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Joshua Hotaka Roth

to make inferences about the excitement many young workers initially felt about the emerging trucking industry, which can be verified in future research. This article considers how dangerous driving was in part the result of a kind of gamification of

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Teaching creative careers in the pandemic

A study of digital tools used by university instructors

Bexi Perdomo, María del Carmen Llontop Castillo, and Oscar Mas

Taberna-Torres 2021 ), use of gamification tools ( Escudero-Nahón 2021 ), and assessment ( Fergus et al. 2020 ; Gamage et al. 2020 ; Munsell et al. 2020 ; Nguyen et al. 2020 ; Raje and Stitzel 2020 ). For instructors teaching at UCAL, ERT meant the

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Giorgio Osti

John Huizinga (2002) is the progenitor; (2) research on recent massive social phenomena, with gamification as the macro example ( Bittanti and Zilio 2016 ); and (3) the use of game as a metaphor for the entire functioning of society—that is, “every

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Stéphanie Ponsavady

War II. Roth contends that the “gamification” of traffic, with different agents of mobility each playing by their own rules and having their own objectives, as well as artistic glorifications of trucking life in film fostered a culture of highly

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“Like a Dream, an Illusion, a Drop of Dew, a Flash of Lightning”

Buddhist (Un)reality, Thought Experiments, and the “Ecological Dharma Eye” in Lu Yang's Material World Knight Game Film

Livia Monnet

experiments, it also proposes a series of larger, more encompassing thought experiments: the gamification of Madhyamaka and Yogācāra philosophies, or the visualization and enactment of these philosophies as a video game; the ironic, humorous mutual questioning