I’ve already briefly discussed attempts to define digital literature. The Electronic Literature Organisation describes digital literature as, ‘works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer’ (Hayles, 2007, “A context”, para. 4). Lamb redefines reading a book as constructing meaning from symbols in a published collection of related screens or pages (Lamb, 2011, p. 13). More recently, Simon Groth, a key name in the Australian Literary field, posits that digital literature “showcases innovation and creativity in storytelling for digital media and new directions in contemporary literary practice informed by technology.” (Groth, 2018, para. 3). Though each definition is vague, there is a future in their ambiguity. The unifying feature is that despite the format, the quality and purpose of the work is most important. The purpose of digital literature, like print literature, is to convey universally important ideas (Rowland, 2021, para. 12). As I wrote earlier, literature enhances learning and deepens mindsets. Digital literature is no different. I wrote a post discussing methods of evaluating quality digital literature; the qualities of good literature must be combined with well-developed technology to produce a text that extends beyond the binding of a spine.
Since the early 1990s, studies have shown mixed results as to whether reading speed and comprehension is negatively affected by screen-reading (Noyes & Garland, 2008). However, these are not the only deciding factors in the print vs. digital debate. Print texts allow the haptic experience of the feel of the page, the smell of the paper and the ability to navigate textual landscapes (Jabr, 2013). Still, as attitudes and technology improve, the print text loses its superiority. Digital texts boast the ability to be accessed almost anywhere, near instantaneously, for a fraction of the cost of their print counterparts (Felvégi & Matthew, 2012, p. 40). Digital texts are also better suited to meet diverse learning needs through greater accessibility (Australian Curriculum Assessment and Reporting Authority [ACARA], n.d.c). Once digital literacy skills are taught, the world of digital literature opens.
My review of the digital text Heaven’s Vault shows it has the most potential to use in a middle or high school setting, for several reasons (Inkle, n.d.a). As I am completing my Masters in Teacher Librarianship, I will extend my focus across curriculum areas.
Heaven’s Vault could be taught across a variety of subjects. An Information Processes and Technology (IPT) subject might focus on the programming aspects of the game such as the use of the Ink language (Inkle Studios, n.d.b; NSW Education Standards Authority [NESA], n.d.b). English students could also create their own interactive texts using Ink, expanding on the content and contexts presented in the game. A Society and Culture class could analyse the “interactions of persons, society, culture, environment and time, and how these shape human behaviour” within the game (NESA, n.d.a). Science classes could analyse the technology, planets, and spacecraft within the game.
As Heaven’s Vault has a historical and archaeological focus, it lends itself best to the history curriculum. The Historical Inquiry and Skills strand of the Australian History Curriculum focuses on chronology, and analysis of sources and evidence (ACARA, n.d.b). Students could play the game collectively or individually, as each play-through would differ. As a unit, the students could create their own Heaven’s Vault style narrative, creating pictograms and artefacts to be discovered and evaluated, and documented on their own timelines and maps either physically or digitally.
When considering the role of the Teacher Librarian as information specialist, the General Capabilities of the Australian Curriculum become our ‘teaching subject’ (ACARA, n.d.a; Australian School Library Association [ASLA], n.d.). These can be addressed through facilitating the use of quality digital literature, such as Heaven’s vault, throughout schooling.
My experiences with reading digital texts have varied over the years. I was quick to discount the value of video games or even the more ‘traditional’ forms of digital literature such as e-books. I was a self-proclaimed book snob. In my school days I could often be found head buried in a book in a quiet corner of the library or huddled under the covers struggling to keep my eyes open to finish my latest read. Over a decade has passed since I graduated and, in that time, technology has skyrocketed, I’ve achieved a degree and a half, and I hope, matured a great deal. I’ve changed my mind. I look forward to my future role in advocating for digital literature and its space in the library.
References
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (n.d.a). General capabilities. https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (n.d.b). History: structure. https://www.australiancurriculum.edu.au/f-10-curriculum/humanities-and-social-sciences/history/structure/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (n.d.c). Student diversity. https://www.australiancurriculum.edu.au/resources/student-diversity/
Australian School Library Association [ASLA]. (n.d.). What is a teacher librarian? https://asla.org.au/what-is-a-teacher-librarian
Felvégi, 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. [Simon Groth] (2018, May 20). Still defining digital literature. The Writing Platform. http://thewritingplatform.com/2018/05/still-defining-digital-literature/
Hayles, K. N. [N. Katherine Hayles] (2007, January 2). Electronic Literature: What is it? The Electronic Literature Organisation. https://eliterature.org/pad/elp.html
Inkle Studios. (n.d.a). Heaven’s vault. https://www.inklestudios.com/heavensvault/
Inkle Studios. (n.d.b). Ink: a narrative script language for games. https://www.inklestudios.com/ink/
Jabr, F. (2013, April 11). The reading brain in the digital age: The science of paper versus screens. Scientific American. 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.
NSW Education Standards Authority [NESA]. (n.d.a). Human Society and its environment (HSIE) stage 6. https://www.educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/hsie
NSW Education Standards Authority [NESA]. (n.d.b). Technologies stage 6. https://www.educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/technologies
Noyes, J.M., & Garland, K.J. (2008). Computer-vs. paper-based tasks: Are they equivalent? Ergonomics, 51(9), 1352-1375. https://doi.org/10.1080/00140130802170387