September 27

Context for Digital Storytelling Project

The creation of an interactive version of Edgar Allen Poe’s poem ‘Annabel Lee’ is planned to assist in differentiating the Victorian Curriculum for level 9 English students with Specific Learning Disorders as they move from remote learning to on campus. The secondary school situated in regional Victoria has 200 year nine students enrolled, with approximately 20 students identified as having a diagnosed learning difficulty that impacts their reading. Remote Learning impacted these students significantly in term 3. Curriculum assigned texts that should have been able to be read together as a class were unable to be. As term 4 will see a return to remote learning for week one, having a text that the students can have read to them will hopefully reduce this impact.

In term 4 students in year nine will be studying poetry and in particular works by Poe. This is a follow up from Term 3 when students looked at Poe’s short stories. It was evident during this unit of work that students with Specific Learning Difficulties had trouble comprehending Poe’s original language and struggled to engage with the content. By creating a digital interactive book for the students, it is hoped they will gain a clearer understanding of the writing and therefore be able to participate fully with their peers.

Copyright of the original text was considered before the development of the poem. According to the United States (U.S) Copyright Office “[A]ll works published in the U.S. before January 1, 1923, are in the public domain” (United States Copyright Office, 2011). As Poe wrote this poem in 1849, Annabel Lee is considered to be in the public domain and therefore not subject to copyright (Law, 1922).

Researching an appropriate platform for delivering the interactive story was the next step. Adobe Spark, Loom, Book Creator and Microsoft Sway were considered and tested. Ultimately Microsoft’s Sway application was chosen to present this traditional learning activity redesigned with digital tools. The secondary school where this interactive story will be utilises the entire Microsoft suite of programs. It is an application the students and teachers are familiar with and will not require teaching on how to read this book. Familiarity played a role, as did Sway’s programming features. Sway is a cloud-based, story-telling application that is easier to use than PowerPoint and allows for more narrative devices, hyperlinks and audio features.

The interactive book will break the writing up, using a reading technique called chunking, where larger sections of text are ‘chucked’ to make the text more manageable (Facing History and Ourselves, 2020). This helps to ensure students are not overwhelmed by the number of words as well as make it easier for them to arrange and synthesise information. There will also be the option to have sections of text delivered audibly if required. Research shows that having a text read aloud helps the student develop their information processing skills, their vocabulary and comprehension (Center for Teaching, n.d.).  Also included in the interactive book will be hyperlinked to further information to assist comprehension. Links to have definitions and pronunciations along with clarification on meanings of phrases and additional images to aid connection to the setting.

Poe’s original poem has a reading score of 14, making it suitable for 19-20-year-olds—according to the Flesch Kincaid Reading Ease (WebFX, 2020). While some scaffolding will be required for all students to gain comprehension, the reading age of the students with Specific Learning Disorders in level 9 is significantly lower. The cohort includes students diagnosed with Dyslexia, processing difficulties and language disorders. Hazzard (2016) states that being read to increases, the comprehension attained for students. It is anticipated that having the poem read aloud to them as many times as they choose will achieve this comprehension increase.

This interactive story compliments Level 9 of the Victorian Curriculum F-10 for English which includes the descriptor VCELT438. ‘Analyse texts from familiar and unfamiliar contexts, and discuss and evaluate their content and the appeal of an individual author’s literary style (Victorian Curriculum and Assessment Authority [VCAA], 2020).  Students will analyse Poe’s poem Annabel Lee and examine how he used devices such as imagery and symbolism and how that has an effect on audiences today. Another descriptor that will be linked to this unit is VCELA428. Investigate how evaluation can be expressed directly and indirectly using devices, including allusion, evocative vocabulary and metaphor (VCAA, 2020). Students will compare the language used in Annabel Lee to another text that uses evaluative language and how that comparison directs the views of the readers.

References

Center for Teaching. (n.d.). What are the benefits of reading aloud? https://teach.its.uiowa.edu/sites/teach.its.uiowa.edu/files/docs/docs/What_are_the_Benefits_of_Reading_Aloud_ed.pdf

Facing History and Ourselves. (2020). Teaching strategies: Chunking. https://www.facinghistory.org/resource-library/teaching-strategies/chunking#:~:text=%E2%80%9CChunking%20the%20text%E2%80%9D%20simply%20means,students%20have%20used%20this%20strategy.

Hazzard, K. (2016). The Effects of Read Alouds on Student Comprehension. Education Masters. 351. https://fisherpub.sjfc.edu/cgi/viewcontent.cgi?article=1360&context=education_ETD_masters

Law, R. (1922). A Source for Annabel Lee. The Journal of English and Germanic Philology, 21(2), 341-346. http://www.jstor.org/stable/27702645

United States Copyright Office. (2011). Duration of Copyright. https://www.copyright.gov/circs/circ15a.pdf

WebFX. (2020). Readability test tool. https://www.webfx.com/tools/read-able/flesch-kincaid.html

VCAA. (2020). Level 9, In Victorian Curriculum Foundation-10. https://victoriancurriculum.vcaa.vic.edu.au/level9?layout=1&d=E

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September 4

Digital Storytelling Proposal

Proposal topic:

To create a digital version of Edgar Allen Poe’s poem ‘Annabel Lee’ and differentiate the level 9 English curriculum for students with Specific Learning Disorders.

Digital tools:

The story will use Microsoft’s Sway program as a base to allow for the inclusion of text, images, hyperlinks, narration and video. From there it is hoped to use video editing software such as Filmora9 to overlay the static background with animation and music. Before exporting as a MP4 file. The aim of using a MP4 file is to allow access from home in the advent of remote learning or at school.

 

Rationale:

The digital retelling of Edgar Allen Poe’s poem Annabel Lee is intended for students with Specific Learning Disorders in year 9 in a Victorian school. All students will be looking into Poe’s work and in particular, Annabel Lee, which has a readability score of 14—suitable for 19-20-year-olds—according to the Flesch Kincaid Reading Ease (WebFX, 2020). Scaffolding of tasks is required for these students, as all have a Personal Learning Plan. Their learning needs are varied, and the cohort includes students diagnosed with Dyslexia, processing difficulties and language disorders.

The learning needs of these year nine students vary, but their approximate reading age is around 13 years, making Annabel Lee extremely difficult for them to comprehend. Research does state, that being read to increases the comprehension attained for students (Hazzard, 2016). For this reason, this digital retelling will include the text alongside optional read aloud verses and imagery. There will be links for students to select to hear the verses audibly, hyperlinks throughout for word definitions and examples and a Dyslexia friendly font of Veranda will be used, along with images to aid connection to the setting.

Several storytelling digital tools were trialled before Sway was selected for use. Microsoft’s program Sway can be viewed on multiple devices and does not require students to sign in to view the contents once shared. The program allows integration of the necessary technology for this digital storytelling, with the ability to include narration, video and hyperlinks. The school also supports the Microsoft suite of programs, and all are installed on student devices for ease of access.

References

Hazzard, K. (2016). The Effects of Read Alouds on Student Comprehension. Education Masters. 351. https://fisherpub.sjfc.edu/cgi/viewcontent.cgi?article=1360&context=education_ETD_masters

WebFX. (2020). Readability test tool. https://www.webfx.com/tools/read-able/flesch-kincaid.html

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August 20

Critical Reflection of Digital Literature Experiences

It is fair to say I was filled with self-assurance when beginning my digital literature experience this semester. I was confident that I had a solid understanding of what a digital text was and its applied benefits in the field of education. I began perusing links and suggestions before discovering a wealth of various forms of digital literature, some that I struggled to comprehend and others that blew me away with their creativity and coding. It appears I had drastically underestimated my knowledge. Lamb’s (2011) definition of what constitutes a book assisted in my development, with a book being defined as ‘a published collection of related pages or screens’. With that definition and contemplating Walsh’s (2013) features of digital narratives, especially his point on ‘scrolling or ‘mouseover’ effects, I began to grasp how much scope was possible.

What stood out dramatically was the range in the quality of these digital texts. Students need to be engaged with their reading material if the quality of the writing is not evident; it will not matter if the version is digital with all the bells and whistles if the content is substandard. I love to read hard copy novels, the scent of the paper, the sound of turning pages, holding something substantial in my hands. That said, however, I read mostly in digital. Digital literature usually is cheaper, easier to access and are convenient to carry around. I like highlighting and accessing hyperlinks, and it is practical to jump from what is being read to researching words or definitions in another screen. I cannot imagine giving a hard copy away for good, but both have their place.

 

The cognitive research conducted by Gardner (as cited in Lane, n.d.) suggests that students have various ways of learning, remembering and understanding, so need to be taught in ways that support these differences. These multiple intelligences align well with the benefits of digital literature. As stated by Neumann, Finger and Neumann (2016), digital texts can stimulate visual, auditory, kinaesthetic and tactile senses. At the same time, Lamb (2011) explains that eBooks benefit children with learning difficulties and English as second language learners. Digital text provides learners with the ability to hear words and sentences pronounced out loud, read definitions, use digital sticky notes to annotate that display inferencing and analysis and as suggested by Scharaldi (2020) even change the font of the text to one such as Open Dyslexic typeface.

While discovering the diverse range of digital literature available, I came across a number that amazed me for their beauty, depth of story and integrated technology. The one that surprised me the most was Core Values, a digital poem written by Benjamin Laird (2017). This poem surrounds you, incorporates you into it and draws you into another world. The words to this poem scroll across your vision, ensuring that your gaze follows its movements. However, this piece raised in me a concern. It was hard to read; for all its attraction, it was challenging to follow. I realised that Core Values had a readability issue.  Bouchardon and Heckman (2012) believe that digital literature can present several problems, including readability, they suggest that hypertextual navigation contributes to disorientation and compromises the reading. This is significant and should be kept in mind by educators, a poem such as Core Values could be used in a senior classroom as a comparison piece. Still, the difficulty in reading should be highlighted as a potential issue.  

Ascent from Akeron does not have a readability this issue. There is an ease to reading it that differs substantially to Core Values. This interactive graphic novel, written by William Maher releases a frame only when clicked or mouseover’ed by the reader (Maher, 2019). This feature ensures that the reader is in complete control of the events unfolding and that they can read at a pace that suits them. Applications for this piece in the classroom are vast. I could easily see a unit of work built around this graphic novel for use in a year 9 or 10 classes.  An introduction to graphic novel features and metalanguage would begin the unit before reading the four episodes from Ascent from Akeron. This would start a building of knowledge that would include annotating frames, discussing literary devices and analysis of language before moving onto a creative writing piece where the students would write a fifth episode in the series. A unit such as this could assist the students in achieving outcomes for the Victorian Curriculum F-10 in year 9 English in VCELA429, VCELT447, VCELT448 and VCELY450 (VCAA, 2020d).

All I know at the moment is the world of digital literature is evolving and growing rapidly, and if I want to gain back my self-assurance on all things digital, I had better keep searching and reading.

 

References

Heckman, D. & Bourchardon, S. (2012). Digital manipulability and digital literature. Electronic Book Review. http://www.electronicbookreview.com/thread/electropoetics/heuristic

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

Laird, B. (2017). Core values [Digital literature]. https://poetry.codetext.net/core-values/

Lane, C. (n.d.). The distance learning technology resource guide. https://www.tecweb.org/styles/gardner.html

Maher, W. (Author), & Garcia, G. (Illustrator). (2019). Ascent from Akeron [Interactive graphic novel]. https://www.ascentfromakeron.com/   

Neumann, M., Finger, G., & Neumann, D. (2016). A conceptual framework for emergent digital literacy. Early Childhood Education Journal, 45(4), 471-479. doi: 10.1007/s10643-016-0792-z   

Victorian Curriculum and Assessment Authority. (2020d). Victorian Curriculum: Foundation-10; English: Level 9. https://victoriancurriculum.vcaa.vic.edu.au/english/english/curriculum/f-10?layout=1&y=9&s=R&s=W&s=SL

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).  https://doms.csu.edu.au/csu/file/863c5c8d-9f3f-439f-a7e3-2c2c67ddbfa8/1/ALiteratureCompanionforTeachers.pdf  

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August 20

Digital Literature Review: Dunggula

Dunggula is a digital touch book based on an Aboriginal creation story about the Murray River. It is a story that has been shared orally and passed down through the generations. This interpretation was a combined effort of primary students and the Sharing Stories Foundation. Dunggula is a curious mix of images. The children’s drawings are rudimentary but capture the essence of the story perfectly. They are then animated and move across the screen. Interspersed between this are aerial images of the land. The story is simplistic in nature but in listening to it in the language of its creation gives it true power to engage the listener and reader.

The story is spoken in part in the Aboriginal language of Bangerang and partly in English. Spoken by Roland Atkinson a member of the Bangerang community (Australian Government, 2019). His uncle Sandy Atkinson was considered the custodian of the story before his passing. Keeping this ancient and vanishing language alive is of vital importance to Atkinson and that emotion is in evidence in the recording of it for Dunggula. The creating of the story has now brought a new motivation to the community with a 700-word dictionary of Bangerang language being produced. Future generations will be able to learn this historic language thanks to Dunggula.

Dunggula uses student-created artworks, animations, sound designs and drone footage in its version. It tells the story of the creation of the Murray River and the journey of Gunyuk, a wise old Bangerang woman who meets with the god Baiami, to request water for her people. Baiami, sends the rainbow serpent to make a riverbed before delivering rain that fills the Dunggula (the Murray River).

Sharing Stories, the foundation behind Dunggula, works with multiple Aboriginal communities to help children and elders record ancient creation stories in various digital formats for use in their communities (Sharing Stories, 2020). With permission from the elders, some of those stories are then utilised for educational purposes. The books they produce, combine old and new effortlessly to create something that will help preserve the rich Aboriginal history for generations to come.

The making of Dunggula saw a lovely melding of cultures in which 12 Indigenous children chose 12 non-indigenous children to partner with. The children were then taken to key sites around the Murray River and immersed in the story by elders from the community (Bock, 2020). The students used a combination of old and new including drawing and painting, Photoshop and Garage Band to produce an imaginative multidimensional story.

While rudimentary, the artworks in Dunggula appear tactile and give the impression of paper rather than of a digital media. While current research suggests that there is little difference in comprehension between paper and screens, consumer reports do state that modern devices fail to recreate the tangible experience people enjoy (Jabr, 2013). Dunggula’s textured appearance goes a long way to connect with this experience.

Dunggula has a wealth of application potential for every classroom. The Victorian curriculum English strand for year 7 includes the descriptor VCELA370 (VCAA, 2020). This content descriptor requires the students to learn to analyse how point of view is generated in visual texts, comparing choices for point of view in animations and experimenting with digital storytelling. Tasks could be built around the students listening to and reading Dunggula. Before moving on to create a digital story themselves.

There are also a number of cross-curriculum priorities that can be met utilising Dunggula. In levels 7 and 8 alone, the book when built into a unit of work could assist in helping the students achieve outcomes in Media Arts, Visual Arts, and Civics and Citizenship (VCAA, 2020c). In Visual Arts at level 7 and 8, students could explore the techniques, technologies and processes used throughout Dunggula to meet the content descriptor VCAVAE034.

A digital touch book such as Dunggula definitely closes the gap between what is a book and what is an audio-visual resource. As defined by Lamb (2011) a book is a published collection of related pages or screens. Dunggula meets that criteria but how close to the line can other books go. Readers today want books that entertain them, that allow them to be immersed in the material in a similar way they are immersed in online gaming (Larson, 2009). Dunggula does this in a highly simplistic manner. With its childlike imagery and ideas, this books is produced by children, aimed at children and will help them all to context with the topic.

References

Australian Government. (2019). IY2019: Primary students bring Murray River story to life. Department of Infrastructure, Transport, Regional Development and Communications. https://www.arts.gov.au/departmental-news/iy2019-primary-students-bring-murray-river-story-life

Bock, A. (2020). Children and elders go digital to tell ancient Indigenous stories. https://www.smh.com.au/national/children-and-elders-go-digital-to-tell-ancient-indigenous-stories-20200120-p53t0g.html

Jabr, F. (2013). The Reading Brain in the Digital Age: The Science of Paper versus Screens. https://www.scientificamerican.com/article/reading-paper-screens/

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

Larson, L.C. (2009). Digital literacies. Journal of Adolescent and Adult Literacy, 53(3), 255-258. http://newcenturynewreaders.pbworks.com/f/Digital+Literacies.pdf

Sharing Stories Foundation. (2020). About us. In Sharing Stories Foundation website. https://sharingstoriesfoundation.org/about-us/

Victorian Curriculum and Assessment Authority. (2020). Victorian Curriculum: Foundation-10; English: Level 10. https://victoriancurriculum.vcaa.vic.edu.au/level10

Victorian Curriculum and Assessment Authority. (2020c). Victorian Curriculum: Foundation-10; Cross-curriculum priorities. https://victoriancurriculum.vcaa.vic.edu.au/static/docs/Learning%20about%20Aboriginal%20and%20Torres%20Strait%20Islander%20histories%20and%20cultures.pdf

 

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August 20

Digital Literature Review: Core Values

Core Values is a digital poem written by Benjamin Laird. The writing is displayed in a three-dimensional box which can be viewed in a browser or through a virtual reality headset. The author wrote Core Values in response to the classic Australian poem My Country by Dorothea MacKellar (2016). Core Values, shortlisted in 2018 for the QUT digital literature award, is innovative and inspiring. It has to be seen to be understood. The reader needs to fight a sense of vertigo and claustrophobia to read it in its entirety. It is definitely worth the effort.

Click image to access the poem

Laird (2017) updates the original text used by MacKellar then proceeds to cut it up before it scrolls up the screen in seemingly random order. Laird intersperses the sentences with map coordinates, GIS data and what Groth, a writer for The Writing Platform, refers to as ‘technobabble’ and dehumanising jargon (2018). The background of the three-dimensional box is made up of historical maps, giving one the optical illusion of being trapped.

Reviews of Laird’s work are sparse. Wright (2019), echoes the idea that Core Values gives the feeling of claustrophobia and believes the work is Laird’s way of critiquing Mackellar’s poem and giving the reader an Australia where one feels trapped. With its innovative ideas and compelling language, Core Values invites the reader in, not trapped but free to move about. Trying to figure out how to read it is step one and is engaging in itself (Unsworth, 2006). The constant scrolling of the text in an upwards motion, as the screen rotates, make it difficult to look away. A reader is invited to stick around and see what the next set of words might be. With sentences such as “A melanoma for a sunburnt country” as a contrast to Mackellar’s well know “I love a sunburnt country”. Laird’s version may be the updated one Australia needs.

Digital poetry such as this, integrates hypertext; computer-generated animation and coding to make the text come alive and allow readers to interact with it in ways they previously could not with concrete poetry.  You could print out Core Values, but the dynamic, image-rich, digital environment that has been created would be lost and with it that extra dimension that immerses the reader in the poem. If Inanimate Alice was regarded as a benchmark for digital narratives then this may just be the benchmark for digital poetry (Hancox, 2013). Core Values utilises stereoscopic or 3D mode, which outputs two images, each intended for an eye, creating the illusion of depth (Groth, 2018). Reading Core Values in this setting brings the reader into the poem, the writing surrounds you, not on a page but scrolling in front of your eyes.

Digital poetry like other forms of digital literature allows a new breed of reader to discover them, young adults with whom computer games and MUDs (Multi-user domains) are everyday activities, may be bored with standard, concrete poetry. Digital poetry, on the other hand, embraces the same technology that is used in those activities (Poetry beyond text, n.d.). It brings young people to an environment that is familiar to them.

Core Values has applications in the classroom, as well. Teachers could share this piece in a year 10 English class using it as an example for poetry adaptation and linking with the content description for VCELA458, where students are required to produce and adapt existing print texts for an online environment. The students could research why poetry is adapted and work on changing one of their own. It could also link with the descriptor for VCELT477, which sees students create a range of their own spoken, written or multimodal texts (VCAA, 2020).

Cross-curriculum links are significant with this work also, such as linking Core Values with VCDTCD053 in a year 9 or 10 Digital Technologies class (VCAA, 2020). This could see the students using their own poem alongside a modular program, then applying data structures and coding using an object-oriented programming language, such as Python, the one used by Laird. In year 9 English, students could study the language variations and word choice between Core Values and Our Country as they meet the descriptor VCELA452 (VCAA, 2020). Students need to comprehend that Standard Australian English is a living language that changes and evolves.

Core Values encourages the reader to fall into the poem. It disturbs and engages at the same time. For lovers of Our Country who want an updated modern twist on it, to people who embrace new technologies and enjoy seeing its applications, Core Values may be the poem to read (Mackellar, 2016). For teachers hoping to engage their students in poetry, this might be the hook they are searching for. This is a poem for 2020 learning styles. Core Values is a poem that will appeal to many and for various reasons.

References

Groth, S. (2018). Screenshots: Core values. In The writing platform. http://thewritingplatform.com/2018/10/screenshots-core-values/

Hancox, D. (2013). When books go digital: The Kills and the future of the novel. https://theconversation.com/when-books-go-digital-the-kills-and-the-future-of-the-novel-20098

Laird, B. (2020). Benjamin laird. https://bl.id.au/

Laird, B. (2012). (en)coded poetry: read, write, execute [Unpublished honour’s thesis]. RMIT University. http://encoded.codetext.net/encoded-poetry.pdf

Laird, B. (2017). Core values [Digital literature]. https://poetry.codetext.net/core-values/

Mackellar, D. (2016). My Country [Poem]. Official Dorothea Mackellar website. https://www.dorotheamackellar.com.au/archive/mycountry.htm

Poetry beyond text. (n.d.). Digital Poetry. http://www.poetrybeyondtext.org/digital-poetry.html

Wright, D. T.H. (2019). From Twitterbots to VR: 10 of the best examples of digital literature. In The conversation. https://theconversation.com/from-twitterbots-to-vr-10-of-the-best-examples-of-digital-literature-110099

Victorian Curriculum and Assessment Authority. (2020). Victorian Curriculum: Foundation-10; English: Level 10. https://victoriancurriculum.vcaa.vic.edu.au/level10

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August 20

Digital Literature Review: Ascent from Akeron

Ascent from Akeron, is an interactive graphic novel, written by William Maher and illustrated by Gustavo Garcia. It uses animation, soundtrack and visual effects to create a story that engages readers of all ages. Maher (2019) creates a post-apocalyptic, sci-fi world for his characters to navigate. A dark world without history, future or literature of any kind. It follows the journey of Machai, a 17-year-old boy who uncovers more about the hidden nature of the world than he should.

Maher’s (2019) exploration through his characters, of what a world without literature or comic books would look like is a thought-provoking concept. Ascent from Akeron responds to the question, without comic book heroes do people still have hope, or do they need them to instigate a change? Maher’s background working on movies such as X-Men is evident in his portrayal of his teenage heroes. They are flawed, complicated and well-considered characters to engage with.

Maher (2019) originally made Ascent from Akeron as a trilogy, before a fourth was added after crowdfunding, all four episodes are available free online. The story has substance; the protagonists have a lot more ground they could cover; it is a story with a lot of potential. The Ascent from Akeron website (n.d.) suggests that Maher has the scripts written, though only time will tell if more episodes are released.

Interactive graphic novels, sometimes called motion comics, are varied in their inclusions. Ascent from Akeron utilises animation sparingly, though with huge impact. Animator, Danne Bakker enhances the landscape, creating an unnerving atmosphere. At the same time, film composer Mark Tschanz musical score adds to the general feeling of gloom and mystery. Story, imagery, animation and music come together within a dynamic page layout that uses parallax scrolling to allow a feeling of depth to the images, promoting the sense of immersion in a virtual experience. The reader controls their encounter by using a mouse or arrow keys to move forward or backwards in the story. This ‘mouseover’ effect described by Walsh (2013) in Literature in a Digital Environment is a distinctive feature of digital narratives.

An interactive graphic novel is defined as one that cannot be easily printed. Young (2019) defines digital literature as ‘work that can only exist in the space for which it was coded – the digital space’. In fact literature like Ascent from Akeron is changing the way stories are told. Hunt (as cited in Unsworth, 2006) suggests that electronic media is changing the nature of stories and what is understood to be narratives. For this work to shine, it needs to be viewed on a digital platform. The aesthetics of it are embedded in the computation. The immersion in the landscape would vanish.

In the classroom, teachers could use Ascent from Akeron as a comparative piece, detailing and highlighting the differences between it and a standard graphic novel (Unsworth, 2006). For example, the graphic novel Maus (2003) is currently on many school booklists. Comparing Ascent to Akeron to Maus would allow teachers and students to see just how far graphic novels and comics have come and to discuss their potential growth in the future.

The added beauty of Ascent to Akeron is its ability to be followed by students with a processing difficulty. A student with a reading disorder can have difficulties decoding a story and understanding written words (Victorian State Government, 2020). As the reader has control of the pace of the book, they have time to process what they are seeing before being exposed to the next frame. In a standard comic book, a reader is subjected to multiple panels and frames which can lead to confusion.

Ascent from Akeron supports several literacy links to the Victorian Curriculum English strand including VCELA458 comparing structure and language in different media, and VCELT461 analyse and explain how text structures are influenced (Victorian Curriculum and Assessment Authority [VCAA], 2020). It has numerous possibilities including, improving students’ digital, visual and multimodal literacy, as well as cross-curricular links to Media, Design and Technology and Digital Technologies subjects.

Ascent from Akeron sparks the imagination of the reader. For those looking for an eBook version of a graphic novel and stumbling on this instead, will find themselves captivated by the unexpected cinematic qualities of it. For the teen reader used to an interactive gaming environment, this may just be the book to begin to build an interest in reading. Yet the well-written story itself is enough to capture the imagination of those that love a well-composed character and narrative.

References

Ascent from Akeron. (n.d.). Ascent from Akeron. https://ascentfromakeron.com/

Maher, W. (Author), & Garcia, G. (Illustrator). (2019). Ascent from Akeron [Interactive graphic novel]. https://www.ascentfromakeron.com/

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).  https://doms.csu.edu.au/csu/file/863c5c8d-9f3f-439f-a7e3-2c2c67ddbfa8/1/ALiteratureCompanionforTeachers.pdf

Victorian Curriculum and Assessment Authority. (2020). Victorian Curriculum: Foundation-10; English: Level 10. https://victoriancurriculum.vcaa.vic.edu.au/level10

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July 25

Beginning INF533 Digital Literature

When considering my options for an elective while undertaking my masters, I stopped to think about what would be useful in my chosen career and what I would enjoy. INF533 Literature in digital environments fulfils the criteria for both considerations. We are all continuing to embrace the digital world, and while I will always have a soft spot in my heart for print literature; the smell, the texture and the turning of a page. I tend to choose digital literature three out of four times when looking for a new book to read for myself as well as ensuring there is a digital version available when considering book listed items.

 

As a teacher librarian (TL) in a secondary school, I deal with digital literature daily. To clarify not eBooks which we currently don’t have, but interactive digital textbooks. Our students tend to purchase both print and digital versions of their textbooks. They interchange their use depending on their circumstances. When studying, they prefer print, for research, they prefer interactive digital texts.

We currently do not utilise eBooks at our school; the current consensus with management is that it is a minefield to be waited out. Before Covid-19, I put a proposal in to change this thinking without positive resolution. After the pandemic caused so much disruption, I was left feeling I should have pushed harder. What I did achieve during this time, was to link up with the local public library’s online platform Borrowbox that loans both eBooks and audiobooks to our students.

With Covid-19 and remote learning, there was a need to embrace new technologies. Online digital literature went straight to the front of the line. As a TL working remotely, I was able to assist teachers in finding relevant materials they could use to facilitate their students learning. Including online eBooks with multimodal features that included web links, image s and embedded media and nonlinear, interactive, nonfiction texts that utilise hypertexts to navigate.

Lamb (2011, p.14) suggests that students today want to do more than merely read about their subjects, they want to be immersed in it, “information they can see and hear”. When I started reading module one for INF533, I felt vindicated, what Lamb was suggesting was what I believed, what I want to see more of in my school.

I think the one thing I need to be conscious of is ensuring my students know how to navigate digital environments. I wrote about this on my blog here, while undertaking ETL401.  FitzGerald (2016) discusses the need for the 21st-century learner to be fluent with digital literacy and be critical thinkers. Today’s students might be exposed to the digital world from an early age, but that doesn’t mean they have the skills to navigate it. Leu, Forzani, Timbrell & Maykel (2015) suggest that the online environment is a forest filled with new literacy ‘trees’ and it is up to teachers to ensure the right trees are chosen so that our students are prepared for their futures.

I’m looking forward to learning the skills I need to identify the best trees for my students.

 

References

Fitzgerald, L. (2016). Does Guided Inquiry Enhance Learning and Metacognition? Synergy, 14(1). Retrieved from https://search-informit-com-au.ezproxy.csu.edu.au/fullText;dn=216728;res=AEIPT

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

Leu, D. J., Forzani, E., Timbrell, N. & Maykel, C. (2015). Seeing the forest, not the trees: Essential technologies for literacy in the primary-grade and upper elementary-grade classroom. The Reading Teacher, 69(2), 139-145. https://doi-org.ezproxy.csu.edu.au/10.1002/trtr.1406

Australia, Cambridge University Press Education. [Cambridge University Press Education Australia]. (2019, October 10). Cambridge Science for the Victorian Curriculum [Video]. YouTube. https://www.youtube.com/watch?time_continue=62&v=1V0tosONC2E&feature=emb_logo

Category: INF533 | 1 Comment on Beginning INF533 Digital Literature
March 15

Covid-19 impacts Uni

Well, it’s been a while since I posted here. Life has been crazy.  It’s now week 3 of semester one in 2020 and while I had originally planned to do only one unit this semester – ETL507 which is the professional practice unit I have recently decided to do a second – ETL505. This was for a few reasons, mostly as a reaction to the Covid-19 virus. ETL507 requires us to undertake both placement and study visits with the visits due to be held in Melbourne in May. Due to the virus, the Uni has decided to cancel them. I was given two choices, cancel enrolment for semester one and enrol in semester three or continue enrolment and have my visits conducted virtually. My current thought is to stay enrolled (I can change my mind up until the end of March).

Image result for Melbourne state library

I’m not sure how the virtual tours will be held, the Uni is still figuring out the details. What I did decide to do was enrol in ETL505 in case I have to cancel 507. I didn’t want to ‘not’ study this semester and to be honest the workload of 505 is pretty low. You prep for the visits, then write a report afterwards and in semester two you do the same with placement. Goodness knows if anyone will actually take us for placement this year though.

Taking on 505 at the start of week three may be a challenge though, I’ve got a LOT of reading to catch up on and get my head around. Metadata, not a word I’ve heard a lot of. Though apparently, I will be using it quite a bit through this unit. ETL 505 is Describing and analysing educational resources. As this is our acquisition officer’s job I may be having a few extended chats to him about our cataloguing system.

On top of this transition I’ve ended a relationship and moved house and my son is now in year 10. We are looking at going into social isolation due to the virus soon and if not I think we’ll be practicing over the upcoming school holidays. So if nothing else I should get some Uni work done. There is always a plus side, that’s if I have enough toilet paper…Image result for toilet paper shortage australia meme

Category: INF533 | LEAVE A COMMENT
October 3

ETL504 Reflection

Challenging, confronting, though provoking, demanding, all words that sum up my feelings while undertaking ETL504. Reflecting on this unit, I can say I am surprised I survived. Often I shook my head and questioned my reasons for studying at all. As the unit draws to a close, I am proud of myself, I persevered in the face of adversity. If I can do this, I can be a Teacher Librarian (TL), I can be a leader. It turns out the questionnaire for Module 3 on conflict resolution was incorrect – I’m not an avoider after all, though I did consider this to be the case in my blog post at that time, Think and Reflect Module 3. (Taylor, 2019, August 4).

ETL504 saw the creation of study groups, I was placed in group 1. This group consisted of five very dedicated TLs in training. I call myself fortunate to be placed in such a proactive and supportive group. McNee and Radmer (2017) suggest it is through collaboration with the teacher librarian that provides deeper learning. From my experience with this group, it certainly does. This was evidenced when reading groups members’ thoughts. In case study 5 (Group 1, 2019) Gillian suggested an alternate idea to my own. I was able to mesh the two ideas together to form a solid understanding of the issue.

Each week we would give our initial thoughts to the scenario and leave feedback on others. We had no designated leader, in fact everyone stepped up seamlessly as if by plan. This to me seemed to highlight Gottlieb’s (2012) Leading from the middle. We brought out the best in each and we helped each other step into our own potential (Gottlieb, 2012). Each of us was both a leader and a follower, it was an ideal way to work.

The content of the scenarios itself seemed to come straight from my reality. With similar situations arsing at my school, though I never had to deal with them as directly as in the scenario. I mention the role my boss—the Head of Information Services—holds in my first blog post for this unit in My current understanding of leadership for a TL (Taylor, 2019, July 11), it scared me then, now? I am really in awe of what she does every day. She collaborates with other teachers daily and manages a team of ten, yet she helps us all develop our best practice. This to me demonstrates she’s using an instructional leadership style. As Green (2011) suggests this style of leadership sees the TL provide connected learning role and nurtures relationships.

Case Study 4 (Group1, 2019a) for me was the most engaging and relevant. Our group discussed the importance of having shared vision, which prior to this I only saw as necessary so we progressed to the same place. Now I realise that having shared vision enables the team to share skills and develop them amongst the team. As Karlene Irving (2019) mentions in her blog post Online Collaborations: Navigating the Way Part 2! A shared collegial vision leads to the teams’ capacity to build knowledge.

So key takeaways for me?

  • Do not be scared – I can do anything I set my mind too.
  • Research and research some more, a good leader knows the job.
  • Surround yourself with positive likeminded individuals – you encourage each other.

 

 

References

Group 1. (2019, September 20). Thread: group 1 Stephanie Baker, Gillian Cornwell, Karlene Irving, Jannet Taylor, Kerrie-Anne Watt [Online discussion comment]. Retrieved from Charles Sturt University website:  https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_42385_1&nav=discussion_board_entry&conf_id=_78888_1&forum_id=_164188_1&message_id=_2499607_1

Group 1. (2019a, September 6). Group 1 [Online discussion comment]. Retrieved from Charles Sturt University website: https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_42385_1&nav=discussion_board_entry&conf_id=_78888_1&forum_id=_164189_1&message_id=_2467906_1

Gottlieb, H. (2012). Leading from the middle: bringing out the best in everyone [Blog post]. Retrieved from https://creatingthefuture.org/leading-from-the-middle-bringing-out-the-best-in-everyone/

Green, G. (2011). Learning leadership through the school library. Access, 25(4), 22-26. Retrieved from https://search-proquest-com.ezproxy.csu.edu.au/docview/911088452?accountid=10344

Irving, K. (2019, September 18). Online Collaborations: Part 2! [Blog post]. Retrieved from http://thinkspace.csu.edu.au/karleneirving/2019/09/18/online-collaborations-navigating-the-way-part-2/

McNee, D. & Radmer, E. (2017). Librarians and learning: The impact of collaboration. English Leadership Quarterly, 40 (1), 6-9. Retrieved from https://search-proquest-com.ezproxy.csu.edu.au/docview/1929035671/fulltextPDF/5BAF868D2A304220PQ/1?accountid=10344

Category: ETL504, INF533 | LEAVE A COMMENT