[Jennifer deWinter speaking]: Yeah, so I’ve touched on the past ones. I have some … I have some time opening up, and I've just begun to look into developing two games at WPI. One of them … I guess three. Three game-based projects at WPI. So the first of them is a collaboration with the Worcester Art Museum that explores experience design, and so what I mean by that is, I subscribe to a designer vision in which game designers design experiences and turn those experiences into systems, right? And we’re trying to figure out what it is that we want people to experience and code that, and create assets for that, ambient sound for that. And it’s all packaged on whatever cartridge, disk, digital format you have. And you hand it over. And the act of play turns systems back into experiences, right? So that if you think of game design as the design of experiences, it opens up the role of the humanities in a significant way. To explore what it is to be human, the experiences of being human. And so I'm going to start a process in which we invite game designers to look at pieces of art and then interpret the experience into gameplay, not into the visual format of the game, but full-on into the game play of the game and have those as co-located installations that help you engage with artistic pieces in a different way.  Another project that I'm doing, based upon both my training from LGI and the network of LGI, is to design a history game that explores the spatial significance of the women’s movement. And what brought me to this is that Worcester Polytechnic in Worcester, Massachusetts, is well poised to attend to this because the women's movement begins in Worcester--something I was not aware of before I moved there. And it's very well documented; we have the Antiquarian Society there and a lot of the old factories are still standing. So you get a sense of the compact nature of the city and the ways in which space allows for this significant moment in the history of America. And so one of the things we have to talk about in rhetoric and composition is the women’s movement, but rarely do we attend to the spatial exigencies of significant movements. And so this experience game, intended mostly for educational purposes, is to do that. And then finally [laughs] I have a third project that I've just started working with my historian of science and a person from ecology with to write an NSF grant to write an ecology game, and the reason that we're doing this is because ecology is a heavily mathematics fields. It's easy to code in probability theories and ecology theories into games space and then allow people to manipulate that game space and see how … how fragile ecological systems are. And again it’s … it’s pulling from the success of games like the McDonald’s game which … which are serious games that are hopefully teaching you through the experience of becoming an evil overlord in the McDonald’s universe that there's no way to be successful in these … these multi-national mega-franchises without throwing ethics to the ground. And it’s a very engaging game, and most educational games are not. And so we're hoping to pull from the challenge of that, and putting it into an ecology game.