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INF533 Assessment Item 4. Part C: Critical Reflection

I began this subject by acknowledging that I have not made the most of the digital environment as a teacher (Doherty, 2020, July 26) but also recognised that ‘there is no question we, as educators, need to be upskilling students in the new types of literacy needed to keep up with technology (Sadokierski, 2013 in Doherty, 2020, July 26). Throughout this subject, these views have been highlighted but I have also grown in confidence with how I may personally incorporate digital literature in lessons.

I was first introduced to the debate surrounding what qualifies as digital literature (Lamb, 2011 and Sadokierski, 2013 in Doherty, 2020, July 26). Groth (2018) and Walsh (2013) both point out that it is a complex issue with so many variations available, there is no one form, genre or means of navigating. Digitized texts and digital texts (Bouchardon, 2019; Bouchardon & Heckman, 2012) seem to be the two broad classifications while Strickland (2009) says digitized versions of print works don’t qualify, if you can print it out it is not digital literature (Doherty, 2020, Aug 23). I said at the time that merit can be seen in this definition, especially in considering awards eligibility, however the digitised text or e-book has a valuable role to play. Benefits of the e-book over the print version are no physical storage space being required and accessibility for students in diverse locations (Flevigei and Matthew, 2012), as well as the ability to link teaching and learning programs straight to the book, ability to zoom in on certain elements to focus students’ attention and, depending on the device used to access, the ability to write on the screen to highlight teaching points (Doherty, 2020, Aug 22a).

It was nice to see the literature backing up my experience in the school setting, where access to technology can be a major barrier to accessing digital literature. O’Connell et al. (2015) found that access to mobile devices in primary schools was very limited, access to reliable wireless networks negligible and the authenticating and log on process beyond the skill level of most students. It is a very real problem and many times I have experienced, or been told of, having all the best intentions, and planning lessons around digital technology, only to have the technology fail and the lesson be aborted. Additionally, with only one hour for a library lesson, even if all students know how to, the time taken for all students to ‘log on’ can be prohibitive.

From doing the reviews for assessment item 2, I concluded that web based options were the best in a school setting. They are available on all school devices allowing whole class, small group or individual viewing. In a system where minimal budgets, purchase request forms and system administrators who control downloads, the need to download an app can prove too difficult (O’Connell et al., 2015 in Doherty, 2020, Aug 22 a, b).

Despite these difficulties I have been convinced that it is worth persevering with incorporating digital literature into the classroom. Using digital texts in the school setting aims to close the gap between how students learn and how they live. It can motivate students, support specialised learning needs and meet curriculum requirements related to reading multimodal texts and digital literacies (Bjorgen, 2010; Ciampa, 2012; O’Connell et al., 2015; Reid, 2013; Tackvic, 2012; Microsoft, 2010).  Furthermore, Felvegi and Matthew (2012) argue that digital texts reduce expenses because they cost less to produce and store, and they are portable and accessible so students can read and study in diverse locations at any time. Never has this been more pertinent than during the current COVID-19 induced home learning situation across the globe (Doherty, 2020, Aug 23).

Print is still my personal reading preference, as it was prior to this subject (Doherty, 2020, Aug 23). I have not found the digital literature experience transformative in that regard. I have, however, been totally convinced of the need to include it in the classroom. To not would be doing a disservice to our students who will need the knowledge and skills it can provide to operate in the real world, of now and the future. I have found the process of creating digital literature enjoyable and all the aforementioned benefits for students regarding digital literature are enhanced when they become creators of it, as discussed in Part A. Creating digital stories provides an authentic way to practice and assess library skills like effective search skills, primary vs secondary sources, evaluating sources, copyright and referencing while also meeting outcomes of other key learning areas. Thanks to INF533 I feel a lot more confident in including digital literature, and in particular digital storytelling, into my lessons. I look forward to seeing the impact of this change in pedagogy on student engagement and motivation, and ultimately, learning outcomes.

References

Bjorgen, A. M. (2010). Boundary crossing and learning identities – digital storytelling in primary schools. Seminar.net, 6(2), 161-175.

Bouchardon, S. (2019). Mind the gap! 10 gaps for digital literature? Electronic Book Review. https://doi.org/10.7273/j3w2-h969

Bouchardon, S. & Heckman, D. (2012). Digital manipulability and digital literature. Electronic Book Review. https://electronicbookreview.com/essay/digital-manipulability-and-digital-literature/

Ciampa, K. (2012). Electronic storybooks: a constructivist approach to improving reading motivation in Grade 1 students. Canadian Journal of Education 35(4), 92-136.

Doherty, H. (2020, July 26). Literature in digital environments: Assessment item 1. Learning to Library. https://thinkspace.csu.edu.au/learningtolibrary/2020/07/26/literature-in-digital-environments-assessment-item-1/

Doherty, H. (2020, August 22a). INF533 Assessment item 2, part A, review 1. Learning to Library. https://thinkspace.csu.edu.au/learningtolibrary/2020/08/22/inf533-assessment-item-2-part-a-review-1/

Doherty, H. (2020, August 22b). INF533 Assessment item 2, part A, review 2. Learning to Library. https://thinkspace.csu.edu.au/learningtolibrary/2020/08/22/inf533-assessment-item-2-part-a-review-2/

Doherty, H. (2020, August 23). INF533 Assessment item 2, part B. Learning to Library. https://thinkspace.csu.edu.au/learningtolibrary/2020/08/23/inf533-assessment-item-2-part-b/

Flevegi, E. & Matthew, K.I. (2012). EBooks and literacy in K-12 schools. Computers in the Schools, 29(1-2), 40-52. https://doi.org/10.1080/07380569.2012.651421

Groth, S. (2018, May 20). Still defining digital literature. The Writing Platform. http://thewritingplatform.com/2018/05/still-defining-digital-literature/

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

Microsoft. (2010). Tell a story, become a lifelong learner. Microsoft.

O’Connell, J., Bales, J. & Mitchel, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal. http://dx.doi.org/10.1080/00049670.2015.1048043

Reid, K. (2013). Creating E-books in the classroom. In J. Bales (Ed.), E-books in learning: A beginners Guide (pp. 37-43). Australian School Library Association.

Sadokierski, Z. (2013, November 12). What is a book in the digital age? The Conversation. http://theconversation.com/what-is-a-book-in-the-digital-age-19071

Strickland, S. (2009, Feb 13). Born digital. Poetry Foundation. https://www.poetryfoundation.org/articles/69224/born-digital

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativity. The Educational Forum, 76(4), 426-429. https://doi.org/10.1080/00131725.2012.707562

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 (PETTA).

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INF533 Assessment Item 4. Part A: Context for digital story telling project

The digital story (DS) in Part B is aimed at stage two students. It provides an opportunity for students to meet the outcomes, develop the skills and understand the concepts within the First Contacts content area of the history curriculum. Additionally, there are many opportunities to demonstrate learning in English, inquiry skills and the ICT general capabilities. The DS provides insight into the experience of a convict transported to Australia in the First Fleet, Susannah Holmes/Kable, through an historical journal from her point of view. The DS is intended to be used as a hook and model for an assessment for learning task in which students create their own digital stories from the point of view of their chosen early settler.

In library lessons, stage two have been learning about primary and secondary sources. The DS incorporates a number of primary sources and students are encouraged to explore primary sources as they complete their DS also. Fulher (2010) explains that using primary sources brings history to life for students, ‘like peering over the shoulder of history as it happens’ (p.36). It encourages them to make their own interpretations, connections and meaning, leading to deeper understanding (Fulher, 2010; Tech4Learning, n.d.). The DS project provides an authentic way for students to demonstrate their understanding of primary/secondary sources alongside the history content. In addition, because they are consuming media in the process of researching and creating their DS, students are presented with an ‘authentic opportunity to practice essential literacy skills in reading, writing, speaking and listening’ (Tech4Learning, n.d.).

While the General ICT Capabilities are intended to be imbedded throughout the curriculum, often the teaching/learning of them is left to the library. The DS project assists students to develop and demonstrate the General ICT Capabilities (Reid, 2013). It pushes students to be creators, rather than just consumers and invites discussion and teaching/learning around responsible content creation and sharing, again linking to stage two’s library lessons, this time on copyright.

Furthermore, studies have shown that off task behaviour is reduced, and motivation increases, with the use of digital tools (Ciampa, 2012; Microsoft, 2010). With lack of student motivation being high on our teachers’ gripe list, this alone justifies a DS project being implemented. It seems that being able to share their DSs with parents, grandparents and the wider world sees students more engaged and placing higher value on their work than something that will only be seen by the teacher (Reid, 2013). With so many young people engaging with digital technology at home, activities such as this are familiar to them and seen as more meaningful to their lives (Bjorgen, 2010; Tackvic, 2012). It is hoped that by using the personal connection in this DS, students may be further engaged and inspired to make their own personal investigations, whether that be now or in the future and ignite curiosity and lifelong learning.

Of course troublesome students aren’t the only ones to benefit from DSs. Using and creating DSs increases accessibility for all such as those with vision difficulties accessing ‘read aloud’ technology or increasing the font on screens. Audio of the Diary in the DS is included for those with reading difficulties and using voice recordings for their own DS, particularly those who find writing difficult, is encouraged.

The web based software Google Sites was chosen for its easy accessibility for both author and reader. It is totally free and sites are easily shared with anyone who has internet access and a device while also allowing some control over who can view and edit. Google users will find a familiarity that appeals and makes it very accessible and intuitive. It is expected that students will experience this, given that Google Classroom is already in use at the school which it integrates well with. Google Drive features like Maps, YouTube, Calendars and Docs as well as text, images, hyperlinks and embedded web content are all easily included. Google Sites automatically adjusts to various device sizes. This is a huge benefit when access to devices can be difficult and some students may be working on desktop computers, while others are on tablets. The collaborative aspect of Google sites is a real feature when it comes to students creating their DS, with multiple users able to work on the same site at the same time. Students are asked to add a page to the site, collecting all work samples in one place for easy access and marking by the teacher.

References

Bjorgen, A. M. (2010). Boundary crossing and learning identities – digital storytelling in primary schools. Seminar.net, 6(2), 161-175.

Ciampa, K. (2012). Electronic storybooks: a constructivist approach to improving reading motivation in Grade 1 students. Canadian Journal of Education 35(4), 92-136.

Fuhler, C. J. (2010). Using primary-source documents and digital storytelling as a catalyst for writing historical fiction in the fourth grade. In B. Moss, & D. Lapp (Eds.), Teaching new literacies in grades 4-6: Resources for 21st-century classrooms (pp. 136-150). Guilford Press.

Microsoft. (2010). Tell a story, become a lifelong learner. Microsoft.

Reid, K. (2013). Creating E-books in the classroom. In J. Bales (Ed.), E-books in learning: A beginners Guide (pp. 37-43). Australian School Library Association.

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativity. The Educational Forum, 76(4), 426-429. https://doi.org/10.1080/00131725.2012.707562

Tech4Learning, (n.d.). Get started with digital storytelling in the classroom. Tech4Learning. https://www.tech4learning.com/kits/digital-storytelling

 

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INF533 Assessment Item 2, Part B

Critical Reflection of Digital Literature Experiences

What is a digital text? Groth (2018) and Walsh (2013) both point out that it is a complex issue with so many variations available, there is no one form, genre or means of navigating. To begin with, it must contain the elements of good literature in the traditional sense, an authentic setting, characters the reader can empathise with, evocation of emotions or imagination and language and structure that suits both the age of the reader and the purpose of the author (Walsh, 2013). Many make the distinction between digitized texts, those originally designed for print (e-books and enhanced e-books), and digital texts, those created by and for the digital medium (story apps, transmedia and hypertexts) (Bouchardon, 2019; Bouchardon & Heckman, 2012). Strickland (2009) says it must rely on code for its creation, preservation and display. He says digitized versions of print works don’t qualify, a computer is necessary, and if you can print it out it is not digital literature. Merit can be seen in this definition, especially in considering awards eligibility, however the digitised text or e-book has a valuable role to play.

So a digital text may be either digitized or digital, but what makes a good one? As stated above, it must first meet the criteria of quality literature. Then specific digital criteria can also be applied. First and foremost in most checklists is that any digital features strongly enhance the story (Haines, 2016; Lamb, 2011; Kluver in Kucirkova, 2018). Audio, graphics, motion and interactive elements all need to be of high quality and integral to the story. They should support struggling readers, cue readers to important events, contribute to the mood, clarify difficult concepts and promote comprehension. Elements that do not can actually distract from the story and impede comprehension (Haines, 2016; Lamb, 2011). Consideration must also be given to the overall feel; seamless integration of enhancements, technical polish, ease of use and navigation and advertisement free reading (Haines, 2016).

So, what purpose do these digital texts serve? In a school library, collection development focuses on texts for teaching literacy skills, supporting curriculum programs and personal reading (O’Connell et al., 2015). In order for a digital text to be considered, it must also meet one or more of these needs. Additionally, using digital texts in the school setting aims to close the gap between how students learn and how they live, can motivate students and support specialised learning needs and meet curriculum requirements related to reading multimodal texts and digital literacies (O’Connell et al., 2015).  Furthermore, Felvegi and Matthew (2012) argue that digital texts reduce expenses because they cost less to produce and store, and they are portable and accessible so students can read and study in diverse locations at any time. Never has this been more pertinent than during the current COVID-19 induced home learning situation across the globe.

Digital texts certainly come with their challenges also. Yes, in theory they may be available to all, in all locations but in reality they are available to those who can afford and who have access to a device, power and a reliable internet connection. There is also the issue of rapid advancements in technology leading to the technology needed to access a digital text becoming outdated or obsolete (Boluk et al., 2016). Is the work then gone for good? Print definitely wins out over these two challenges and I must say that print is still my personal preference. While completing an online university degree, I still prefer to print out papers and highlight and take notes the old fashioned way. And when reading for pleasure, I have never considered looking for a digital text. Even when travelling when I know I could fit thousands of digital texts into the same space as my physical one. It is a personal preference, partly habit, partly the desire to get away from the screen that now dictates so much of our lives for a little while. In saying that, I absolutely see the need for students to engage with digital literature and try to incorporate it into my teaching and learning programs. As a teacher I have used e-books and enhanced e-books such as those reviewed in Part A in the classroom. I am yet to use a story app such as Nurot. This is very much due to the issues O’Connell et al. (2015) describe around access to multiple devices, managing the app on multiple devices and reliable wireless connection. In a school setting, particularly a primary school where bring your own device (BYOD) is rare, the paperwork to complete, and the personnel required, to download a $2.69 app can be tiresome and prohibitive. In saying this, I believe this text has a lot to offer and may be worth the effort. The New South Wales Education Standards authority (NESA) states that,

“Through the study of English students learn about the power, value and art of the English language for communication, learning and enjoyment… They learn about language and literature through working with a wide range of print, spoken, visual, media, multimedia and digital texts.”

Nurot is the perfect text to work toward these aims. The story itself is about communication. It can also be used as a text for comprehension and reading response activities, incorporating print, media, multimedia and digital elements. It would suit use in a small group, guided situation where students each has access to a device with the app downloaded. This would be the most practical given the barriers identified by O’Connell et al. (2015) but also would align with Hoffman and Paciga’s (2013) view that technology should not replace adult-child interactions. Rather it should be seen as a new form and context that requires just this, shared interactions between adults and children that promote rich learning of new literacies.  Furthermore Nurot could be used as a model text for students creating their own digital texts, illustrating the effect that images, text, music, sound effects and hotspot interaction have on the reader. It could also be used in Personal Development/Health lessons dealing with communication, emotions and relationships.

References

Boluk, S., Flores, L., Garbe, J. & Salter, A. (Eds.). (2016, Feb). The electronic literature collection: Volume 3. https://collection.eliterature.org/3/about.html

Bouchardon, S. (2019). Mind the gap! 10 gaps for digital literature? Electronic Book Review. https://doi.org/10.7273/j3w2-h969

Bouchardon, S. & Heckman, D. (2012). Digital manipulability and digital literature. Electronic Book Review. https://electronicbookreview.com/essay/digital-manipulability-and-digital-literature/

Chiquimedia. (2017). Nurot (Version 1.1.1) [mobile app]. Google Play Store. https://play.google.com/store/apps/details?id=org.chiquimedia.apps.nurot&hl=en_AU

Flevegi, E. & Matthew, K.I. (2012). eBooks and literacy in K-12 schools. Computers in the Schools, 29(1-2), 40-52. https://doi.org/10.1080/07380569.2012.651421

Groth, S. (2018, May 20). Still defining digital literature. The Writing Platform. http://thewritingplatform.com/2018/05/still-defining-digital-literature/

Haines, C. (2016). Evaluating apps and new media for young children: A rubric. Never Sushed. https://nevershushed.files.wordpress.com/2016/09/2016evaluatingappsandnewmediaforyoungchildrenarubric.pdf

Hoffman, J. L. & Paciga, K. A. (2013). Click, swipe, and read: Sharing e-Books with toddlers and pre-schoolers. Early Childhood Education Journal, 41(6), 401-484.  https://doi.org/10.1007/s10643-013-0622-5

Kucirkova, N. (2018). How and why to read and create children’s digital books: A guide for primary practitioners. UCL Press. https://doi.org/10.14324/111.9781787353473

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

New South Wales Education Standards Authority. (n.d.). English in kindergarten to year 10. https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/english-year-10

O’Connell, J., Bales, J. & Mitchel, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal. http://dx.doi.org/10.1080/00049670.2015.1048043

Strickland, S. (2009, Feb 13). Born digital. Poetry Foundation. https://www.poetryfoundation.org/articles/69224/born-digital

Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers (pp. 181 – 194). Primary English Teaching Association Australia (PETTA).

 

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INF533 Assessment Item 2, Part A, Review 3

Interactive Book: Nurot

Nurot is an interactive story app, developed in Spain by chiquimedia. It is a tale of communication that follows a mute boy, Nurot, who had been happy to go unseen… until now. Nurot constructs a devious plan to gain revenge on those who can speak but along the way discovers that communication is essential, with words and without.

Aimed at primary aged children, the app is available for both iOS and Android operating systems and compatible with all sizes of smartphones and tablets. The demo mode is free to download but to access the entire story, an in app purchase must be made. It is very reasonable, under $3, and protected by ‘parental controls’. On closer inspection, these parental controls are a double digit addition problem that many primary aged students would be able to complete, so care should be taken. This is, thankfully, the only in app purchase available so once the full version is downloaded, it is safe to hand over to the little ones (Kurcirkova, 2018). The need to download an app, as opposed to a web based product, can be difficult in the school setting where multiple purchases need to be made and individual devices managed (O’Connell et al., 2015).

Essentially this is a 24 page picture book, with a strong emphasis on the visual. Much of the tale is told through the charming illustrations. Text is optional in the app, able to be turned on or off, making this an ideal resource for teaching visual literacy. The illustrations are enhanced with animations and hotspot activities where readers are invited to join the story by collecting odds and ends for Nurot and loading them into his wagon, or helping him build his evil contraption, for example. Interacting with the story in this way builds further empathy for the central character than the illustrations would alone. Through hotspot technology, the reader is made to feel like an accomplice in Nurot’s exploits and thus feels more deeply his horror when things don’t go to plan and joy when they do. Each page has optional visual help so no hotspots are missed. Having this turned on helps reading stay focused. Once turned off, the ‘hunting’ for the hotspots can become too distracting from the story.

The sound effects and original soundtrack of Nurot also contribute greatly to the overall experience, further building mood and encouraging the reader’s empathy. Like the text, sound is optional, easily turned on or off. While this caters for personal preference, it also provides a valuable teaching point about creating mood and how music can contribute.

If turned on, the text that accompanies the illustrations is minimal and engaging. It is available in nine languages, English, Spanish, French, Italian, German, Portuguese, Chinese, Japanese and Catalan. However, the text knows only one font and an opportunity may have been missed to include a ‘read to me’ function, with words highlighted as they are read. Conversely, given the strong visual focus and the mood evoked by the soundtrack, this may actually have been the most complementary option.

The app makes further use of the digital platform by including games to continue the experience. Memory (card with characters faces to turn over), a sequencing puzzle (pictures from the story to be put in order), emotions matching (faces showing emotions to be matched with the correct word) and guess the scene (close up of section of illustration to match to correct illustration). Each of these games, while fun, also add extra teaching points to the book. Given the strong emotions and mood created in Nurot, the emotions game is particularly worth pursuing.

This app is incredibly intuitive and user friendly. Each ‘page’ takes up the entire screen and navigation through the pages is with a simple arrow touch for each direction. A menu at the bottom of the screen can be activated, giving options for home, index, games and settings from any page.

Nurot is an evocative tale with a strong and important message for children of this age bracket (and beyond). It has been tenderly packaged into an enchanting app that uses a strong visual, music, sound effects, animations, hotspot technology and games to get that message across.

References

Chiquimedia. (2017). Nurot (Version 1.1.1) [mobile app]. Google Play Store. https://play.google.com/store/apps/details?id=org.chiquimedia.apps.nurot&hl=en_AU

Kucirkova, N. (2018). How and why to read and create children’s digital books: A guide for primary practitioners. UCL Press. https://doi.org/10.14324/111.9781787353473

O’Connell, J., Bales, J. & Mitchel, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal. http://dx.doi.org/10.1080/00049670.2015.1048043

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INF533 Assessment Item 2, Part A, Review 2

Enhanced Book: The Library Lion

The Library Lion is a touching tale about following the rules, and when the rules may need to be broken. It is an excellent choice for any classroom setting wishing to include lessons of this nature but particularly in the library. The illustrations illuminate the soft, comforting, safe space the library is, even when a lion has taken up residence. The Library Lion is a favourite in the library at the start of each year when setting routines and loved by all grades, K-6.

This version of The Library Lion, read by Mindy Stirling on storylineonline.com, is an enhanced version of the original print picture book. It is a video recording of Stirling reading the book aloud. The visual switches between Stirling holding the print version as she reads to us and close up shots of the images from the book. The read aloud is accompanied by background music and sound effects while the camera pans around the images, zooms in and some animation of the original illustrations has been included.

Stirling’s reading is certainly an asset to the story. She is clear and expressive, with engaging voices for the various characters, and guides us through the story at a comfortable pace. Hoffman and Paciga (2013) caution against e-books where the pace is not controlled by the reader, believing it can distract from meaningful conversations between adults and children during shared reading opportunities. However, the option to pause the book at any time is always there.  Additionally, Lamb (2011, p.14) believes leaving the control up to children can be of detriment citing a study by Trushell, Burrell and Maitland (2001) that found even though e-books may have arrows encouraging children to move forward through the story, many choose to go backward or in a non-linear way, adversely affecting their comprehension of the story. Stirling’s reading is a brilliant example of fluency and expression, enhancing rather than detracting from comprehension, and this could easily be picked up as a teaching point from this story.

While this enhanced book does not show the text from the original print book, closed captions may be turned on or off. They are available in six languages, English, Spanish, Russian, Romanian, Chinese and Korean, and the font, text and background colour of the text box may all be altered. If a student is able to read in a home language other than English, these closed captions may be of benefit and there may also be possible benefits for students with learning difficulties, in making changes to the appearance of the closed caption text (Haines, 2016). It even opens possibilities for the enhanced book to have the volume off, and closed captions on only, opening up the audience of the book beyond the early years, perhaps for high school language learners.  If wanting the text to be displayed due to a focus in teaching and learning the closed captions work well, however, the story is enjoyable and well told through the audio and visual so as to not make them critical.

A huge benefit of The Library Lion is that it is a web based product that is completely free to anyone with internet connection and a device. It works on all devices and does not require any purchase or log on to access. In the classroom setting this is a huge advantage where minimal budgets, purchase request forms, system administrators who control downloads and never ending passwords can be prohibitive (O’Connell et al., 2015). The Library Lion can be used for whole class reading via a smartboard or other projector, with small groups using a desk top or iPad, or even for individual students to listen to with headphones. Discussions and/or reading response activities about the themes or the literary devices used in the book may follow. The Library Lion also includes a hyperlink to a PDF Teachers’ Guide and the link to the enhanced book itself is easily shared to assist collaboration and for easy inclusion in teaching and learning program documents.

This enhanced book would certainly be classified as a ‘considerate e-book’ as all effects added are congruent with and integral to the story (Hoffman & Paciga, 2013). Animations are minimal but enchanting, the read aloud pleasing to listen to and the visuals show us both the original work and then zoom and pan to highlight the quality illustrations. A truly beautiful book for K-6 students and beyond.

References

Haines, C. (2016). Evaluating apps and new media for young children: A rubric. Never Sushed. https://nevershushed.files.wordpress.com/2016/09/2016evaluatingappsandnewmediaforyoungchildrenarubric.pdf

Hoffman, J. L. & Paciga, K. A. (2013). Click, swipe, and read: Sharing e-Books with toddlers and pre-schoolers. Early Childhood Education Journal, 41(6), 401-484.  https://doi.org/10.1007/s10643-013-0622-5

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

O’Connell, J., Bales, J. & Mitchel, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal. http://dx.doi.org/10.1080/00049670.2015.1048043

Westervelt, C. (Director). (n.d.). Library Lion . Storyline Online. https://www.storylineonline.net/books/library-lion/

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INF533 Assessment Item 2, Part A, Review 1

E-Book: Ada Twist, Scientist

Ada Twist, Scientist by Andrea Beaty and David Roberts was originally published in print as a 32 page picture book. The story follows in the footsteps of its predecessors, Rosie Revere, Engineer and Iggy Peck, Architect in celebrating curious children developing growth mindsets through STEM (science, technology, engineering and mathematics). Ada Twist also introduces a main character of colour with plenty of girl power, all in a delightfully rhythmic, rhyming story.

This version of Ada Twist, accessed from the Wheelers ePlatform library, but available to purchase from various online stores also, clearly fits the definition of an e-book. It is a static, digitized version of the picture book originally conceived for print (Bouchardon, 2019; Bouchardon & Heckman, 2012; Lamb, 2011; Sargeant, 2015; Serafini et al., 2015). It is presented in EPUB format, making it easily accessible on any device with browser access. This opens up multiple opportunities in the school setting, allowing the book to be read to a whole class via an interactive whiteboard, common in most primary classrooms (O’Connell et al., 2015), or similar projector connected to a computer. It can also be read by smaller groups or individually on an iPad, or other tablet, laptop or desktop computer. It can even be accessed on a smartphone, however given the young age group for which the book is intended, this is an unlikely option for the classroom. O’Connell et al. (2015) found that access to mobile devices in primary schools was very limited, access to reliable wireless networks negligible and the authenticating and log on process beyond the skill level of most students. Thus, being able to access this e-book on the interactive whiteboard is a huge benefit for primary school use. The Wheelers ePlatform does integrate with the school library system well, meaning that while students are required to log on, they do not need an extra password to access.

This e-book retains many of the skeuomorphic elements of the original; virtual pages and page turning, double page spreads, front and back covers, end papers and publishing information are all present (Sargeant, 2015). It is a fixed format book that has limited setting changes available in the digital environment. The background colour (behind the ‘book’) can be changed, there is a ‘night reading’ function, zoom is available and digital bookmarks can be added, all benefits of e-books identified by Lamb (2011). Given the very limited additions from the print format, this e-book can be used in very much the same way the print book would be in literacy instruction. Flevigei and Matthew (2012) point out the benefits of the e-book over the print version as no physical storage space being required and accessibility for students in diverse locations. Other benefits include the ability to link teaching and learning programs straight to the book, ability to zoom in on certain elements to focus students’ attention and, depending on the device used to access, the ability to write on the screen to highlight teaching points. Indeed, the only benefit of the print version here would be not having to depend on reliable technology for the lesson (O’Connell et al., 2015).

Given Ada Twist’s grounding in STEM, it does seem that an opportunity may have been missed in limiting the digital version to an e-book, rather than an enhanced or interactive book. Sound effects and animations to accompany Ada’s experiments could be exciting and engaging for readers and perhaps even hyperlinks to further science related learning opportunities or related stories such as Ada Lovelace or Marie Curie. A ‘read to me’ function may also increase independent accessibility to the story for some readers. However, as Hoffman and Paciga (2013) point out, adults should scaffold e-book reading experiences in similar ways to traditional shared reading in order for children to reap full rewards, e-books should not be used as a replacement for adult-child shared interactions with books.

This fun and inspiring story with diverse characters presents a wealth of learning opportunities for the classroom in literacy, science and history as well as character development and reading for pleasure, none of which has been lost in the transition to e-book format.

References

Beaty, A. (2016). Ada Twist, scientist (D. Roberts, Illus.). Abrams.

Bouchardon, S. (2019). Mind the gap! 10 gaps for digital literature? Electronic Book Review. https://doi.org/10.7273/j3w2-h969

Bouchardon, S. & Heckman, D. (2012). Digital manipulability and digital literature. Electronic Book Review. https://electronicbookreview.com/essay/digital-manipulability-and-digital-literature/

Flevegi, E. & Matthew, K.I. (2012). eBooks and literacy in K-12 schools. Computers in the Schools, 29(1-2), 40-52. https://doi.org/10.1080/07380569.2012.651421

Hoffman, J. L. & Paciga, K. A. (2013). Click, swipe, and read: Sharing e-Books with toddlers and pre-schoolers. Early Childhood Education Journal, 41(6), 401-484.  https://doi.org/10.1007/s10643-013-0622-5

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

O’Connell, J., Bales, J. & Mitchel, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal. http://dx.doi.org/10.1080/00049670.2015.1048043

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, 454-466. http://dx.doi.org/10.1007/s10583-015-9243-5

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

Posted in INF533

Literature in Digital Environments: Assessment item 1

Image by Felix Lichtenfeld from Pixabay

I have chosen to study this elective as I know my knowledge in this area is lacking. I acknowledge the rise in technology and along with it, the eBook but I have in no way made the most of the opportunities it affords my students in the classroom, or now in the library.

Personally, I am a physical book kind of girl. The joy I get from holding the book, especially when design features such as textured or embossed covers, thick pages etc. as well as the smell is very real. Jabar (2013) shows that I am not alone in this and also brought to my attention another feel good function of the physical book, “Turning the pages of a paper book is like leaving one footprint after another on the trail—there’s a rhythm to it and a visible record of how far one has traveled”, and how far one has to go.

However, whilst this may be my (and many others) experience for now, this nostalgia for the physical book may not be present in young and future generations and there is no question we, as educators, need to be upskilling students in the new types of literacy needed to keep up with technology (Sadokierski, 2013). Unfortunately it seems that technology and digital literacy is still taught as an ‘extra’ rather than fully integrated into classroom lessons.

Of course the digital divide also presents many challenges with fully implementing this, as has been made evident during the COVID-19 induced home learning situation. While not all families may be able to afford to buy books for the family, the public and school library services mean that there is no reason for students to miss out on experiencing a book, it is totally free to borrow. When these services were taken away (physical borrowing) students who did not have access to a suitable device and/or internet were left without books. The biggest problem with digital literature is that a device of some sort, and access to charge, is required. On top of that, there appears to be a lack of consistent file type, with your device determining the one you will require (Sadokierski, 2013). As a physical book lover, this is one area I have limited experience with.

A final challenge for educators is determining what actually qualifies as digital literature (Lamb, 2011; Sadokierski, 2013). Some eBooks are merely the same content as the physical book, with the only real difference the format. Others are enhanced with interactive features such as animation, links to maps, websites and more. While I have introduced eBooks to our library collection this year, the subscription is really of the former material and again, through this subject, I hope to gain knowledge and experience in regard to the latter.

References

Jabr, F. (2013). The reading brain in the digital age: The science of paper versus screens. Scientific American, April 11. Retrieved from: http://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

Sadokierski, Z. (2013, November 12). What is a book in the digital age? [Web log post]. Retrived from http://theconversation.com/what-is-a-book-in-the-digital-age-19071

 

 

Posted in ETL402

ETL402 Assessment 2 Part B Reflection

Wow! Another subject almost done.

Again, I have not kept up with forum posts or blogging as much as I would like however, as outlined in my post 8 October 2019, this has partly been a conscious decision after a difficult year. I am proud that I have been able to complete (almost) 5 subjects despite what was happening and surprised myself with some very good results.

This subject is the first of my electives. When looking through the list of elective subjects to choose from, there was NO doubt that this would be one of them. In one of my first blog posts (2019, March 11) I outlined what drew me to the library position to start with, books. Throughout the course I have learned that there is SO much more to the role, particularly in terms of information literacy and inquiry learning but what drew me to this subject was a return to our roots, what I had believed the main role of the librarian to be.

And I have not been disappointed, I have thoroughly enjoyed completing this subject. I began my first day of study for ETL402 as I do all others, browsing around the interact 2 site, particularly the discussion forums. I came across a post from Speer (2019, Nov 22) that highlighted a quote that resonated with me,

“The ultimate purpose of literature is not to teach something, but to illuminate what it means to be human and make accessible the fundamental experiences of life – love, hope, loneliness, despair, fear belonging. Children read literature to experience life, and their experiences within story worlds challenge them to think in new ways about their lives and world” (Short, Lynch-Brown, & Tomlinson, 2017).

This is why I love to read, the ability to be transported anywhere at any time, for free, and all the lessons to be learned along that journey. To be able to give students this same opportunity and develop their love of reading is absolutely the reason I became a teacher librarian.

The focus of this subject on using literature across the curriculum and not reserving it only for English is something that excites me. As a classroom teacher I often would introduce lessons with a book and while not all, I do believe many primary school teachers do so, at least in the lower years. I can see that convincing high school teachers of the benefits may take some more time and energy but through this subject we have been given the tools to do so.

The digital literary resources were new to me and I still very much personally prefer a ‘real’ book. My interest is piqued though and I look forward to exploring it more in my next elective, Literature in digital environments.

While this subject has not challenged my thinking and practices as much as some of the other subjects in this course, it has provided the academic theory to support it and my resource bank has grown immensely.

References
Doherty, H. (2019, March 11). Assessment 1 Part B [Blog post]. Retrieved from https://thinkspace.csu.edu.au/learningtolibrary/2019/03/11/assessment-1-part-b/

Doherty, H. (2019, October 8). ETL504 Assessment item 2: Part B [Blog post]. Retrieved from https://thinkspace.csu.edu.au/learningtolibrary/2019/10/08/etl504-assessment-item-2-part-b/

Short, K. G., Lynch-Brown,C., & Tomlinson, C. (2017). Essentials of children’s literature (9th ed.). New York,NY: Pearson.

Speer, M. (2019, November 22). RE: Definition of children’s literature [Online forum comment]. Retrieved from https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_38049_1&conf_id=_74552_1&forum_id=_177192_1&message_id=_2589167_1&nav=discussion_board_entry

Posted in ETL504

ETL504 Assessment item 2: Part B

In my introductory post to the ETL504 discussion forum, I said I hoped to gain more knowledge and tools to advocate for the teacher librarian (TL) role and how I could have the most positive impact on our school (Doherty, 2019, July 21). As we now come to the close of the subject I am pleased to say that this is most certainly what I have gained from ETL504.

While my own blogging and forum posts have been minimal, this was a conscious decision as a time management strategy. Completing this subject during a time of great personal difficulty, I prioritised commitment to my group for the case studies and my own personal readings. As my response to case study six demonstrated, putting strategies into place to avoid burnout is essential (Doherty, 2019, September 29).

I found the case study scenario to be slightly frustrating as it was far from my own library experience where I am the sole practitioner, not even an administrative assistant or library technician for me to manage, let alone a number of TLs. Having said this, I can see the massive collaborative effort the TL must make with staff across the school, where many personalities, priorities and levels of expertise collide just as in the case study scenario.

In our Group 12 response to case study four (Group 12, 2019a) we began to explore the need for TLs to collaborate with staff on planning for the library as well as on teaching and learning programs. Further reading and completion of assessment items one and two has confirmed collaboration as an essential TL requirement. From the beginning of this subject (and indeed my entire time as TL) I was floundering a bit with what value add I could bring to the school and the best way to so. Now I feel I am best suited mainly as servant leader. With the wide range of personalities and expertise in the school, the level and type of support and professional development I provide may be vastly different for each staff member. I have been motivated to begin a strengths, weaknesses, opportunities and threats (SWOT) analysis to inform the development of a strategic plan for our library (Group 12, 2019a; Group 12, 2019b).

I have definitely felt the lack of understanding from school leadership and staff for the role of the TL that our response to case study five addresses (Group 12, 2019b). I hope that from the strategic plan I am able to create a clear vision for our library that will get staff on board with common goals such as collaboratively planning, teaching and assessing using guided inquiry design. Working closely with the principal to enable such initiatives will be vital.

What ETL504 has made very clear is that being new to the library provides great timing for these changes to occur but the management style I adopt will be key to their success (Doherty, 2019, July 30).

References

Group 12. (2019a, September 6). Group 12 [Online forum comment]. Retrieved from 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=_2468010_1

Group 12. (2019b, September 20). Case study 5 -Group 12 [Online forum comment]. Retrieved from 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=_2499678_1