Digital Literature Review 3

Screenshots taken from ‘At Nightfall, the Goldfish’ under fair dealing copyright exemption

Introduction

At Nightfall, the Goldfish by Melody Mou is a hypertext fictional story (Lamb, 2011) accessible via internet browsers. Using hyperlinks, the non-linear story contains short points of view about five interrelated characters whose connection to each other can be interpreted in a multitude of ways. Mou is a new media artist who has created a story that uses a combination of narrative techniques which are maze like, circular and leap in perspective (Mou, 2021).

Criteria 1: Is the story well told?

This non-linear narrative can be experienced in order of the reader’s choosing and areas of interest and genuine curiosity about life. Each section is short and pertinent to the story enabling the reader to comprehend concepts within the context of the story’s themes and symbols of life and death that touch on the idea of reincarnation. The depth of meaning attributed to the story telling is left to the reader and the depth of their interpretations. The ability to create meaning that shows the human experience is a key aspect to determining a narrative’s quality (Walsh, 2013).

Criteria 2: Are the language and illustrations appropriate for the intended audience?

The intended audience is the adult reader who is seeking an experience in the journey of life where they can determine the order in which they read the story dependent on their interests and direction the story is taking. As a piece of digital literature, the language used is clearly aimed at an adult audience able to see beyond the surface and understand the deeper themes and meanings it holds.

While the text has no illustrations, the background of the text is a plugin that simulates the soothing effects of water and is reflective of the organic nature of life. As the curser moves across the screen it creates ripples in the water like the high and lows of ones lifelong journey. The arrangement of the character hyperlinks creates a circular image using words from each chapter. Words from the central character of Goldfish spread out like a cross visually connecting all parts of the circle together.

Language is used creatively and each individual chapter is set out more like poetry than a traditional narrative. Appropriate to the audience, it plays with language in a way that requires interpretation from the reader as well as giving the reader access to the inner lives of the characters, which Susan Conley in her TEDx talk (2012) deems as being a powerful element to any story.

Screenshot taken from ‘At Nightfall, the Goldfish’ under fair dealing copyright exemption
Screenshot taken from ‘At Nightfall, the Goldfish’ under fair dealing copyright exemption

 

 

 

 

 

 

 

 

 

 

Criteria 3: Do the digital aspects of the text enhance the story?

At Nightfall, the Goldfish utilises a combination of text placement, hyperlinks and a plugin to create an atmospheric text. There are a number of interactive elements that add to the ambience but that don’t change the outcome of the story. The water like plugin that creates ripples as the curser moves across the screen is enchanting and does not distract from reading the passages of text.

The use of hyperlinks allows the reader to choose the order in which they read the characters’ points of view. After clicking on a character the reader is offered no navigation options until they have revealed all of the sentences for that point of view by scrolling across the scattered words on the screen. Only then is the option to continue provided. The limited amount of hyperlinks helps the reader stay engaged in an immersive experience (James & De Kock, 2013).

Dobler (2013) suggests that the digital elements should add to the reader’s understanding of the text and that is true with At Nightfall, the Goldfish. The digital elements add to the atmosphere and clearly show the connections between each character and their point of view. The arrangement of text and the visual elements (while not images) add another layer of meaning to the text and are a part of the culture of digital literature (Rajathi & Kalamani, 2020).

The recent publication date of this text speaks to the ever evolving trend of finding new and innovative ways for people to express themselves at a deeper and more relevant way. A digital medium provides another platform for artists and authors to showcase and promote their work in new ways to a larger audience (Rajathi & Kalamani, 2020).

Conclusion

At Nightfall, the Goldfish is a unique non-linear narrative that uses its digital elements to create a thoughtful narrative experience (McGeehan et al., 2018) for the adult reader. Its key strengths are the way the author connects each character both visually and within the narrative as well as the ambience of life afforded by its watery, rippled background. The text, while possible to read in a printed physical form would lose much of its meaning and clear interconnectedness that makes it such an engaging experience.

 

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

James, R. & De Kock, L. (2013). The digital David and the Gutenberg Goliath: the rise of the ‘enhanced’ e-book. English Academy Review, 30(1), 107-123. https://doi.org/10.1080/10131752.2013.783394

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

McGeehan, C., Chambers, S. & Nowakowski, J. (2018). Just because it’s digital, doesn’t mean it’s good: Evaluating digital picture books. Journal of Digital Learning in Teacher Education, 34(2), 58-70.

Mou, M. (2021). At Nightfall, the Goldfish. https://melodyneedsmoney.github.io/AtNightfalltheGoldfish/Intro

Rajathi, R. & Kalamani, S. (2020). Digital literature: A literary trend of the twenty first century. International Journal of Advanced Research (IJAR), 8(11), 725-728. http://dx.doi.org/10.21474/IJAR01/12062

TEDx Talks. (2012, June 29). The power of story: Susan Conley at TEDxDirigo [Video]. Youtube. https://www.youtube.com/watch?v=jkqb6uDRNQs

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers. Primary English Teaching Association PEETA.

Digital Literature Review 2

Screenshot taken from ‘Don’t Let Pigeon Run This App!’ under fair dealing copyright exemption

Introduction

Don’t Let Pigeon Run This App! is produced by Disney and can be downloaded from the Apple app store for a cost. As a piece of digital literature it is hard to place into any of the categories proposed by Lamb (2011). It is not exactly an enhanced e-book or an interactive story book as the text of the story is not always displayed on screen. It also isn’t interactive fiction as the stories presented are linear in nature. The best description for this digital text is a ‘narrative app’ that tells a story in an ordered and linear series of connected events. The events incorporate interactive features that don’t change the outcome of the story, as suggested by Turrion Penelas (2015).

This narrative app will be evaluated using a simplified criteria based on the work of Yakota and Teale (2014) and Walsh (2013).

Criteria 1: Is the story well told?

The app has a number of linear stories that follow the same format as the print version where the reader is trying to be persuaded by the character Pigeon to let him do something that he is not allowed to do. While similar, the stories differ based on the user’s interactions with the text. However, no matter what choices the reader takes, the outcome of the story is always the same. The concept of the reader being guided to make their own stories means they are invested in the story and enables the story to be told in a way that is appropriate to the readers’ level of comprehension. The reader is prompted by Pidgeon to feel empathy for the main character by Pidgeon addressing them directly and seeking their ideas. Walsh (2013) suggest being able to elicit empathy from the reader as an indicator of quality literature.

Criteria 2: Are the language and illustrations appropriate for the intended audience?

The intended audience is the beginner reader. The illustrations and animated style of the characters are appropriate for this age group and transfer well to iPad dimensions which Yokota and Teale (2014) suggest is important for digital literature. Illustrations, which are an integral part of children’s print literature, also play a key role in the success of this narrative app.

The language used throughout the story is fun, engaging and appropriate for beginner readers including  non-readers, as the majority of the story is verbally narrated by Pigeon. Children can be as ‘silly’ as they like in responding to Pigeons request for ideas and are entertained by the text as the character speaks directly to them with Pigeon having many amusing ways to try to persuade the reader of his good intentions. The language in the text becomes even more accessible to students through the ability to partially co-author the story and hear their own voice in the app which can be an engaging feature (Kucirkova, 2018). One of the key features of the app is that there is a new experience for the reader every time they revisit the app and respond the Pigeons questions.

Screenshot taken from ‘Don’t Let Pigeon Rn This App!’ under fair dealing copyright exemption

Criteria 3: Do the digital aspects of the text enhance the story?

This digital iteration of Pigeon combines the best aspects of the print book with interactive elements that allow the reader to respond to Pigeons questions in fun ways that allows their own creative input to the flow of the story but not the outcome. This interaction enhances the story as the reader feels involved and part of the story in helping Pigeon.

Turrion Penelas (2015) suggests that the best currently available digital literature for children are ones where the interactive elements are embedded into the story. The digital elements in the Don’t Let Pigeon Run This App! meet this criteria to the benefit of the reader’s experience. Rather than moving through pages of text, the reader’s responses play out on the screen more like a movie or television show. This avoids children reading the story backwards or in a non-linear fashion that Lamb (2011) suggests affects comprehension of the story.

A key digital element that supports the enquiring mind of young readers is the ability of the app to be reused to create a different journey (Bozkurt & Bozkaya, 2015). This app builds on reusability by creating a slightly different story each time it is used meaning the reader will be more likely to return again and again.

Conclusion

Don’t Let Pigeon Run This App! is a well-produced narrative app that contains the appeal of a familiar character from its print iterations and the ability for users to affect the storyline. The app engages children with its ability to be familiar, fun and ‘silly’ each time it is used. It is also a great way to encourage children to write their own stories through Pigeon’s guidance as the main character.

References

Bozkurt, A. & Bozkaya, M. (2015). Evaluation criteria for interactive e-books for open and distance learning. International Review of Research in Open and Distributed Learning, 16(5), 58-82. https://files.eric.ed.gov/fulltext/EJ1077792.pdf

Disney Publishing Worldwide Applications. (2017). Don’t let Pigeon run this app! (Version 1.3) [Mobile app.]. Apple App Store. https://apps.apple.com/us/app/dont-let-pigeon-run-this-app/id459749670

Kucirkova, N. (2018). How and why to create and read children’s digital books: A guide for primary practitioners. UCL Press.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Turrion Penelas, C. (2015). Electronic literature for children: Characterising narrative apps (2010-2014). In M. Manrisa & N. Real (Eds.), Digital Literature for Children: Texts, Readers and Educational Practices. (pp. 87-102). P.I.E. Peter Lang.

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.),  A literature companion for teachers. Primary English Teaching Association PEETA.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6).

Digital Literature Review 1

Screenshot from epic! app under fair dealing copyright exception

Introduction

Mr. Ball Makes a To-Do List by Michael Townsend is an enhanced e-book in the form of a comic. An e-book is a book in electronic form that can be read on a computer or electronic device rather than print. According to Lamb (2011) enhanced e-books contain extra features such as, audio, images and other media. Mr. Ball Makes a To-Do List has audio, or ‘read to me’ capabilities, along with highlighted text and the ability to click on words to hear pronunciations and see definitions. It fits into Lamb’s (2011) definition of an enhanced e-book and will be evaluated using criteria based on the work of Yakota and Teale (2014) and Walsh (2013).

Criteria 1: Is the story well told?

The main character in the story is Mr. Ball, who loves to make to-do lists but has trouble ticking off all of the items on his list. It is a fun story, full of energy that uses simple vocabulary and frequently used words suitable for beginning readers. The story is in comic book format that fits the trend of publishing graphic novels online (Moorefield-Lang & Gavigan, 2012), allowing a larger audience to access this text. The comic book format helps the author tell the story in a quite direct wat that engages children. It is well told in a logical and sequential manner suitable for its intended audience. The Goodreads (2022) reviews gave the print version of this text an average of 3.76 out of 5 stars, indicating that readers enjoy the story. This text was originally published in print and has been adapted into a digital version for the educational reading app epic!

Criteria 2: Are the language and illustrations appropriate for the intended audience?

One of the main strengths of the book is that it fulfils its purpose of engaging young beginning readers, the intended audience, through a chapter book format with vibrant illustrations and a story that children find relatable and funny. The illustrations are clear and help tell the story while the comic panels are set out in a logical manner that is easy to follow, with some guidance from the author about where to start reading.

The language used is appropriate for beginning readers and is very similar to Green Eggs and Ham by Dr. Seuss which used only 50 different words (Higley, 2021). The concept of using few words frequently helps beginning readers to recognise words and sounds the character is making.

Screenshot from epic app under fair dealing copyright exception

Criteria 3: Do the digital aspects of the text enhance the story?

The main digital feature of the text is the optional audio narration and highlighting of words which helps children follow along with the story and provides a good example of fluent and expressive reading. The beginning reader is able to follow the comic format and the order in which the panels are read. The reader can pause the narration and read the text themselves which helps to differentiate the use of this text for readers. Readers may prefer to hear the words read to them (Lamb, 2011) while more confident readers are able to read the text independently. It also allows students to practise reading on their own with a built in support that is otherwise not possible without an adult presence (Roskos et al., 2014).

Overall the digital features enhance the story however there are some disadvantage with the technical design which distract from the overall experience. For example;  the accuracy and functionality of the clickable sections is not always reliable, pronunciation of words is not always correct i.e.: ‘loves’ converts to ‘love’ and the definitions provided in the written text are not at a level that will assist the audience the book is aimed at.

While the digital elements do not always enhance the story as other enhanced e-books might, the elements used are appropriate for younger readers to use more independently than they would be able to with the print version. There are minimal distractions of extra content that animations and inbuilt games may cause (Dobler, 2013). The focus is on the reading of the text with additional audio support.

Conclusion

Mr. Ball Makes a To-Do List by Michael Townsend is a well-designed enhanced e-book for beginning readers. It is visually enticing and is supported with audio for readers to follow along. The digital elements of the book increase the accessibility for its target audience and aid in supporting early reading abilities. Accessibility to this e-book is another advantage in that it is hosted on the app epic! which has free content for educators and students who sign-up. This app can be accessed on any type of tablet and even has an internet browser version that can be used on desktops and laptops making Mr. Ball Makes a To-Do List able to be enjoyed many times over by the beginner reader from school or home.

 

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

Goodreads, Inc. (2022). Mr. Ball Makes a To-Do List. Goodreads. Retrieved August 15, 2022 from https://www.goodreads.com/en/book/show/18007640

Higley, D. (2021). The stories behind the stories. Bushel & Peck Books.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Moorefield-Lang, H. & Gavigan, K. (2012). These aren’t your father’s: the new world of digital graphic novels. Knowledge Quest, 40(3), 30-35.

Roskos, K., Burstein, K., Yi Shang, & Gray, E. (2014). Young children’s engagement with e-books at school: Does device matter? SAGE Open, 4(1). https://doi.org/10.1177/2158244013517244

Townsend, M. (2014). Mr. Ball Makes a To-Do List. Blue Apple Books.

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers. Primary English Teaching Association PEETA.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6).

ETL533 Assessment 1: Reflections on Digital Literature in the Classroom

“TwelveSouth BookBook iPad Reading” by bdking323 is licensed under CC BY-SA 2.0.

In my teaching I use a combination of print and digital texts as part of my learning activities. This includes for example, the use of texts within the Reading Eggs program, the app Epic! and video based literature such as Book Box Library. In particular, the app version of ‘The Fantastic Flying Books of Mr. Morris Lessmore’ by William Joyce stands out, in my mind, as a complementary adaption of the print version to digital. In discussions with other teachers I found they also felt that the adaption was engaging for their students and one where the digital elements not only supported the story but enhanced the learning experience for the students. This insight was a surprise to me as I had never connected the quality of the digital components of online literature beyond the fact that it was useful for certain teaching and learning intentions. The realisation that the digital components might distract from the story as Dobler (2013) suggests is something that will be beneficial in my teaching practice when evaluating the relevance of the complementary nature of digital and printed text to support student learning outcomes. This is not a solitary opinion. McGeehan, Chambers and Nowakowski (2018) also believe that the digital elements of digital literature need to support the reader’s literacy experience. From a professional development perspective, the readings in module 1 of ETL533 have me questioning the types of digital texts I should be choosing to better support my developing readers who might require increased guidance and context.

Quality digital elements are important, but in reality, what does this mean? Lamb (2011) identifies five types of digital literature; eBooks, enhanced eBooks, interactive storybooks, reference databases, hypertexts and interactive fiction, and transmedia storytelling. Each of these types of digital texts have tools that aid the reader to have meaningful interactions with the text such as; highlighting, dictionaries for establishing meaning, embedded media and web links, audio, and words that are highlighted and fade as they are read (Lamb, 2011). The presence of such digital elements doesn’t necessarily relate to, or add to, the quality of the digital literature as Yokota and Teale’s (2014) evaluation of the app version of ‘The Tale of Peter Rabbit’ by Beatrix Potter found. Their review suggests that although the app had many good reviews it contained animation, in parts, that had little to do with enhancing the reader’s understanding or appreciation of the story (Yokota and Teale, 2014). While entertaining and engaging such animations have the potential to distract the student from the actual learning experience.

My readings have shown that when digital elements are included in a text in a considered way with clear purpose then the quality of the learning outcome is enhanced. However, with the increased proliferation of digital texts and ability for anyone to publish their own digital text without the evaluation processes (Walsh, 2013) that publishers, editors and professional reviewers undertake for printed text, means that educators and teachers, like myself, need to be more aware and critical about what constitutes quality digital literature and evaluate the appropriateness of such texts. This needs to be combined with passing on such skills to students so they can make informed choices about their own digital text selections as they journey through their educational studies.

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21. https://web-p-ebscohost-com.ezproxy.csu.edu.au/ehost/pdfviewer/pdfviewer?vid=1&sid=1b2a8f5e-8ca0-46aa-b202-52209b34b771%40redis

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17. Retrieved from http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=67371172&site=ehost-live

McGeehan, C., Chambers, S., & Nowakowski, J. (2018). Just because it’s digital, doesn’t mean it’s good: Evaluating digital picture books. Journal of Digital Learning in Teacher Education, 34(2), 58-70. https://doi.org/10.1080/21532974.2017.1399488

Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association Australia (PETAA).

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: Educators making informed choices. The Reading Teacher34(6). https://doi.org/10.1002/trtr.1262 

ETL503 Assessment 2 Reflective Practice

Completing the subject ‘Resourcing the Curriculum’ has opened my eyes to many aspects impacting and critical to resourcing a school’s curriculum. Not currently being in a teacher librarian role I thought that as a teacher who relied on library resources, in my day-to-day teaching, I had a good understanding of how the library is organised and resourced. I can see now how unprepared I was for the criticality of the teacher librarian to lead the processes involved in selecting and providing relevant resources that support the school curriculum and community. I have learned that with technological developments, libraries are moving from holdings (‘just in case’) to access (‘just in time’) strategies (International Federation of Library Associations and Institutions, 2001) where collection policies are constantly changing. The development of the collection goes beyond print materials with a basic requirement of a school library being to provide access to emerging technologies as well as print and electronic resources (Australian School Library Association, 2020) which need to be specified in any collection development policy (CDP).

From the beginning of this subject the confusion about the new terms I encountered was immense. This was especially so for the terms of ‘collection development’ and ‘collection management’. I found it to be particularly difficult to differentiate between the two when they are used interchangeably by many within the library sector. It became even harder to distinguish the terms when looking at practical examples of CDPs that all have various names including collection development policy, collection management policy and collection guidelines amongst others. Based on my research, I eventually determined that a CDP provides the guidance and framework for the selection, acquisition, processing, housing, weeding, retention, preservation (archiving in case of electronic resources), relegation and discard of all types of library material (International Federation of Library Associations and Institutions, 2001).  One thing that has been clear from the beginning of the unit is that school library collections should meet the needs of its users (Crombie, 2022, March 1) and suit the context of the school. Johnson (2018) agrees that needs of the users have always been at the heart of a library collection.

To ensure that school library collections meet the needs of their users it is important for a school to understand the value a teacher librarian brings to the school community, particularly in guiding the development and implementation of an agreed and approved CDP. CDPs are strategic ‘living’ documents that guide the selection of resources to provide a balanced collection that supports the curriculum and its users now and into the future. The Australian School Library Association (2020) believes that a basic requirement of a school library is to provide access to emerging technologies as well as print and electronic resources. A CDP provides guidelines around selecting these types of resources. It ensures that staff are all on the same page as to how and what resources are selected for the library. The CDP also ensures that selection (and deselection) criteria along with collection goals are formalised so that if staff change this information doesn’t become lost (Crombie, 2022, April 22). Along with providing a plan for the development of a collection CDPs can help mitigate any issues that arise.

One issue that a CDP helps to mitigate is that of censorship when building the collection. Censorship in school library collections can come from both the school community and from the teacher librarian themselves. When reflecting on the SLJ Controversial books survey (SJL Staff, 2016), I found that most of the respondents were concerned about choosing age appropriate material which is a relevant concern in primary schools that I find myself responding to in my current classroom teacher role (Crombie, 2022, April 25). The value of the CDP is that it contains clear selection criteria and preferred selection aids that can help to minimise self-censorship from the teacher librarian.

Another form of censorship comes from challenges in the school community. It is important to have clear guidelines in place that describe how challenges from the community are handled which helps form a consistent approach to responding to resource challenges. Most examples of CDPs I found during my research included a form for community members to fill out if they have objections to a resource. A CDP provides clear guidelines on challenges and helps to uphold the idea that is the responsibility of the school library to provide resources that show multiple perspectives on controversial topics (Australian School Library Association, 2020).

As the information landscape evolves and formats become increasingly digital, school libraries need to ensure that they are providing resources that are relevant to their school’s vision and goals (Anderson, 2008). Just as a collection needs to be individualised to the school context so does the CDP (Levenson, 2019). Another way to ensure that the collection is appropriate for its users is to involve the teacher librarian in curriculum decisions. Hutchinson (2017) believes that teacher librarians need to be involved in curriculum decisions in order to be able to ensure that appropriate quality resources that match the teaching and learning are provided in the school library. Being involved in curriculum decisions helps teacher librarians to future proof the library as they are aware of what direction the school is headed in and can align their collection goals accordingly.

A CDP helps future proof the collection by allowing for the inclusion of only carefully considered resources that meet selection criteria which include relevance to the learners and the curriculum. Future proofing the library collection involves planning to accommodate and implement change (McCarthy, 2018). To adequately future proof a library it is important to know where the library collection is now. A collection development policy provides a good space for this as it includes the nature of the collection as well as goals for the future collection (Braxton, 2022).

After completing this subject I have a greater appreciation and understanding of the strategic part a CDP plays in guiding the currency and relevance of a library collection. It has also consolidated my view that a teacher librarian is critical to not only the successful implementation of the policy but in also applying the procedures and processes to support the policy and it longer term sustainability as a living and evolving document. My next steps are to begin the conversation at my own school about creating a collection development policy so that the collection in the library continues to be relevant to and used by the school community.

References

Anderson, R. (2008). Future-Proofing the Library: Strategies for Acquisitions, Cataloguing, and Collection Development. The Serials librarian, 55(4), 560-567.

Australian School Library Association. (2020). Joint Statement on School Libraries. Australian School Library Association. https://asla.org.au/school-libraries

Braxton, B. (2022, January 26). Sample Collection Development Policy. 500 hats; the teacher librarian in the 21st century. https://500hats.edublogs.org/policies/sample-collection-policy/#deselection

International Federation of Library Associations and Institutions. (2001). Guidelines for a Collection Development Policy using the Conspectus Model. International Federation of Library Associations and Institutions. https://repository.ifla.org/handle/123456789/52

Hutchinson, E. (2017). Navigating the information landscape through collaboration. Issues, (101), 8-9. https://www.scisdata.com/media/1484/connections101.pdf

Johnson, P. (2018). Fundamentals of collection development and management, 4th edition. ALA Editions.

Levenson, H.N. (2019). Nimble collection development policies: An achievable goal. Library resources & technical services, 63(4), 206-215. https://doi.org/10.5860/lrts.63n4.206

McCarthy, R.C. (2018). Future proofing your public library. Public library quarterly, 37(3), 248-262. https://doi.org/10.1080/01616846.2018.1498705

SLJ Staff (2016, September 26). SLJ controversial books survey responses: Weighing subject matterSchool Library Journal. https://www.slj.com/story/slj-controversial-books-survey-responses-weighing-subject-matter

ETL401 Assessment 3 Reflection

My understanding of the role of Teacher Librarian (TL) has not only expanded through my participation in this subject but also provided an evidence base to support my views as a classroom teacher of the value to student learning of a well-managed, current and relevant library collection to meeting the learning goals and objectives of a school community. While I had an appreciation of TLs and their support of me as a classroom teacher, I had little appreciation of the extent of the professional nature of a TL beyond the practicalities of running a library and providing instruction to students about finding information. As a result, my understanding of the many facets of a TL has expanded exponentially.

The importance of information literacy in the role of the TL seemed obvious to me, but I was surprised to learn that there are no clear information literacy outcomes in the Australian Curriculum and they are instead buried in the general capabilities. It makes sense to me that TLs be involved in the planning and implementation of inquiry learning where information literacy is able to be an instigator of meaningful and authentic learning (Lloyd, 2007).

While there is not one set definition of the term information literacy, it is clear that it is an important component of creating lifelong learners (Crombie, 2022, May 1). Fitzgerald (2015) emphasises the need for students to internalise an information process that can be applied to any subject area. Once students have a process for handling information they are better equipped to navigate the constantly changing information landscape. O’Connell (2012) supports this notion suggesting that the ability to research well is the key to all kinds of learning. This is particularly relevant to the future learning medium of digital literacy as the internet is often used as a source of information. Laretive (2019) believes that students are expected to have the skills to use the internet to find and use information from different sources. This can be difficult for young students who are still developing reading skills. Students require instruction and guidance on applying their developing reading skills to an online environment (Laretive, 2019) which a TL is well experienced to perform.

With my experience predominately as a classroom teacher, teaching Years 1 and 2, I have previously found undertaking inquiry units quite challenging. Through my exposure to inquiry models such as Guided Inquiry Design (GID) my understanding of inquiry and how to adapt my learning of terms such as ‘research’ has changed. Young learners can undertake inquiry units, their research might just look slightly different to that of older learners. Young students can research by viewing videos, photos and engaging in hands on experiences such as excursions and play based experiences (Crombie, 2022, May 3). I feel this has enhanced and added another element to the benefit of my classroom teaching and professional development.

During this subject I have been exposed to a variety of inquiry models that I had not previously experienced. My current school is developing their understanding of inquiry and use the framework of the Pedagogical Model embedded into the Victorian Teaching and Learning Model. However there are aspects of the inquiry models I have learned such as building students background knowledge before having them identify a question of interest to research which I believe I could incorporate into my own classroom teaching.

As I have worked through this subject, I have recognised the important role the TL has to play in inquiry learning. TLs have skilled knowledge of information literacy, particularly the Information Search Process (ISP) (Kuhlthau, 1989), and are perfectly positioned to use this information to provide timely interventions to support student learning. This is particularly pertinent during the exploration phase of the ISP where students experience frustration and doubt (FitzGerald, 2011). However the success of inquiry learning is dependent on the collaboration between TLs and classroom teachers so that both curriculum content and information literacy can converge to help create the third space (FitzGerald, 2015) where students can explore their interests and construct their own views.

Of significance is my observation that TL’s can only be effective in collaborating with classroom teachers on inquiry learning if they have Principal support. Principal support and positive relationships between them and the TL are vital to allow TLs the time, the authorising environment, and flexibility to collaborate with classroom teachers across the school (Crombie, 2022, April 4) and effectively implement both inquiry learning and information literacy processes that provide students with the skills to undertake all kinds of learning throughout their education.

References

FitzGerald, L. (2011). The twin purposes of Guided Inquiry: Guiding student inquiry and evidence based practice. Scan 30(1), 26-41.

FitzGerald, L. (2015). Guided Inquiry in practice. Scan 34/4, 16-27.

Kuhlthau, C 1989, ‘Information Search process: A summary of research and implications for school library media programs’. School Library Media Quarterly, vol. 18, no. 1.

Laretive, J. (2019). Information literacy, young learners and the role of the teacher librarian. Journal of the Australian Library and Information Association, 68(3), 225-235. https://doi.org/10.1080/24750158.2019.1649795

Lloyd, A. (2007). Recasting information literacy as sociocultural practice: Implications for library and information science researchers. Information Research, 12(4).

O’Connell, J. (2012). So you think they can learn? Scan, 31(2), 5-11. https://heyjude.files.wordpress.com/2006/06/joc_scan_may-2012.pdf

Information Literacy and Digital Citizenship

Thinking about information literacy and digital citizenship in my context is slightly disheartening. My school has not developed an information literacy policy. Information literacy is not part of any collegial discussions although teachers may discuss student research skills but there doesn’t seem to be any knowledge of information literacy processes. Staff may have their own limited knowledge of how to ‘find information’ but there are no set out skills that teachers teach in any consistent ways across the school.

Digital citizenship is more of a known concept amongst staff. There is a digital device use policy and a device usage agreement that parents and students are asked to sign as well as consistent rules across the school about iPad use. However, these classroom rules are more related to being on task and making sure to have the device charged and ready to use rather than effective use of technology. E-safety is taught but there is little discussion amongst teachers or with staff about student wellbeing with digital devices. It now seems more important than ever to teach students about best use for technology and ways that it can help improve our lives.

The Growing Up Digital Australia: Phase 1 technical report (Gonski Institute for Education, 2020) findings were interesting. I agree that digital technology is a useful teaching and learning tool, however screen time in general seems to have negative impacts on students’ emotional, social, and physical wellbeing. My own experience with digital technology and students matches up. I found that students, particularly male students, had difficulty logging off of the device in class once the technology component of the lesson was finished. I also find that privacy concerns curtail many ways that students could interact and share their learning with each other and other relevant audiences.

My belief is that the convergence of literacies is possibly more obvious to teacher librarians (TLs) than classroom teachers. I think TL’s could influence and expand their teaching role by providing PD for teachers on aspects that they are less knowledgeable about it. As was mentioned in the Rethinking Digital Citizenship (Global Silicon Valley, 2021) video, TLs would be great digital citizenship coaches as they have the knowledge and skills to teach staff and students about digital and information literacy. TLs could also lead the way by integrating digital and information literacy into the curriculum across different areas. Being able to this also requires a strong understanding among staff about the role of the TL in the school.

References

Global Silicon Valley. (2021, September). Rethinking Digital Citizenship / ASU+GSV 2021 [Video]. YouTube. https://www.youtube.com/watch?v=sTBvVav2yNo&t=2366s

Gonski Institute for Education (2020). Growing Up Digital Australia: Phase 1 technical report. Gonski Institute for Education.
University of New South Wales.

Information Literacy in the Australian Curriculum

Lupton (2014) discusses the lack of reference to information literacy in the Australian Curriculum and compares the areas of History, Geography and Science inquiry skills across year levels. Her findings include the inquiry skills mentioned in the strands don’t necessarily all match up and that there is an even greater discrepancy amongst the year level that certain skills are introduced in.

Lupton (2014) stipulates that the way in which content areas are explored is just as important as the content itself. This is where having a common inquiry model in a school comes in. Inquiry learning allows teachers and students to be partners in learning and the creation of knowledge. The teacher librarian, with a more broad view of the curriculum is in an ideal place to work with classroom teacher on making information literacy skills more obvious within the curriculum and linking these to the school’s chosen inquiry learning model. Schools need both a common inquiry learning model and a clear information literacy model that will enhance student learning.

References

Lupton, M. (2014) Inquiry skills in the Australian Curriculum v6: A bird’s eye view. Access 28(4), 8-29.

Information Literacy

Understandings of information literacy change depending on your approach to the term. Is it a set of measurable skills that individuals can acquire? Should our understanding of information literacy include the context of the information need and how we have shared ways of interacting and communication with the information and each other that will impact how information is found and used?

No matter your take on ‘information literacy’ is a common agreement that is necessary component of being a productive citizen in today’s world. Both Kutner & Armstrong (2012) and the Australian and New Zealand Information Literacy Framework Principles, Standards and Practice situate information literacy within the notion of lifelong learning. My philosophy of teaching statement has always included the phrase ‘lifelong learning’, though I don’t think I ever fully thought about it beyond the idea of wanting to continue to learn new things. I certainly didn’t connect the idea of information literacy with it. It is now clearer that information literacy, (either as a set of skills or as a way of understanding and using information in a socially, culturally and ethical way) is a fundamental part of being able to continue learning over your lifetime. Information literacy should therefore be embedded in teaching and learning programs in schools.

Although the Australian Curriculum doesn’t specifically discuss information literacy, it is alluded to in some of the general capabilities. There is a general consensus among experts that inquiry based learning is an appropriate avenue for information literacy education. Embedding information literacy education into an inquiry learning program enables students to begin becoming information literate in an authentic way. This takes a lot of collaborating with classroom teachers and requires support from leadership. Advocating for and teaching information literacy is a main component of a teacher librarian’s role.

References

Bundy, A. (Ed.) (2004). Australian and New Zealand information literacy framework: Principles, standards and practice. 2nd ed. Australian and New Zealand Institute for Information Literacy. https://www.utas.edu.au/__data/assets/pdf_file/0003/79068/anz-info-lit-policy.pdf

Kutner, L., & Armstrong, A. (2012). Rethinking information literacy in a globalized world. Communications in Information Literacy, 6(1), 24-33. doi:http://dx.doi.org.ezproxy.csu.edu.au/10.15760/comminfolit.2012.6.1.115

Literacy

The term ‘literacy’ is a complex one. It is a word where the meaning differs depending on context. In a school or learning setting it is connected to ideas of curriculum such as reading, writing, speaking and listening. UK’s National Literacy Trust defines it as “the ability to read, write, speak and listen in a way that lets us communicate effectively and make sense of the world” (2017, para.1). The Australian Curriculum defines it as developing “knowledge, skills and dispositions to interpret and use language confidently for learning and communicating in and out of school and for participating effectively in society” (n.d., para.2). The use of the words ‘effectively’ and ‘confidently’ in these definitions indicate the need for proficiency in the skills required to be literate.

The idea of proficiency is carried with the meaning when the term ‘literacy’ is used in conjunction with other terms such as ‘digital literacy’, ‘visual literacy’, ‘financial literacy’ and ‘critical literacy’, among many others. To be literate in any of these areas is to be proficient at using the skills associated with them to understand and/or communicate related concepts and ideas.

No matter how you define literacy, it is essential to living in our ever changing world.  

References

Australian Curriculum, Assessment and Reporting Authority. (n.d.). What is Literacy?. https://www.australiancurriculum.edu.au/resources/national-literacy-and-numeracy-learning-progressions/national-literacy-learning-progression/what-is-literacy/

National Literacy Trust. (2017). What is literacy?. https://literacytrust.org.uk/information/what-is-literacy/