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Å lese med fingrene
En diskusjon av elektronisk litteratur, for barn og voksne, laget for iPad.
Scott Rettberg - 25.03.2012 - 11:20
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To Read With Your Fingers: E-Lit for the iPad
English version of "Å Lese Med Fingrene" published in Vagant 3/2011.
A discussion of electronic literature, for children and adults, made for the iPad.
Scott Rettberg - 25.03.2012 - 11:55
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Lessons Learned from Designing Children’s Interactive Narratives
Abstract Designing interactive narrative for children requires awareness of the cognitive abilities of young readers. In this paper, we present the lessons learned from two example interactive narrative systems, Baby Duck Takes a Bath and A Little Quiz for the Little Hare. Baby Duck is a multi-sequential narrative where the user can explore how a duckling can become dirty or clean by interacting with its habitat. The agency of the characters (including a mother duck and duck friends) result from manipulating elements within the small story world. The narrative changes according to the user's interactions, allowing for change in perspective, agency and attitude in real-time. The Little Quiz system aims to teach young children the concepts of measurement and comparison through the conversation between two characters. It explores the design space of enhancing interactive narrative using a commonsense knowledge database to understand players' intention and generate relevant narration. Both works target children from 1st to 3rd grade in the early stage of learning story construction.
Audun Andreassen - 20.03.2013 - 09:41
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Digitally implemented interactive fiction: A systematic development and validation of Mole, P.I., a multimedia adventure for third grade readers
"Interactive fiction" has been used to describe many of today's multimedia products. In reality, there is not a universal understanding of what interactive fiction is or what it should entail. The meaning of "interactive" is often interpreted in different ways. Many stories are considered to be interactive because they are placed on the computer. Meanwhile, such stories may lack most of the essential qualities for good literature. Interaction fiction should be upheld to the same standards as traditional texts. Following this belief, this research covers the underlying theories of interactive fiction, examples of misleading "interactive fiction" studies, and guidelines for design pulled from the fields of writing, children's literature and instructional technology. I have used these guidelines to develop a prototype of interactive fiction, which was be tested and revised in several cycles. First, I revised the prototype based upon reviews by several groups of experts from the areas of instructional technology and childhood education. The prototype was then pilot-tested by two participants from the target market.
Jill Walker Rettberg - 25.04.2014 - 04:59
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Engineering stories? A narratological approach to children’s book apps
With the rise of smartphones and tablet pcs, children’s book apps have emerged as a new type of children’s media. While some of them are based on popular children’s books such as Mo Willems’ Pigeon books or Beatrix Potter’s Peter Rabbit, others were specifically designed as apps. This paper focuses on examining book apps under the aspects of implied user strategies and narrative structure. Using a narratological framework that also takes into account the unique characteristics of the medium, a terminology for the analysis of book apps will be sketched out. Furthermore, an exemplary analysis of iOS book apps for pre- and grade school children comes to the conclusion that, far from offering the child users room for individual creativity, a large number of apps rather train their users in following prescribed paths of reading.
(Contains references to more creative works than currently registered:
Jill Walker Rettberg - 29.04.2014 - 06:24
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Affordances of an App - A reading of The Fantastic Flying Books of Mr. Morris Lessmore
In a relatively short time, apps have become highly popular as a platform for children’s fiction. The majority of media attention to these apps has focused on their technical features. There has been less focus on their aesthetic aspects, such as how interactive elements, visual-verbal arrangements and narration are interrelated. This article investigates how a reading of a «picturebook app» may differ from readings of the narratives found in printed books and movies. The discussion will be anchored in an analysis of the iPad app The Fantastic Flying Books of Mr. Morris Lessmore. This app, which is an adaptation of an animated short film, relates the story of a book lover who becomes the proprietor of a magical library.
Jill Walker Rettberg - 29.04.2014 - 06:26
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E-literature for Children: Enhancing Digital Literacy Learning
As ICT continues to grow as a key resource in the classroom, this book helps students and teachers to get the best out of e-literature, with practical ideas for work schemes for children at all levels. Len Unsworth draws together functional analyses of language and images and applies them to real-life classroom learning environments, developing pupils’ understanding of ‘text’. The main themes include: What kinds of literary narratives can be accessed electronically? How can language, pictures, sound and hypertext be analysed to highlight the story? How can digital technology enhance literary experiences through web-based 'book talk' and interaction with publishers' websites? How do computer games influence the reader/ player role in relation to how we understand stories?
Jill Walker Rettberg - 29.04.2014 - 06:37
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Hypermediacy in Garmann's summer
This paper will discuss how picturebook applications place themselves within the tradition of children’s literature. In the discussion the various ends of hypermediacy will be emphasized.
Children’s literature is characterized through a child perspective, which is a narratological means developed within literary modernism. It reflects a consideration for the child reader’s cognitive capacity. Even though the narrator may have an adult voice, the story’s point of view reflects the point of view of a child, in order that the reader may be able to recognize—or at least imagine—the story’s universe, characters, milieu and plot. In picturebooks for children the child perspective is equally dominant through the pictures and the verbal text. And in picturebook applications environmental sounds duplicates the effect. One might therefore ask whether the child perspective is highlighted in multimodal children’s literature with hypermediacy as a result.Hannah Ackermans - 03.11.2015 - 11:22
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The Numberlys: An Interplay Between History, Urban Life and Technology in a Children’s Story App
The presentation will explore narrative, intertextual and ideological aspects of The Numberlys iPad/iPhone app (http://www.numberlys.com/). The app, produced by Moonbot Studios and released in 2012, received an American Annie award for excellence in the field of animation in 2013.
The Numberlys is a fanciful tale about the origin of the alphabet. In a world where ways of organization and communication are based on numbers and nobody has a name, only a number, five friends decide to build the alphabet by transforming numbers into letters. By inventing the alphabet the five protagonists let the inhabitants acquire a personal name. Thus the app raises existential questions concerning the construction of identity and our needs for recognition.
The story is set in a futuristic cityscape inspired by the German-Austrian filmmaker Fritz Lang’s landmark 1927 silent film Metropolis. Other intertextual references include ABC books, German expressionism, popular early fantasy epics like King Kong, Flash Gordon and Superman, the Macintosh tv-commercial 1984 and more. Thus The Numberlys seems to address both children and adults.Hannah Ackermans - 03.11.2015 - 11:28
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Poétique des oeuvres hypermédiatiques dans un corpus d'adaptations de littérature pour la jeunesse
Par l’analyse d’un corpus d’adaptations de textes classiques et contemporains, l’article interroge l’hypothèse d’une poétique des œuvres hypermédiatiques, fondée sur les caractéristiques qui les constituent : leurs matières textuelles composites (et non exclusivement verbales), l’organisation des espaces de l’écran, la gestion de la page, les animations et l’interactivité.
Eleonora Acerra - 21.02.2017 - 17:34
