Posts Tagged with technology

Assessment 4 Part D: Critical Reflection

ETL533: Literature in Digital Environments
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The subject ETL533 has expanded my understanding of what digital literature is and the ever-burgeoning possibilities afforded by advancements in technology (McDonald, 2022, September 5a; Rowland, 2021). There is no doubt that digital texts are changing the way we read, write, create, and respond to literature (Weigel & Gardner, 2009). I personally think that this is exciting as digital technologies are transforming reading experiences in previously inconceivable ways (McDonald, 2022, July 28). It is, however, making it even more difficult to define digital literature due to features, like interactivity and non-linear narratives, that are edging digital texts “closer to the gaming or entertainment industry” and the rapid pace of developments (McDonald, 2022, September 5a; Serafini et al., 2015, p. 16).

At the beginning of this session, I was so naive about the huge variety of digital texts available. My experience was embarrassingly limited – mostly just to eBooks! I have found it helpful to learn about different categories of text formats, even though this can still be contentious (Serafini et al., 2015). According to theorist Allan, the three most popular formats enjoyed by young readers are: eBooks, apps and “born digital narratives” (2017, p. 22). It has been beneficial for me to experience and critique examples of each of these three formats, such as: Pop Out! The Tale of Peter Rabbit (McDonald, 2022, September 5b), Woonyoomboo and the Night Heron (McDonald, 2022, September 5c) and the first episode of Inanimate Alice (McDonald, 2022, September 5d). I have come to realise that while formats evolve and sophisticate, the time-honoured tradition of telling a good story remains and will always be innate to our very nature (McDonald, 2022, July 21).

As a classroom English teacher of six years, I have not yet seen digital literature featured in any subject booklists (McDonald, 2022, August 16a). I recall some early English Department discussions about using Inanimate Alice, but this was eventually outvoted due to staff apprehension about teaching a multimodal text instead of print literature (McDonald, 2022, August 16b). Since learning about the benefits of digital literature, particularly for students who have learning needs and are English language learners, I am surprised that digital texts in classrooms are still so rare (Lamb, 2011; McDonald, 2022, October 9). It has led me to wonder – why are teachers and teacher librarians hesitant to incorporate digital literature into classrooms and school libraries, and what can we do about this? I mean, surely it’s not just a lack of awareness?

I now understand there may be concerns about perceptions of quality (or the lack thereof) of digital literature, particularly when compared to canonical print texts. But to me, this only emphasises the need for evaluative criteria (Walsh, 2013; Yokota & Teale, 2014). For example, when evaluating quality digital literature, it is important that the digital features do not disrupt narrative comprehension and support the reading experience (Lamb, 2011; McDonald, 2022, July 21; Sargeant, 2015).

Other concerns that teachers have may involve perceptions of their own technology skill levels, choice overwhelm, access costs and the time required to feel confident (Curtis, 2022; Matthews, 2014; McDonald, 2022, August 16; McDonald, 2022, October 6). As Weigel & Gardner aptly distil, it’s true that using technology and digital texts in the classroom does require educators to take “several leaps of faith” (2009, p. 41) However, I genuinely don’t think these challenges should deter educators from upskilling and implementing digital literature in the classroom (McDonald, 2022, October 9).

In addition, I think that providing opportunities for students and staff to engage in digital storytelling, and to create digital texts of their own, is equally important (McDonald, 2022, October 9; Reid, 2013). Research suggests that digital storytelling is powerful and supports learner engagement, motivation, creativity, and expression of ideas (Sukovic, 2014; Towndrow & Kogut, 2020).

As I embarked on my first ever digital storytelling project, I felt some apprehension that my limited technical skills would limit my desired creation, as expressed in my written proposal (McDonald, 2022, September 3). Peer feedback was instrumental in shaping the development of my digital text, Head to the Treehouse, as well as bolstering my confidence and sparking new ideas. Stolz (2022, September 4) encouraged me to “be adventurous” in exploring platforms that would offer reader interactivity, where students could click on links to access different story elements (para. 3). Before this, I thought I would have to export a complete video file that was not interactive at all. I was thankful for Stolz’s encouragement because I decided to use Google Slides so I could embed video content in sections and utilise navigational, interactive elements. Building on this feedback, Cheetham (2022) encouraged me to consider incorporating puzzle-decoding elements to enhance the narrative, where protagonist Flo is hunting for and solving clues. This led me to use hyperlinks to Google Forms quizzes, so that readers could solve the clues too.

Finally, Muti (2022) endorsed my choice of Canva as a digital tool, and to utilise premium features. I had not even thought of subsequently prompting students to, as Muti says, “have a shot” at creating their own digital story (2022, para 2.). Her comment encouraged me to consider how I could model to students how to create a digital story, as an exemplar for them to make one of their own. This in turn, prompted me to develop a response task for students to create a digital story that concludes the narrative.

I am excited for the future of digital literature, which is far more sophisticated and engaging than my little story (McDonald, 2022, September 5a). We all need to keep advocating for the incorporation of digital literature and digital storytelling into classrooms and school libraries. This is not to rule out print texts, but to have them sit together side-by-side, as part of rich, diverse, multimodal resource collections offered to students (Yokota & Teale, 2014). Students need to experience a variety of texts, genres, and formats to prepare them for their reading futures and life beyond the school gates (Dobler, 2013; McDonald, 2022, September 9). Let’s keep this digital ball rolling.

 

Reference List 

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27.

Cheetham, J. (2022, September 7). This sounds like a wonderful and appropriate story for middle to upper primary students. [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/emmamcdonald/2022/09
/03/assessment-3-digital-storytelling-proposal/

Curtis, J. (2022, September 13). Too many to choose from. [Comment on “Module 4.2 & 5.2: Digital tools”]. Interact 2: ETL533 Discussion Board. https://interact2.csu.edu.au/webapps/
discussionboard/do/message?action=list_messages&course_id=_64104_1&conf_id=_128305_1&forum_id=_282776_1&message_id=_4253513_1&nav=discussion_board_entry

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

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

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

Muti, A. (2022, September 4). I love your proposal, Emma! [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/
emmamcdonald/2022/09/03/assessment-3-digital-storytelling-proposal/

Reid, K. (2013). Creating e-books in the classroom. In J. Bales (Ed.), E-books in learning – a beginner’s guide (pp. 37-43). Australian School Library Association.

Rowland, R. (2021, July 8). What is digital literature? Understanding the genre. Book Riot. https://bookriot.com/digital-literature/

Sargeant, B. (2015). What is an ebook? What is a book app? And why should we care? An analysis of contemporary digital picture books. Children’s Literature in Education, 46(4), 454-466.

Serafini, F., Kachorsky, D., & Aguilera, E. (2015). Picture books 2.0: Transmedial features across narrative platforms. Journal of Children’s Literature, 41(2), 16-24.

Stolz, K. (2022, September 4). This sounds like a wonderful and appropriate story for middle to upper primary students. [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/emmamcdonald/2022/09/03
/assessment-3-digital-storytelling-proposal/

Sukovic, S. (2014). iTell: Transliteracy and digital storytelling. Australian Academic & Research Libraries, 45(3), 205-229.

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: Providing an evidence-base for classroom practice (1st ed.). Springer. https://doi.org/10.1007/978-981-15-8727-6

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Weigel, M., & Gardner, H. (2009). The best of both literacies. Educational Leadership, 66(6), 38-41.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Source: Image by PicJumbo from Pixabay

Assessment 4 Part A: Context for Digital Storytelling Project

ETL533: Literature in Digital Environments
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Head to the Treehouse is a digital text created using Canva, Google Slides, and Google Forms. Unlike traditional print-based texts, digital texts can incorporate animation, images, video, sound effects, music, and audio narration (Lamb, 2011; Matthews, 2014; Reid, 2013). They can also embed navigational and interactive features, and connect readers to digital resources and other “external platforms” beyond the text (Serafini et al., 2015, p. 18).

This digital text is suited to middle grade readers aged approximately 8–13 years old, due to language complexity and puzzle-based content that requires students to navigate different online platforms to solve clues. Specifically, the target audience is Year 5 and 6 students at Kingswood College who are taking part in the College’s ‘Wide Reading and Responding’ program which runs in conjunction with Years 5 and 6 English. There are explicit links to Year 5 English curriculum (ACELT1610, ACELT1798, ACELY1704, ACELY1707) and Year 6 English curriculum (ACELT1618, ACELT1800, ACELY1714, ACELY1717) (Australian Curriculum, Assessment and Reporting Authority, 2015a).

The purpose of the incorporating digital texts into school library programs is twofold: so that students have access to multimodal texts and can try digital storytelling themselves. Digital storytelling is, put simply, the use of digital tools to share stories (Matthews, 2014; Towndrow & Kogut, 2020). Head to the Treehouse is designed to act as a springboard for students, as, after reading, they are asked to ‘finish the ending’ and design their own digital story which draws the narrative to a close.

Engaging students in digital storytelling projects supports their ICT skill development (Reid, 2013; Tackvic, 2012, p. 429). Accordingly, this activity links to the Information and Communication Technology (ICT) Capability of the Australian Curriculum. Some relevant organising elements include: “applying social and ethical protocols and practices when using ICT”, “creating with ICT” and “communicating with ICT” (Australian Curriculum, Assessment and Reporting Authority, 2015b).

Head to the Treehouse and the associated digital storytelling activity are designed to meet the needs of Kingswood College students. The College is a small, co-educational, independent school in Box Hill South, Victoria. The Index of Community Socio-Educational Advantage value is 1147 (ACARA, 2022). Students bring their own devices, utilise the College wireless internet, and regularly access digital learning content. There are many students who are neurodiverse and have specific learning needs. The College also has multilingual Aboriginal and Torres Strait Islander students and international students who are learning English.

Head to the Treehouse is influenced by interactive digital texts, such as the landmark, born digital narrative series Inanimate Alice (Boyd, 2013; McDonald, 2022, September 5). Many young readers now expect digital content to be interactive (Sargeant, 2015). This text is an opportunity involve readers in the narrative and connect them with elements beyond the story (Walsh, 2013). Like the linear narrative in the first episode of Inanimate Alice, the protagonist of Head to the Treehouse, Flo, is trying to find a missing relative and must solve a series of clues to find out where they are (Cowdy, 2016).

Unlike Inanimate Alice, this text features audio narration, and subtitles, to assist students who need help reading independently, particularly English language learners (Lamb, 2011). Head to the Treehouse uses hyperlinks to Google Forms quizzes, where readers must answer questions or find information using the internet to solve clues (Reid, 2013). There are also two parts of the story that allow for ‘choose your own adventure’ narrative options, where students can make a choice about what happens next (Walsh, 2013). These elements all aim to enhance engagement and involve students as they solve clues alongside the protagonist. Sound effects and background music are used to enrich the immersive reading experience (Walsh, 2013). There are also navigational elements, such as ‘back’ and ‘next’ buttons, which give readers control over the story’s pace and direction (Javorsky & Trainin, 2014). Ultimately, the goal is to expose students to a quality example of a digital text, so they will be inspired to join in and make their own.

Digital texts are relevant because young people are increasingly using devices to access literature (Sargeant, 2015). Quality digital literature supports differentiation in the classroom, as students can read at their own pace, and supports multiliteracy learning (Lamb, 2011; Sukovic, 2014; Yokota & Teale, 2014). For students who have learning needs, digital texts provide accessibility options such as different pathways, labels, audio narration and text highlighting (Kingsley, 2007; Lamb, 2011). It is imperative that students are exposed to a variety of different text formats, both print and digital resources, as school libraries ever-strive to equip students for the “new learning ecology of the twenty-first century” (O’Connell et al., 2015, p. 195; Yokota & Teale, 2014).

Further, it is beneficial for teachers to create their own digital texts as they are tailor-made for their students and learning contexts (Reid, 2013). Modelling ethical digital technology use in the classroom also supports student learning (Kingsley, 2007; Serafini et al., 2015; Weigel & Gardner, 2009).

Supporting students to create their own digital texts empowers students to share their ideas and understandings, “speak their own language” as digital natives, and engage in active, independent learning (Malita & Martin, 2010; Ohler, 2016, p. 11, Rubino et al., 2018; Sukovic, 2014). Research indicates that digital storytelling nurtures student learning engagement, motivation, and creativity (Towndrow & Kogut, 2020). Digital text creations are also evidence of learning that can be shared with the school community and families (Botturi et al., 2012; Reid, 2013). Neurodiverse students who experience communication challenges may find digital storytelling, particularly the use of audio-visual material, helps them to express their ideas (Botturi et al., 2012). All students can benefit from reading and responding to digital texts.

Reference List 

Australian Curriculum, Assessment and Reporting Authority. (2015a). English content descriptions (Version 8.4). https://www.australiancurriculum.edu.au/f-10-curriculum/english/

Australian Curriculum, Assessment and Reporting Authority. (2015b). Information and Communication Technology (ICT) Capability (Version 8.4). https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/information-and-communication-technology-ict-capability/

Australian Curriculum, Assessment and Reporting Authority. (2022). School profile. My School. https://www.myschool.edu.au/school/46202

Botturi, L., Bramani, C., & Corbino, S. (2012). Finding your voice through digital storytelling. Techtrends: Linking Research & Practice To Improve Learning, 56(3), 10-11.

Cowdy, C. (2016). Pedagogical encounters with Inanimate Alice: Digital mobility, transmedia storytelling, and transnational experiences. Jeunesse, Young People, Texts & Cultures, 8(1), 154-179.

Javorsky, K., & Trainin, G. (2014). Teaching young readers to navigate a digital story when rules keep changing. The Reading Teacher, 67(8), 606-618. https://doi.org/10.1002/trtr.1259

Kingsley, K. V. (2007). Empower diverse learners with educational technology and digital media. Intervention in School & Clinic, 43(1), 52-56.

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

Malita, L., & Martin, C. (2010). Digital storytelling as web passport to success in the 21st century. Procedia-Social and Behavioral Sciences, 2(2), 3060-3064.

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

O’Connell, J., Bales, J., & Mitchell, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal, 64(3), 194-208.

Ohler, J. (2016). Digital storytelling in the classroom: new media pathways to literacy, learning, and creativity (2nd ed.). Corwin.

Reid, K. (2013). Creating e-books in the classroom. In J. Bales (Ed.), E-books in learning – a beginner’s guide (pp. 37-43). Australian School Library Association.

Rubino, I., Barberis, C., & Malnati, G. (2018). Exploring the values of writing collaboratively through a digital storytelling platform: A mixed-methods analysis of users’ participation, perspectives and practices. Interactive Learning Environments, 26(7), 882-894.

Sargeant, B. (2015). What is an ebook? What is a book app? And why should we care? An analysis of contemporary digital picture books. Children’s Literature in Education, 46(4), 454-466.

Serafini, F., Kachorsky, D., & Aguilera, E. (2015). Picture books 2.0: Transmedial features across narrative platforms. Journal of Children’s Literature, 41(2), 16-24.

Sukovic, S. (2014). iTell: Transliteracy and digital storytelling. Australian Academic & Research Libraries, 45(3), 205-229.

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativity. The Educational Forum, 76(4), 426-429.

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: Providing an evidence-base for classroom practice (1st ed.). Springer. https://doi.org/10.1007/978-981-15-8727-6

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Weigel, M., & Gardner, H. (2009). The best of both literacies. Educational Leadership, 66(6), 38-41.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Credit: Image by Pexels from Pixabay

Understanding the SAMR Model

ETL533: Literature in Digital Environments
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The Substitution Augmentation Modification Redefinition (SAMR) model, developed by Dr Ruben Puentedura, supports teachers with the integration of technology in their classrooms. In his model, Puentedura emphasises the importance of not just substituting technologies for the sake of using some fancy digital tool but, instead, creating learning tasks that previously would have been impossible without the use of technology (Terada, 2020).

Here’s a video in which Dr Puentedura explains his SAMR model:

One criticism of this model is that it “dismisses the complexity of teaching with technology in predefined ways” (Hamilton et al., 2016, p. 436). Nevertheless, if teachers who plan to use new technologies in their classrooms know their students and how they learn, they will be able to select technologies that are appropriate and will act as a gateway to a deeper level of learning.

References

Common Sense Education. (2016, April 4). How to Apply the SAMR Model with Ruben Puentedura [Video]. YouTube. https://www.youtube.com/watch?v=ZQTx2UQQvbU

Hamilton, E. R., Rosenberg, J. M., & Akcaoglu, M. (2016). Substitution Augmentation Modification Redefinition (SAMR) Model: A critical review and suggestions for its use. Association for Educational Communications & Technology. 60(5). 436-441.

Terada, Y. (2020, May 4). A Powerful Model for Understanding Good Tech Integration. Edutopia. https://www.edutopia.org/article/powerful-model-understanding-good-tech-integration

Image Source: Photo by John Schnobrich on Unsplash

Assessment 3: Digital Storytelling Proposal

ETL533: Literature in Digital Environments
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For Assessment 3, I am creating an original “born digital” story that will incorporate text, sound, audio, and video features (Allan, 2017, p. 21). The story’s working title is ‘Head to the Treehouse’ and it will be aimed at middle grade readers aged 8-12.

Storyline

My original story is inspired by Inanimate Alice Episode 1 where the protagonist, 8-year-old Alice, finds out that her father is missing, and she tries to locate him.

In my story, the protagonist Flo awakens to find that her older sister Juniper is missing. Juniper has left her a series of clues that Flo must decode to, ultimately, reunite with her and find out why she has gone into hiding. It is not as eerie as Inanimate Alice, it is more adventurous and light-hearted, and the journey takes Flo to settings such as the local library, botanic gardens, and the zoo.

Digital Platform

I will be using the online digital platform Canva to create my story and have been playing around with some features already to learn what’s possible. I have launched a month-long free trial of Canva Premium so that I can access premium features, such as audio sounds and the expanded visual content libraries.

If I was a technical wizard, I would love for the story to be ‘choose your own adventure’ style and more like an interactive game, with different clickable options… but I think that I will end up exporting the linear story as a video file, and I will add my narration of the typed text as the final layer.

Rationale

I am excited to make this story as a work of digital literature, as I hope to enhance the experience of Flo’s journey of puzzle-decoding through technology. For example, I want to bring the settings to life – so that as Flo is wandering through the library, readers can hear background chatter and search for visual clues with her. I am wary of digital stories where technology distracts the reader, so want to make a conscious effort to use technology to complement the narrative (Javorsky, 2014).

Reference List

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27.

Canva. (2022). https://www.canva.com/

Javorsky, K., & Trainin, G. (2014). Teaching Young Readers to Navigate a Digital Story When Rules Keep Changing. The Reading Teacher, 67(8), 606–618.

Pullinger, K., Joseph, C., & Harper, I. (2005). Inanimate Alice (Episode 1) [Computer software]. The BradField Company.

Image Source: Original design created by the author using Canva.

Changing Times: Technology and Literature in Classrooms

ETL533: Literature in Digital Environments
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This is only my sixth-year teaching, so technology use has been embedded in my practice right from the start. During my Master of Teaching, I remember sitting in a tutorial and a friend said, “Let’s use Google Docs to collaborate” and my mind was blown that each group member could access the document individually and make changes in real-time! Technology is seamlessly (most of the time) integrated into our daily lives at school – from learning management systems and emails to student and staff devices. In addition, many staff incorporate digital tools to support classroom teaching and learning activities to foster participation, collaboration, and engagement (e.g. Canva, Prezi, YouTube, iMovie, ACMI Storyboard Generator and so on).

As an English teacher, I haven’t seen much digital literature in use for classroom study and eBooks are not promoted at our school library. There was some discussion a few years ago about bringing Inanimate Alice onto a Year 7 text list, but there was some anxiety amongst staff about how to approach teaching a multimodal text (as opposed to a book or film text). I don’t think it’s just a matter of ‘changing tools’ as there are different pedagogical practices associated with embedding digital technology (and digital literature!) into the classroom. Instead, we need to be adapting our curriculum, upskilling, and expanding our pedagogical practices accordingly.

This discussion reminds me of the SAMR model, developed by Dr Ruben Puendetara, which is a hierarchical framework for the integration of digital technology in the classroom. The four levels are: substitution, augmentation, modification, and redefinition (Hilton, 2016). The lowest level, substitution, is where teachers replace tools using technology, but without any functional change. The highest level, redefinition, is the best-case scenario – where digital technology is used to expand possibilities that were not viable without technology. As education theorist Kirkland states, “the key to using the SAMR model is not to think of it as a progression to work through. Really using technology effectively means creating the kind of rich tasks that redesign traditional ways of learning” (2014, p. 16). I personally think this is exciting, but I know that it must be scary for some educators!

Reference List:

Hilton, J. T. (2016). A Case Study of the Application of SAMR and TPACK for Reflection on Technology Integration into Two Social Studies Classrooms. Social Studies, 107(2), 68–73.

Kirkland, A. B. (2014). Models for Technology Integration in the Learning Commons. School Libraries in Canada, 32(1), 14–18.

Image Credit: Photo by Wokandapix from Pixabay

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