Tag Archives: curriculum links

Augmented Reality in the Classroom – Part 4

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Continuing with the series….

More ways in which AR can be applied in a school dynamic. 

6. NUMERACY

Numeracy skills can be enhanced using AR.  Wu et al. (2013) suggest that students can learn geometry, trigonometry, spatial relationships and collaborative problem based learning by using AR to supplement their learning.  Technologies such as the combination of TinkerLamp and Kaleidoscope are popular in Europe and can be used to explore symmetries and congruence.  Whereas the mobile application – AR Measure kit is useful in measuring distances, trajectories, angles, height and estimating volume  (Cuendet, Bonnard, Do-Lenh & Dillenbourg, 2013).  

7. SUPPORT LITERARY ARTS

Hannah et al. (2019) cited several methods in which AR can support the literary arts curriculum.  Students are able to create or visit real or fictional sites using the digital interfaces such as Merge cube,  so that connections between the content and the real world can be made.  For example, Shakespeare comes alive with a tour of Verona, Japanese medieval history can be taught by analysing the structure of Kokura Castle, and students can investigate the structure of a steam engine, all with a single mobile app, a smartphone or tablet and a Merge cube.  

8. VISUAL ARTS

A very interesting use of AR is the ability to access and engage in an authentic exploration of real objects in an artificial space (Wu et al. 2013).  Many art galleries and museums around the world already have embedded AR to allow users access to additional information about the display, for example, some places use QR codes to inform the user of additional information about the artist or exhibit (Coates, 2020).  From a classroom perspective, students can support their own creative pieces by embedding their rationale using Thinglink, Padlet or Metaverse, and use QR codes on their paintings, sculptures, photographs or collages to link it to their rationale (Zak, 2014) .  

9. LOCATION BASED LEARNING

Wu et al., (2013) suggests that location based learning, such as field trips and excursions, can be augmented by the use of AR.  As previously mentioned, many museums, galleries and other institutions have already adopted the use of AR in their spaces (Coates, 2020; Townsdin & Whitmer, 2017).   Some of them use the technology to provide additional information to the user about the collection, whereas other places use AR in their maps or tours  (Townsdin & Whitmer, 2017).  By including relevant information within the augmented space, it encourages more authentic learning, which in turn improves student engagement and learning outcomes (Wu et al., 2013). 

Emerging technologies have also been adopted by some council reserves and state national parks as a means to inform users about local flora and fauna.  Visitors are able to use their devices and their inbuilt GPS systems to access pertinent information about the site they are accessing (Townsdin & Whitmer, 2017).  Some sites also offer remote access and this can be very useful for excursion preparation or for revision purposes.  Remote access would also be of great assistance when students are unable to attend excursions or field trips due to illness or pandemics. 

10. ASSISTING STUDENTS WITH DIVERSE LEARNING NEEDS

Technology has often been cited as an effective intervention method for students with autism spectrum disorder (ASD) and educators seek methods in which to meet cognitive, behavioural and developmental needs (Sahin, Keshav, Salisbury & Vahabzadeh, 2018).  Digital methods are often favoured  for ASD students, as they tend to have a preference for electronic media due to their predilection as visual learners (Mahayuddin & Mamat, 2019, p.2176-2177).  Additionally AR offers them an environment that supports the tangible manipulation of abstract ideals, as well as a visual image of the learning content, and standardised and predictable outcomes as routine and predictability is very important to students with ASD (Mahayuddin & Mamat, 2019, p.2176-2177; Sahin et al., 2018, p.1).   

AR and VR are also able to assist ASD students in developing their socio-emotional skills.  This technology allows students to experience the world and its environmental hazards as well as engage and interact with their peers in a socially controlled environment (Sahin et al., 2018, p.2; Riva, Banos, Botella, Mantovani & Gaggioli; 2016).   Whilst tablets and smartphones can be used, Sahin et al. (2018) suggests the use of SmartGlasses as they can be preloaded with social and behavioural coaching software.  Another benefit is that AR experiences can be tailored and adapted to suit student’s diverse needs, which is important as many experience high levels of anxiety when there is disruption to their learning plan.  

 

Book Review – Olivia Twist by Strauss, Dalva, Vieceli and Loughridge.

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Title:

Olivia Twist

Authors and Illustrators:

Darin Strauss, Adam Dalva, Emma Vieveli and Lee Loughridge.

Published by:

Dark Horse Publishers (2019).

Olivia Twist is a dystopian graphic novel parody of the Dickens classic ‘Oliver Twist” that is set in futuristic 2050 London, where society is racially divided and the politically strong have a dependence on artificial intelligence.  This particular edition is a compilation of four consecutive stories.  Fans of the Dickens narrative would be able to easily identify the several similarities between the traditional version and this text, including the inclusion of characters such as Mr Beedle, Fagin, Artful Dodger and the presence of violent street gangs.   

This GN Olivia Twist is a very complex text.  The illustrations are brilliant, and much of the storyline is coded within the visual elements.  The use of colour, line and framing causes the reader to become immersed in the storyline.  As the plot contains several twists and turns, the reader is forced to question the direction of the narrative and make predictions as to the actions of the protagonist.  The text contains several attributes that appeal to teenagers.  Obviously the predominating feature is that this is a graphic novel.  Graphic novels are very popular with children and teenagers, and their multimodality promotes the development of 21st century skills such as visual literacy, critical thinking and intertextuality (Botzakis, 2018). Furthermore, this dystopian text breaks gender stereotypes, contains elements of Bildungsroman, and promotes moral development.  

As a fan of the original version, I found it difficult to read this text without comparing it to the original novel.  Additionally, my visual literacy is still emerging so decoding the images and illustrations required more time and effort than I expected.  I had to read this GN a few times to understand it properly and to see all of its different layers.  This book would be suitable for students over the age of 14 due to the presence of swearing and frequent depictions of violence.  This GN meets English curriculum links  in years 9 and 10 and would make an excellent substitute or alternative novel study to Huxley’s Brave New World, Dashner’s Maze Runner and Collins’ Hunger Games.  

Graphic novels (GN) are an excellent addition to school library collections. When used in educational practices, GN fosters comprehension and increases recall.   As the text is supported by images, GN are ideally suited to students with developing literacy (Botzakis, 2018).  Their visual permanence means that the reader can choose their own reading pace and allows them to re-read as needed. But just reading GN does not mean that the students’ literacy levels will instinctively improve.  GN requires the reader to make inferences, which promotes high order thinking, as well as providing contextual information to the reader  (Botzakis, 2018).  Their complex nature means that educators need to teach decoding and comprehending GN the same way as they teach traditional texts (Botzakis, 2018).  

Good GN possess traditional narrative features such as an overarching theme, depth of plot, character development and use of literary devices (Gonzales, 2016).  Additionally, they also have classic film elements such as line, colour, focus, transitioning and framing (Gonzales, 2016). One of the discerning factors between a literary GN and a comic strip is the depiction of women (Gonzales, 2016).  Unlike vintage comics where the female characters resemble wasp shaped Amazons that may or may not have floss for brains, modern GN acknowledge that young girls need strong and clever female protagonists.  Olivia Twist’s twist on the Dicken’s classic has strong female characters.  An example of this strength would be the character of Fagin and her female band of misfits, code named Esthers, all of whom are fiesty women that exhibit racial and physical diversity.  

Brannen (2013) believes that teenagers like to read about characters that have personal struggles that relate to ‘coming of age’.  In this text, Olivia has lived her whole childhood starved of love and a family.  She seems unaware of her own inner strength and manages to overcome all her obstacles with determination and innate need to protect those weaker than herself.  After all, isn’t morality and ethics about ensuring all members of society are dealt with fairly? Not just the loudest and strongest, but even the small, weak and innocent.  

Whilst Olivia Twist cannot be described as a contemporary realistic fiction due to its dystopian and science fiction characteristics, there are elements of Bildungsroman present within the text. Bildungsroman is a term used to describe texts that are centralised upon the development of a youthful protagonist (Cody, 2005).  This development is usually focused on socio-cultural themes such as morality, race and class, as it provokes vigorous social discourse. 

The inclusion of these themes and following social discourse allows the adolescent reader to develop their moral compass  (Bushman & McNerny, 2004).  Olivia’s love for Pip and her determination to keep him safe ends up being the deciding factor in her survival.  Moral development in teenagers is shaped by the moral dilemmas they are exposed to.  Reading fictitious stories that have moral choices within help students to differentiate between what is right and what is wrong.  After all, as Edmund Burke famously said “The only thing necessary for the triumph of evil is for good men to do nothing” (quotationspage.com).  When considering this text’s similarity to the previously mentioned  texts by Huxley, Dashner and Collins, the similar vein in all three, is an ethical dilemma faced by the fringes of society.  

The actions by the protagonist in all of these texts could be viewed as legally wrong by the prevailing standards of their society.  The reader is able to engage with these moral and ethical dilemmas and with the help of social discourse, determine if the actions of the character were truly wrong or is the society actually at fault?  Society is not an indicator of social morality.  History has proven time and time again that what is right and what society determines is right can be two very different things.  Just look at the evolution of civil rights.  In the 1800’s, women were considered property and did not have the right to own property in their own right or vote.  Whilst this has been overturned in most nations, some cultures still inhibit women from equal participation.  In Australia, the Indigenous peoples were considered as part of the ‘flora and fauna’ till a national referendum in 1967 revoked that viewpoint and Indigenous people were then included as part of the national census.  As individuals, we all play a part in monitoring the morality of society.  

Classic young adult novels such as Olivia Twist lure the reader into the storyline with its multimodal format and then provokes them into analysing the character and their actions.  The reader is able to evaluate the actions of the protagonist and decide if the action is acceptable or not.   It is through this evaluation process that the reader develops their moral compass.  Besides addressing curriculum links within the English curriculum, the strong female protagonist in the narrative provides a positive depiction of women and this is really important for young girls.  The inclusion of good graphic novels into high school library collections meets the cognitive, behavioural and developmental needs of young adult readers.  

References:

Botzakis, S. (2018). Comics in the classroom: Using graphic novels for content learning. In D. Wooten, B. Cullinan, L. Liang & R. Allington (Eds).  Children’s literature in the reading program: Engaging young readers in the 21st century, (5th ed., pp. 140-152). Retrieved from Proquest Ebook Central.

Brannen, J. (2013). All about realistic fiction for teens. NoveList. Retrieved from https://www.ebscohost.com/uploads/novelist/pdf/Teen_RealisticFiction_GenreOutline.pdf

Bushman, J.H. & McNerny, S. (2004). Moral choices: Building a bridge between YA literature and life. ALAN Review, 32(1), 61-67. Retrieved August 2016.

Cody, D. (2005). Bildungsroman. Victorian Web – Literature, History & Culture in the age of Victoria. Retrieved from http://www.victorianweb.org/genre/bildung.html

The Quotations Page. (2018). Edmund Burke. Retrieved from http://www.quotationspage.com/quotes/Edmund_Burke/

Gonzalez, J. (2016). Graphic novels in the classroom. [Blog] Cult of Pedagogy. Retrieved from https://www.cultofpedagogy.com/teaching-graphic-novels/

 

Book Review – Schindler’s Ark by Thomas Keneally

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Book of the Day

Schindler’s Ark by Thomas Keneally was a very dry read.  It was drier than the cheapest plonk at the pub during happy hour.  Now before anyone starts collecting rocks to stone me, I would challenge them to read the book too and then comment.  

I am not denying that the material in the book is powerful.  I definitely acknowledge that the book is filled with names, places and intense facts.  But it is not prose. Upon thinking this further, I recollect the subject of the book and wonder if there is a reason for that.  If the author, in this case Thomas Keneally was aiming for an emotive piece, it would be a character lie. By all accounts, Oskar Schindler was a hard drinking and reckless businessman who cheated on his wife with regularity (Hurvitz & Karesh, 2016).  He destroyed his family business, sought to cheat, lie and swindle his way back into a life of comfort. Quite frankly, by all tokens, this man was an immoral and wasteful character. Then Schindler went on to save almost 1300 Jews from the concentration camps during those dark days in Eastern Europe.  This man, who by the standards of his time, and now; unworthy of attention; put his own life at risk to save others. His actions have been immortalised in a book, a major Spielberg movie production and the term Schindlerjuden or Schindler’s Jews, which is still used to refer to the descendents of those that were saved.   

So when you consider all these facts, the dryness of Keneally’s “Schindler’s Ark” makes sense.  It would be a lie if the book was anything other than prosaic. Instead, its matter of fact manner of describing the main character’s traits ensures that the reader does not view him with rose framed lenses.  The reader is made fully aware of Oskar’s failings as a man and a husband. It is in viewing these failings that Schindler’s true heroism is seen. The plain language allows the reader to envision the fear hiding between the stalwart words.  Conversely, the plain language also allows readers with little imagination to read the book without being overwhelmed.  

“Schindler’s Ark” was a very dry read for someone who is a lover of prose.  As an avid reader of fiction, I found this novel to be more informative than anything else.  I also found it heartbreaking, just like the sadness I feel when the happy hour wine is just awful.  But whilst this book was a struggle for me, it would be ideal for reluctant teens who struggle with engaging with fictitious stories.  The language, style and format of the book resemble information books and thus may satisfy their need for ‘facts’.  But whilst the Guardian review suggests this book as appropriate for 8-12 year old children, I would probably restrict it to students over 14-15 years old.  This would then correlate well with the year 10 HASS’s World War 2 and Holocaust unit especially the ACDSEH025 elaboration.  It would also work well in the Biographies and memoirs unit in Year 10 English.  

 REFERENCES:

Alannahbee, (2013). Schindler’s Ark by Thomas Keneally – review. The Guardian. Retrieved 16th March, 2020 from https://www.theguardian.com/childrens-books-site/2013/sep/25/review-schindler-s-ark-by-thomas-keneally

Axelrod, A. (2013). Schindler, Oskar. In Encyclopedia of World War II, vol. 2. New York: Facts On File. Retrieved March 16, 2020, from online.infobase.com/Auth/Index?aid=19165&itemid=WE53&articleId=265017.

Hurvitz, M. M., & Karesh, S. E. (2016). Schindler, Oskar. In Encyclopedia of Judaism, Second Edition. New York: Facts On File. Retrieved March 16, 2020, from online.infobase.com/Auth/Index?aid=19165&itemid=WE53&articleId=263928.