Storytelling is a rich practice that allows us to narrate our experiences and is often characterised by social and reflective practices (O’Byrne et al., 2018, pp. 1-2). Considering this, below is my reflective journey of INF533 and the experiences and opinions I have formed.
Digital Literature
In Assessment 1, I reflected on how Web 2.0 and new technologies shape our reading practices, and how as consumers we are now actively engaged in the narrative process as creators, contributors, collaborators, critics, and producers (Walsh, 2013, p. 182). At the time of the first assessment, I understood digital literature to be interactive, collaborative, and social, yet was inclined to view it from a creator lens rather than the lens of a Teacher Librarian (TL) or educator. During module 2.1, I was confronted by the suggestion that schools promote superficial reading and technology integration rather than evoking organic, meaningful, and personalised experiences (Biancarosa & Griffiths, 2012, p. 149). Ashamedly, my digital media and literature implementation has often been inorganic, meaning that its potential has been limited. Digital literature is much more than a new venue for reading print-born texts and experimenting with existing forms of literacy (Ciccoricco, 2012, p. 479). I now understand that digital literature can revolutionise learning as it promotes critical thinking, empowers students, facilitates interdisciplinary work and collaboration, and breaks down subjective and exclusive textual barriers while exposing students to unfamiliar writing on familiar platforms (James & De Kock, 2013, p. 119). With this new understanding of digital literature, I was able to complete Assessment 2 and form the opinion that good digital texts enhance narrative components through their digital affordances in ways that print-born texts cannot (McGeenan et al., 2008, p.58). Influenced by this, I have started to build a digital resource bank full of quality digital texts, acquired according to their accessibility, digital affordances, narratological devices, and educational compatibility (Yokota & Teale, 2014, p, 585).
Digital Storytelling
Storytelling has been around for centuries, and despite the influence of digital technologies, it remains a simple but powerful tool for explaining complex concepts (Sadik, 2008, p. 489). Through INF533, I have learnt that digital storytelling is flexible and dynamic and is distinguished by written, aural, visual, and sensory elements (Sadik, 2008, p. 490). Digital stories are social, often engaging the reader with interactivity, employing multiliteracy skills, aesthetic sensitivities, and critical and creative thinking (Chung, 2008, p. 22). Through exploring the creation of digital stories in the modules and Sticking Around, I have been able to surmise that narrative technology (i.e. digital storytelling) can significantly enhance student accomplishment, attitude towards learning, and engagement through providing them with relevant, rich, and innovative learning opportunities that are informed by current technologies (Hall, 2012, p. 100; Groth, 2018).
Applications for Teacher Librarians
As I continue to contemplate how digital literature is often implemented superficially, I have concluded that it is my responsibility as a TL (and instructional leader) to be a catalyst for change. Therefore, I must continue to promote the organic implementation of digital literacy; through collaborating with and training staff, sharing my knowledge, developing quality literature, assessing digital resources, and designing new curriculum opportunities that harness digital literature and new modes of literacy (Combes, 2016). If I do not act as a catalyst of change, teachers will not be equipped to help students, meaning that lifelong learning is jeopardised, and students will struggle to thrive in society. Through rethinking and redesigning pedagogy to include digital literacy, students are empowered and engaged in their learning and can see themselves as readers, collaborators, and participants (Lue et al., 2011, p. 6; Havious et al., 2021, p. 216). Nevertheless, Combes (2016) warns educators to ‘start small and plan well’ when bringing about change. Therefore, I intend to begin this transformation by collaborating with staff and sourcing quality digital literature that will eventually become commonplace within the delivery of the curriculum.
Copyright, digital rights, and licensing
When creating Sticking Around, concerns regarding creative licensing and Copyright came to mind as vague, as to how to credit contributors and manage the Copyright of the original pieces. In the module 6 forum, I discussed this very concept with Christopher, acknowledging how user knowledge is often limited regarding licensing restrictions and Copyright. Extending dialogue, I added my thoughts on how licensing terms and conditions need to be made more apparent to all parties involved, especially librarians; as lack of clarity or practical or contractual ambiguities can impede a libraries ability to archive, preserve, access, and facilitate works (O’Brien et al., 2012, p. 16; Colebatch, 2013, p. 15).
Upon finishing INF533, I leave encouraged and full of practical ideas. As digital literature continues to develop, we are faced with the emergence of new trends and formats. Therefore, I look forward to ascertaining new texts and exploring ways in which to engage my students in learning, and supporting my staff in nurturing organic learning experiences that are informed by current technologies.
Reference List
Biancarosa, G. & Griffiths, G.G. (2012). Technology tools to support reading in the digital age. Literacy Challenges for the Twenty-First Century, 22(2), 139-160. http://doi-org.ezproxy.csu.edu.au/10.1353/foc.2012.0014
Charles Sturt University. (2021). INF533 – Literature in digital environments. Faculty of Arts and Education, School of Information Studies.
Charles Sturt University & Croft, T. (2021). INF533 – Literature in digital environments: Module 2.1. Faculty of Arts and Education, School of Information Studies.
Chung, S. K. (2007). Art education technology: Digital storytelling. Art Education (Reston), 60(2), 17–22., https://doi.org/10.1080/00043125.2007.11651632
Ciccoricco, D. (2012). Digital fiction: networked narratives (Ch. 34). In J. Bray, A. Gibbons, & B. McHale (Eds.), The Routledge companion to experimental literature, pp. 469-482. Routledge. https://www-taylorfrancis-com.ezproxy.csu.edu.au/chapters/edit/10.4324/9780203116968-43/digital-fiction-networked-narratives
Colebatch, C. (2013). Pick your digital lock battle: Is it the law or licenses we should be worried about? Feliciter, 59(1), 15. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=85444929&site=ehost-live
Combes, B. (2016). Digital literacy: A new flavour of literacy or something different? Synergy, 14(1). https://search-informit-com-au.ezproxy.csu.edu.au/fullTextdn=216725;res=AEIPT
Groth, S. (2018, May 20). Still defining digital literature. The Writing Platform. http://thewritingplatform.com/2018/05/still-defining-digital-literature/
Hall, T. (2012). Digital renaissance: The creative potential of narrative technology in education. Creative Education, 3(1), 96-100. http://doi.org/10.4236/ce.2012.31016
Harris, M. (2021, July 25). Assessment 1 – From Brick to Blog. https://thinkspace.csu.edu.au/mjsparkles/2021/07/25/assessment-1-from-brick-to-blog/
Harris, M. (2021, August 22). Assessment 2 – Reflecting on digital literature and readings experiences. https://thinkspace.csu.edu.au/mjsparkles/2021/08/22/reflecting-on-digital-literature-and-reading-experiences/
Harris, M. (2021). Sticking Around. https://view.genial.ly/6139e18ccbef331033e58fef/interactive-image-sticking-around
Hovious, A., Shinas, V. H., & Harper, I. (2021). The compelling nature of transmedia storytelling: Empowering twenty first-century readers and writers through multimodality. Technology, Knowledge and Learning, 26, 215-229. https://doi.org/10.1007/s10758-020-09437-7
James, R., & De Kock, L. (2013). The digital David and the Gutenberg Goliath: The rise of the enhanced e-book. English Academy Review, 30(1), 107-123. https://doi.org/10.1080/10131752.2013.783394
Leu, D. J., McVerry, J. G., O’Bryne, W. I., Kiili, C., Zawilinski, L., Everett-Cacopardo, H., Kennedy, C., & Forzani, E. (2011). The new literacies of online reading comprehension: Expanding the literacy and learning curriculum. Journal of Adolescent & Adult Literacy, 55(1), 5-14. https://login.ezproxy.csu.edu.au/login?qurl=https://www.jstor.org/stable/41309642
McGeehan, C., Chambers, S., & Nowakowski, J. (2018). Just because it’s digital, doesn’t mean it’s good: Evaluation digital picture books. Journal of Digital Learning in Teacher Education, 34(2), 58-70. https://doi.org/10.1080/21532974.2017.1399488
O’Brien, D., Gasser, U., & Palfrey, J. (2012, July). E-books in libraries: A briefing document developed in preparation for a workshop on e-lending in libraries. Berkman Centre Research Publication, No. 2012-15. http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2111396.
O’Byrne, W. I., Houser, K., Stone, R., & White, M. (2018). Digital storytelling in early childhood: Student illustrations shaping social interactions. Frontiers in Psychology, 9. https://doi.org/10.3389/fpsyg.2018.01800
Sadik, A. (2008). Digital storytelling: A meaningful technology-integrated approach for engaged student learning. Educational Technology Research and Development, 56(4), 487–506. https://doi.org/10.1007/s11423-008-9091-8
Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Primary English Teaching Association Australia (PETAA). https://doms.csu.edu.au/csu/file/863c5c8d-9f3f-439f-a7e3-2c2c67ddbfa8/1/ALiteratureCompanionforTeachers.pdf
Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6). https://doi.org/10.1002/trtr.1262