This work-in-progress (WIP) innovative practice category paper presents LLM Odyssey, an open source, browser-based serious gaming platform comprising 13 interactive games for teaching Large Language Model (LLM) engineering concepts. Topics such as tokenization, transformer architecture, prompt engineering, retrieval augmented generation (RAG), and production deployment are underrepresented in computer science curricula. Existing interactive tools address individual concepts but lack pedagogical scaffolding or structured learning pathways. LLM Odyssey addresses this gap through three learning tiers aligned with Bloom's revised taxonomy: Cognitive Core (7 foundational games), Systems Forge (5 production engineering games), and Foundry Arena (capstone challenges). Each game incorporates five pedagogical strategies drawn from the literature: immediate formative feedback, scaffolded hints grounded in the Zone of Proximal Development, progressive difficulty informed by flow theory, worked examples to manage cognitive load, and authentic scenarios drawn from production practice. The platform was deployed in Winter 2026 semester at a Canadian college for an initial review. Feedback confirmed functional requirements and identified adaptive difficulty as a priority for future development. A formal mixed methods evaluation protocol (N=50) has been designed, comprising pre and post knowledge tests, validated surveys, engagement analytics, and interviews, and is documented here to enable future evaluation studies with the publicly available platform.
Arne Bewersdorff, Matias Rojas, Xiaoming Zhaics.HC cs.AI
Artificial intelligence (AI) has become part of scientific inquiry. Scientists use AI to observe and measure phenomena, to identify patterns in data, and to build models. As AI moves into scientific inquiry, it gains relevance for science education: students should learn how AI is changing scientific practices, ideally by engaging in AI-integrated scientific inquiry themselves. How to design such instruction, grounded in authentic scientific practice rather than taught as a standalone topic, remains an open question. In our vision, which we describe in this article, AI is treated as a set of scientific instruments that students use within the scientific practices described by the Next Generation Science Standards. Each instrument is a genuine scientific tool, pedagogically bounded: its controls are simplified while its core scientific function is preserved. The approach has two aims: engaging students in authentic scientific inquiry, and building an understanding of how AI is used in science and where it can mislead (discipline-based AI literacy, DAIL). In the article, we focus on the investigative core of inquiry, namely observing, analyzing, and modeling, and describe one exemplary AI instrument for each: computer vision for observing, clustering for analyzing, and generative modeling for modeling. We argue that every AI instrument in science education should carry a distinct reflection point that prompts critical evaluation of the AI instrument itself. Finally, we describe how agentic AI, operating across the whole inquiry rather than a single practice, could be represented, arguing that students should first build a foundational understanding of scientific inquiry and AI instruments before relying on agentic AI.
Music education has never been a static discipline. Each major technological shift has forced educators and institutions to reconsider what they teach, how they teach it, and why. We now stand at what may be the most consequential of such turning points. Three deeply intertwined transformations have been converging simultaneously: 1. The very nature of music has changed: how it is made, distributed, consumed, and valued; 2. The public for music has changed: listening habits are now shaped by streaming algorithms and the boundary between consumer and creator has blurred; 3. Music-making itself has changed: digital audio workstations (DAWs) have for two decades been reshaping compositional practice. In addition, generative AI has now irrupted, capable of producing complete, stylistically coherent musical pieces from a short text prompt. These changes are not independent of one another, and they all bear directly on musical education - both the content that must be taught, and the pedagogical tools and methods available to teach it. This paper attempts to map these challenges and to consider how education might adapt. Section 2 surveys the changes in various aspects of music (nature, production, public, economics). Section 3 examines the implications for education before Section 4 concludes.