September 26

INF533 Assessment 4 Part A: Context

Stories from Quarantine tells a combination of historical and fictional stories from the North Head Quarantine Station in Sydney, NSW. It is a multi-modal work based on and extending Inside the Quarantine Station (Simon, 2017). It does not fit neatly into the digital literature categorisations of Walsh (2013) or Lamb (2011), but exhibits characteristics of storytelling such as structure, linearity, connection and character enabled by digital affordances (Alexander, 2011, p. 14).

This project was prepared for use by a primary Teacher Librarian or casual classroom teacher in the North Shore area of Sydney. In both roles, one teaches students across various disciplines from Kindergarten through Year Six (K-6). This resource has the potential to be used across various curriculum areas from K-6. Data from seven schools in the locality show Indicator of Community Socio-Economic Advantage (ICSEA) levels ranging between 1151 and 1194 and National Assessment Program Literacy and Numeracy (NAPLAN) reading and writing scores that range from state average to well above state average (Australian Curriculum, Assessment and Reporting Authority, n.d.). There are minimal amounts of students needing significant learning support, but students from language backgrounds other than English (LBOTE) account for 23% to 53% of school populations making the learning needs of students learning English as a foreign language important to consider.

The Quarantine Station site is an important landmark on Sydney’s North Shore with historical and geographical relevance on all scales from personal to international/global. In addition to having relevance to knowledge area content across the K-6 spectrum, Stories from Quarantine particularly serves Humanities and Social Sciences (HASS) Inquiry and Skills outcomes from the Australian Curriculum relating to:

  • data collection through observation and sources provided or located, and
  • exploring points of view and distinguishing between fact and opinion (Australian Curriculum, Assessment and Reporting Authority (ACARA), 2016b).

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July 13

My (limited) experience with digital narratives and synergy

This was crossposted (without embedded video or hyperlinks within text) to the Discussion Forum for INF533 in Session 201860: thread available here.
It was in response to the following prompt:

(C)onsider Walsh’s chapter, and share your knowledge, understanding and experiences with digital narratives in the discussion forum. What are the key points of synergy that you have encountered? What are the differences?

My main area of experience with digital literature is the category of traditional literature presented in digital form, Unsworth’s electronically augmented or re-contextualised literary texts (Walsh, 2013; Unsworth (2006) in Walsh, 2013, p. 181), either as scanned copies of picture books used in classroom settings or ebooks I have personally read on a nook, iPad or iPhone. To be quite honest, I have even rarely used enhancements and features of the plain digitised eBooks, other than those that are automatic, like page re-orientation or low-light-level background and text and lighting adjustments performed in iBooks. I am intrigued by the possibilities discussed in the various readings, from the hypertext narratives that seem to have been the stirrings for the concept and terminology of electronic literature (Rettburg, 2012; Lamb, 2011) to works such as Inanimate Alice and Chopsticks: A Novel that are beginning to redefine the idea of ‘literature’ or ‘text’ with their multimedia affordances (Walsh, 2013; James & DeKock, 2015). My only exposure to these types of works has been through the readings of the module, and while I enjoyed playing around with them a bit (and also dipping into The Lizzie Bennet Diaries (Pemberley Digital, 2012-2014) through Tehani’s announcement) I have not really experienced them enough to analyse the synergy between literary quality and digital features that Walsh (2013) describes.

Short clip of animated series played via the now defunct website (Alexander Entertainment,2015).

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