmoreevidentinthesecondpilotandwasusedforquestioningstorylineandcollaboration.Wheninterviewedtheteacherreported,“Ithinktherewasanelementof‘astorycan’tbecompetitive,’itcanbecollaborative”.Thiswasevidencedinself-assessmentdatawheremoststudentsthoughtthattheyworkedwithotherpeoplequitealot.IntheGreekPrimarySchool,theteacherconfirmedthatbythesecondpilot,dialoguewasoccurring.TherewasastrongrichinstanceinEnglishprimary2,whenJaboscussaid“I’mthewomanofwater.Wehadthisargumentlasttime.Tobe‘of’somethingmeanstobemadeofit.”Hewasposingquestions,andalsoattemptedtodrawtheresearcherintotheconversation,wideningthedialogue.
Acrossallthreepilotsites,engagedactionwasmainlyevidencedviaimmersionwhereitwasobservedasstudentsbeingengagedthroughoutensuringtheirstoriesflowedfromonetoanother.TheEnglishprimary2teachernoted:“C2Learn-theyhavebeenengaged.They’vewantedtodoit”.Thiswasalsodemonstratedinarichinstanceregardingengagementleadingtosurprisingideas,whenChiChiinventedacard,sayingthatshehadforgottenheroriginalcards.Hercardwasparticularlyusefultoherinachievinghersecretending.Overallmostofthestudents,usingtheself-assessmenttoolsacrossthe3sites,ratedthemselvesonengagementandtakingrisksasquitealot.TheGreekteacher highlighted how students took risks when immersed in the VLE: “they tried to presentsomethingneweveniftherehadsomedifficulties”.Although,therewassomenegativeevidenceinthissub-category,wherestudentsacrosssitesshoweddisengagementin-betweenturns.
For the10–12-year-oldsacrossall threecountries, all five sub-categorieswereevidenced,althoughtodifferentdegrees.Thissuggeststhatforthisagegroupco-creativity,andthereforeWHC,wasmanifestingduringinteractionwithinandaroundtheproject’sVLEthroughgameplay,despitetheshortenedpilotingperiodsandtechnologicalissues.Thispointisstrengthenedbythefactthatevidenceistriangulatedaboveforeachcategorynotonlyacrosscountrybutalsoacrossthevarietyofdatasources,includingstudents’self-assessment.Havingsaidthis,thereweresomesub-categorieswithinwhichGreekstudentsdidnotshowasmuchdataasEnglish,namelyinterventionandre-framing,withdialogue,andbeingincontrolincreasingacrosstimeintheGreeksite.Perhapstobeanticipated,therewaslittleevidenceofjourneysofbecomingorquietrevolutionsintheprimarydatabecauseofthecurtailedlengthofthepilotsandcontinuoustechnicalchallengesoftheC2Spaceonthetablets.Thiswillbeconsideredfurtherinthediscussionandconclusion.
15 – 19 year oldsAcrossallthreecountries’pilotseachofthefivesub-categoriesofco-creativityisevidencedforthisagegroup.
Students debated different ideas and dialogued to consider consequences, and come to acollaborativeend,where,asFrancineput it:“The ideaswerecomingfromeveryone”.Theheadteacherconfirmedthatstudentssometimeshadstrongdebates,butalsopointedoutthattheylistenedandrespectedopinions.
DatasuggestthestudentswereengagedintheVLEacrossallthreepilotsites.InEnglishsecondary1,datafromfieldnotesillustratedstudentswereengagedwithC2Learn’sgamesduringtheirturnsandshowedagoodunderstandingof the storyline.Rich film instancesalso showedonestudentsometimescomingupwithsurprisingideaswhenimmersedin thegame.In interview,a teacherconfirmedthis:“theyseemedtobethinkingmore,reflectingmoreperhaps”.ImmersioninEnglishsecondary2alsoappearedtobemaintainedthroughconflictandbanter,asevidencedinfieldnotes
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Inthethreesites,therewasasmallamountofdatathatsuggestsstudentswereusinginterventionandreframing,andwereawareofhowitfunctioned.Evidenceshowedstudentswereinterveningandreframinginordertodevelopanewperspectiveonthechallenge,whichledtothecreationofsurprisingideasthatweresometimesethicallydriven.IntheEnglishsecondaryschools,richfilminstancesshowedastudentreframingaperspectiveonrapeinasurprisingandethicallychallengingway,consideringtheconsequencesofa“rapist…return[ing]tolookafterthebaby”.Therewasaverysmallamountofre-framingevidenceinfieldnoteswhereitwasnotedstudentsreframedwordstofitinwiththeirowndirectionofthestoryandaddedtheirownwordsinunusualways.Thiswasalso reinforced in rich instanceswherea student reframed theaccumulationofhisown ideas togenerateamorecreativeentry.TheEnglishco-creativityself-assessmentwheeldatashowedmixedevidenceofreframingfromalottoalittlebit.AustriansecondarydataevidencedinterventionandreframingthroughtheSocraticDialogues.Forexample,studentsmentionedonestoryturningpointandstatedthattheendingwasthemostimportantaspect.Oneparticipantwantedthe‘wholeuniversetodecay’whilstothersthoughtthiswas“toodramatic”sayingthat:“theearthdyingdoesn’tmeanthateverythingelseisdyingaswell”.Theyallagreedonthatmomentbeingthemostcrucialpartofthestoryandwereveryreflectiveabouttheirpersonalopinions.
Aswith the10–12yearolds, for the15 -19yearolds across the three sites all five sub-categorieswereevidenced,althoughagaintodifferentdegrees.Fortheseolderstudentsco-creativity,andthereforeWHCtoo,wasmanifestingusingtheC2LearnVLEandindialogues,gameplayanddiscussionsoutsidetheVLE.Thispointisstrengthenedbecausetheevidenceistriangulatedforeachcategoryacrossthevarietyofdatasources,includingstudentself-assessment.Andevenmoresothantheprimarydata,thesecondarydatafrombothcountriesisstronglytriangulated.ThisisperhapsbecauseoftheintensityoftheAustrianpilotstructureallowingforanindepthC2Learnexperiencewhichmanifestedalltheco-creativitycategories.However,aswiththeprimarydata,overallthereisalmostnoevidenceofjourneysofbecoming,andinturnnoquietrevolutions.
Approachestounderstandinghowchildrenandyoungpeoplemanifestco-creativityinVLEsisnew.C2LearnhasproposedandnowillustratedacrossthreeEuropeancountriesthatco-creativityincluding fledglingWHCcanmanifest forchildrenandyoungpeople ina specificallydesignedVLE.Forthe10–12yearoldsacrossallthreecountries,allfiveco-creativitysub-categorieswereevidenced,withinterventionandre-framingevidencedtheleast.Thisindicatesthatfortheyounger
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ThisarticlehasprovideddatafrompilotstudiesinAustria,EnglandandGreece,inbothprimaryandsecondarysettingsthatinvolvestodate, thelargeststudentpopulationengagingwithaVLEenvironmentgamefullydesignedtofosterco-creativity.Despite technologicalproblems, thedatademonstrates co-creativity including fledgling WHC across all sites within varied educationalactivities,withtheindicatedpotentialthattheVLEscouldnurturejourneysofbecomingandquietrevolutionsintime.Itthereforemakesanewcontributionbothintermsofarticulatingandevidencingco-creativitywithinVLEs,andevidencingWHCinanewcontextandhoningitscoreelementswhichmanifestacrosscontexts.
TheC2LearnprojecthasbeensupportedbytheEuropeanCommissionthroughtheSeventhFrameworkProgramme(FP7),undergrantagreementno.318480(November2012–October2015).Weareextremely grateful to colleagues across the consortium for their collaborative work on bringingC2Spaceintobeingdespitethechallengesweallfaced.WearealsogratefultothoseteachersandstudentsacrossEuropewhoworkedwithusonpilotingbothpaperanddigitalprototypes,andfor
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Figure 6. C2Learn Creativity Wheel: Younger Students
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Figure 7. C2Learn Creativity Wheel: Older Students
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Volume 7 • Issue 4 • October-December 2017 • ISSN: 2155-6849 • eISSN: 2155-6857An official publication of the Information Resources Management Association
all inquiries regarding iJgbl should be directed to the attention of:Patrick Felicia, Editor-in-Chief • [email protected]
all manuscriPt submissions to iJgbl should be sent through the online submission system:http://www.igi-global.com/authorseditors/titlesubmission/newproject.aspx
Adaptive games design for game-based learning • Design of educational games for people with disabilities • Educational video games and learning management systems • Game design models and design patterns for game-based learning • Instructional design for game-based learning • Integration and deployment of video games in the classroom • Intelligent tutoring systems and game-based learning • Learning by designing and developing video games • Learning styles, behaviors and personalities in educational video games • Mobile development and augmented reality for game-based learning • Motivation, audio and emotions in educational video games • Role of instructors • Virtual worlds and game-based learning
Coverage and major topiCsThe topics of interest in this journal include, but are not limited to:
The mission of the International Journal of Game-Based Learning (IJGBL) is to promote knowledge pertinent to the design of Game-Based Learning environments, and to provide relevant theoretical frameworks and the latest empirical research findings in the field of Game-Based Learning. The main goals of IJGBL are to identify, explain, and improve the interaction between learning outcomes and motivation in video games, and to promote best practices for the integration of video games in instructional settings. The journal is multidisciplinary and addresses cognitive, psychological and emotional aspects of Game-Based Learning. It discusses innovative and cost-effective Game-Based Learning solutions. It also provides students, researchers, instructors, and policymakers with valuable information in Game-Based Learning, and increases their understanding of the process of designing, developing and deploying successful educational games. IJGBL also identifies future directions in this new educational medium.
mission
Ideas For specIaL Theme Issues may Be suBmITTed To The edITor(s)-In-chIeF