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iples, with or without games, for learning in and out of school in areas that we value. The work on games and learning has led, however, to more interest in using not only the learning principles, but video games themselves (both commercial entertainment games and so-called “serious games”) in schools and other learning sites (Shaffer 2004, 2005, 2007; Shaffer et al. 2005; Steinkuehler 2006, 2008a, 2008b; Squire 2006, 2007; Squire and Jenkins 2004).
Other people came to the issue of digital media and learning by way of other digital technologies than video games—technologies such as social net-working tools, media production tools, information tools like blogs and wikis, or a great many others. However, nearly everyone who has come to this area of study has been impressed by the ways in which popular culture today is using digital tools and other devices to engage in powerful, deep, and complex thinking and learning out of school (Gee 2004, 2007; Ito, in press; Jenkins 2006a, 2006b; Johnson 2005). Popular culture has thus itself become a focus of the new work in this area.
The emerging field of Digital Media and Learning is not just the study of how digital tools can enhance learning. It is also  the study of how digital tools and new forms of convergent media, production, and participation, as well as powerful forms of social orga-nization and complexity in popular culture, can teach us how to enhance learning in and out of school and how to transform society and the global world as well.
So in many respects the contemporary interest in digital media and learning needs a better name or label, because we are concerned with more than just new technologies in any narrow sense. A new label would have to incorporate the themes of convergent media, production, participation, fluid group forma -tion, complexity, and popular culture.
I will not offer a new name (for the time being, I will simply abbreviate it as DMAL), precisely because I want to problematize what it means to talk about Digital Media and Learning as an “emerging field” or to talk about emergent fields at all. And we will see that Digital Media and Learning as an emerging field is related to, in complex ways, a number of other emerged or emerging fields.
I will discuss DMAL as an “emerging field” and consider its potential core contributors or “members” only as people who want to study digital media and learning in the larger context I have tried briefly to delimit above (convergent media, production, partici-pation, complexity, and popular culture). Such people will probably all name their interest differently.
The core issue is this: Do people who recognize my discussion of DMAL—whatever they personally call it—have enough in common to serve as the foun-dation for collaboration and the joint accumulation of knowledge? How can such a common foundation be built to underwrite collaboration, accumulation of knowledge, and a coherent “field”?

The New Literacy Studies (NLS)

Now I want to take up the question of how we came to our interest in DMAL. I will begin with how I got here, because one of my points is that differ-ent people got here in different ways and we need to recognize and learn from these different paths. The different paths people took to an interest are a great strength because of the diversity of ideas and methods they bring to the research and practice. But this diversity can also make 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。