A Literacy Teaching Tool (Thesis)
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Transcript of A Literacy Teaching Tool (Thesis)
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on a full moon
literacy experiences & skills for young children
a literacy teaching tool
A thesis document
submitted in p artial fulfillment
of the requirements for the degree of
Master of Fine Arts in Design and Technology
Parsons School of DesignApril 2002
by
Loretta Wolozin
Faculty
Anezka Sebek
Advisor
John Sharp
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2002
Loretta Joelle Wolozin
ALL RIGHTS RESERVED
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Dedication
to
Dakota
(Piccolo)
&
All young learners
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Dedication
List of Figures
Table of Contents
Chapter 1 Argument
.1
1.1 literacy for lifelong development
1.2 literacy teaching tool
1.3 methodology debate
1.4 persistent problem: balanced approach
1.5 my background
1.6 thesis statement
Chapter 2 Learners 7
2.1 focus on young literacy learners
2.2 assumptions about learners
2.2.1 young learners are in transition
2.2.2 learners build on their prior knowledge and experience
2.2.3 young learners use all of their senses to explore, manipulate, and
observe the results of their own actions
2.2.4 young learners construct knowledge of their world by observing
and participating with other children and adults
2.2.5 all young learners are at an emergent literacy stage
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2.2.6 learners often find the transition from language to code difficult
Chapter 3 Knowledge Design I.15
3.1 knowledge design I: theory and structure
3.1.1 knowledge versus information
3.1.2 why it's critical
3.2 design questions
3.3 knowledge design challenges
3.4 knowledge design structure
3.4. 1 structure map
3..4.2 principles
p1: story-skills structure
p2 story structure
p3: skills-modalities structure
p4: skills-activities structure
p4 navigation structure
Chapter 4 Knowledge Design II ..23
4.1 knowledge design II: implementation
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4.2 vision: prototype and trajectory
4.2.1 children
4.2.2 teachers
4.2.3 classroom
4.24 curriculum
4.2.5 pedagogy
4.26 assessment
4.27 interface
4.28 animation
4.29 programming
4.30 sound design
Chapter 5 Evaluation and Conclusion.41
5.1 reflection
5.2 next steps
5.3 site-based testing
5.4 children
Appendices
A1 samples: K-1 classroom collection analyses
A2 story synopsis
A3 character dialog
Bibliography
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Chapter 1 Argument
1.1 literacy for lifelong development
1.2 literacy teaching tool
1.3 methodology debate
1.4 persistent problem: achieving balance
1.5 my background
1.6 thesis statement
___________
1.1 Literacy for lifelong development
Literacy is the umbrella for all communication: author to
reader, writer to reader, writer or artist to self and much
more. Literacy is the touchstone of learning and
development. Expression validates, challenges, gives body to
mutable thoughts. Drawing, writing, designing, speaking,
role-play, reading are all forms of literacy. Taking in
information about the world, processing it, using it,
deriving pleasure from it are acts of literacy in all
modalities. Helen Keller read the lips of her teacher with
her fingertips. Reading for survival and reading as powerful
support for all other communication literacies is
fundamental. I care about giving voice to the child in all
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of us. With literacy, continuous growth and change
throughout the lifespan is possible.
1.2 Literacy Teaching Tool
My project, On a full moon : literacy experiences & skills
for young children, is a literacy teaching tool for young
children and their teachers. Intended for classroom use,
its primary audience will thus be 4-6 year old children in
PreK-Kindergarten through lst-grade classrooms and the
educators who work with them.
1.3 Methodology debate: rationale for tool
The debate in education about the best approach to teach
reading is the impetus for my thesis project . An
understanding of this debate and its context is critical for
understanding my motivation and my rationale for the
pedagogical construct I invented. I describe my construct
in Chapter 3: Design I.
First, here is a brief description of the context. My
project lives in the complex world of reading methodology.
While that may sound fancy, it is hardly a world for
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specialists only. The communities of interest and power
include:
school personnel : teachers, reading specialists,
administrators, special educators
the research community
parents and family
politicians & policy makers at all levels (federal,
state, district, school, community, industry and other
organizations)
K-12 education associations; (key reading associations:
International Reading Association (IRA), National Council
Teachers of English (NCTE), American Library Association
(ALA), College Reading Association (CRA); key curriculum
associations: Assocation for Survervision & Curriculum
Development (ASCD), and many others
4 Publishers (K-12 reading programs; teacher education
texts; trade; test/assessment publishers)
The reading debate became hot in the early 1980 's . I have
documented conditions that gave rise to the methodology
debate in my MFADT research paper "How children learn to
read: perspective on methodology & the reading wars."
Briefly, educators lined up behind two approaches and two
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strong leaders in the reading field: (1) Jeanne Chall
(Harvard) proponent of phonics and (2) Kenneth Goodman
(University of Arizona) creator of whole language. The
argument:
The phonemics-skills approach (popularly known as
"phonics"). This approach places emphasis on explicit and
systematic instruction of alphabetic sounds and symbols,
supporting children's ability to sound out unfamiliar words
when reading.
A skills approach is typically broader than phonics
alone, and includes such strategies as
words recognized immediately on sight
context clues
phonics - sounding out
structural analysis
dictionaries
(Burns, 2002)
The whole language approach -- places emphasis on
children's own language (speaking, mark-making, singing).
Educators who advocate this approach will immerse children
in story, rhymes, writing, and language activities to build
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their concepts about print, word knowledge, and
understanding of the meaning or message of narrative and
expository text, focussing on
children's knowledge of how the world works
the possible meanings of the text
the sentence structure
the importance of the order of ideas, words, letters
the size of words or letters
features of sound, shape, and layout
2 prior knowledge from past "story" experience
(Clay, 1994)
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figure 1.1.
Reading became a national policy issue in the late 1980's on
publication of "Becoming a nation of readers" (Anderson,
1985). The methodology debate became a partisan theme.
This illustration, heading an incisive report in The
Atlantic Monthly is a telling graphic (and poor johnny can't
read, has a red nose, very little hair, and teacup ears!).
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figure 1.2
In 1998, a report comissioned and issued by the National
Research Council mediated an incomplete truce. The 390 page
report, Preventing Reading Difficulties in Young Children,
recommended children learn to read through explicit phonics,
but it also urged daily exposure to literature and attention
to reading comprehension. The report advocated balance.
During the Clinton administration, The Reading Excellence
Act , started under the elder Bush. was signed. It
mandated:
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Teach every child to read by the end of third
grade.
Provide children in early childhood with the
readiness skills and support they need to learn to
read once they enter school.
Expand the number of high quality family literacy
programs.
Provide early intervention to children who are at
risk of being identified for special education
inappropriately.
Base instruction, including tutoring, on
scientifically-based reading research (Source:
Federal Reading Excellent Act)
1.4 Persistent problem : achieving balance
What might be self-evident was documented by reports named
above and research. Noteworthy support for balance was
reinforced by the highly-respected, commissioned, meta-
analysis of research by Marilyn Adams of Bolt, Baranek and
Newman (a think tank in the Boston area) (Adams, 1991. But
many factors prevent teachers' from taking a truly balanced
approach. These include
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politics of reading & current standardized assessment
mandates
interpretations of balance
assumptions underlying commercial programs
constraints of print materials to teach story and skills
dynamically
habituated practice
belief systems: philosophies about learning and learners
1.5 My background
As education editor at Houghton Mifflin for many years, I
became aware and troubled by the debate and ensuing
politicization of literacy. My background includes a
California Teacher's Credential to teach high school
English. Love of story -- reading and writing -- have been
an anchor, throughout a tough childhood and many single-
parent years. In the early 1990's, I studied design and
drawing at the Boston Architectural Center (BAC) and
discovered new literacies. My model for lifelong learning
was my mother, who went back to achool in her fifties. In
After earning a B.A. in anthroplogy and an M.L.S (in Library
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Science), she founded a library for Native- Americans in
San Jose (CA. When federal money ran out, she became an ESL
teacher to immigrant adults in the Mountain View Schools
Continuing Education program. Working out my own
development, by coming to Parsons to learn a new language so
that I could support children's literacy learning, seems
like a perfectly natural thing for me to be doing.
1.6 Thesis statement
This project is a pedagogical construct, unifiying story and
skills approaches to teaching reading , for use by children
and their teachers in pre-kindergarten through lst-grade
classrooms.
Chapter 2 Learners
2.1 the focus : young literacy learners
2.2 assumptions about learners
2.2.1 young learners are in transition
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2.2.2 learners build on their prior knowledge and
experience
2.2.3 young learners use all of their senses to explore
2.2.4 young learners construct knowledge of their world
by observing and participating with other children and
adults
2.2.5 all young learners are at an emergent literacy
stage
2.2.6 learners often find the transition from language
to abstract code difficult
____________
2.1 The focus : young literacy learners
The focus of On a full moon: literacy experiences & skills
is foremost on learning needs of young children.
Regardless of what else swirls in the pedagogical air that
teachers, children and their parents breathe, my
overarching aim for my project is guided by young
children's development. This has meant -- and will
continue to mean -- building on what I know about young
children's thinking, psychosocial, and physical needs.
Some key questions include:
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What engages children?
What worries children?
What helps children explore their world?
2.2. Assumptions about learners
The assumptions below are not meant to be all-inclusive.
Rather, they represent core assumptions of special
importance for development of my thesis project. These are
my distillation from multiple research sources on "active
learning" perspectives. Active learning is an umbrella for
cognitive approaches sharing basic assumptions about how
learning happens and deepens (Grabe, 2000). To give you a
quick idea of why the umbrella is useful, here are some of
the labels for its variant cognitive positions :
constructivist, social constructivist, constructionist,
meaningful learning, discovery learning, receptive learning,
generative learning, anchored learning, situated learning -
- and there are more!
assumption 01
2.2.1 young learners are in transition Through
the Language, Literature and Emergent Literacy
course that I took at Bank Street during the
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summer 2001 , I learned that children's transition
from their natural language to code was but one
big change amongst many. An even larger
transition for children of this age is going
from a home environment to school. Children in
pre-k-kindergarten classrooms are just beginning
to experiment with who they are in the larger
world.
".Young children experience multiple transitions
each day as they move from home to the early
childhood setting and also as they move from one
activity to another throughou tthe day. It has
been estimated that transitions can take up 30% of
the total time that children spend in an early
childhood setting" (Hull, quoting Berk, 2001).
Thus, as the teacher builds a literacy program for
the classroom, the focus must be on
developmentally-appropriate, best practices.
Guidelines from the National Association Education
of Young Children (NAEYC) are followed by most
public and accredited private early childhood
classrooms (Bredekamp, 1997 ). Mindful of the
four-six year old child's developmental
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transitions, I have brought the theme of routine,
placeness, ownership, autonomy, social awareness
to the writing of my first story in my project:
Piccolo's Lilypad. (Discussed further in Chapter
4).
assumption 02
2.2.2 learners build on their prior knowledge and
experience This assumption forms a bridge from
assumption 01 about transition. When teachers hone
in on what the child is bringing to the new
learning experience, they maximize the
opportunities to facilitate learning. Teachers are
working with this assumption when they engage
children in dialog about a story prior to reading
it. Here is a typical such dialog:
hypothetical teacher -directed exploration of children's prior knowledge
"Piccolo's Lillypad.hmmmdoes anyone know what a lilypad
is?
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"Ohyou've seen one? Can you tell us where you saw it?"
"Wateryesthe lilypad was in the watermaybe it was a
pond."
This this story is called "Piccolo's Lilypad" I wonder who
is Piccolo? Does anyone have any ideas
Cognitive science today emphasizes the concept
"understanding" -- which puts the onus on the study of
how we come to know. According to the findings of the
recent, highly-respected NRC study on the science of
learning :
".Humans are viewed as goal-directed agents who
actively seek information. They come to formal
education with a range of prior knowledge,
skills, beliefs, and concepts that significantly
influence what they notice about the environment
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and how they organize and interpret
it".(Bransford et al, 1999).
assumption 03
young learners use all of their senses to explore,
manipulate, and observe the results of their own
actions . Developmental psychologists sometimes
refer to "the whole child" when describing the
transactions of cognitive, psychosocial, and
physical development. Seminal theorists as Piaget,
Vygotsky, Dewey, and Bruner describe young
learners as actively testing hypotheses - as
experimenters in their discoveries of the world
around them. My rationale for making modalities -
- "listen and do", "write and draw" and "record" -
- the primary routes to the activities and lessons
in on a full moon is (a) to support the young
child's avid use of his or her senses in learning
and (b) in response to research on reading and
writing transactions (Rosenblatt 1938/1983 ) as
powerful movers in children's literacy learning.
assumption 04
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young learners construct knowledge of their world
by observing and participating with other children
and adults. This is a key tenet of both Piaget
and Vygotsky -- with Vygotsky coming down more
heavily on the importance of social mediation. In
my project, I will design activities that
encourage cooperative learning amongst young
children as this is an important strategy for
moving children into realms of knowledge
construction.
assumption 05
all young learners are at an emergent literacy
stage Understanding the difference between how
language develops and how reading competency
develops is important for understanding the
concept of emergent literacy. Language develops
naturally -- as in intrinsic process -- for all
children in all cultures everywhere in the world
All babies babble -- the first form of talking.
(Chomsky, 1965). Whereas language unfolds
naturally from within the child, reading is "a
matter of opportunities to learn about a very
This, of course, leads to the common knowledge
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that the classroom should be a print-rich
environment, with lots of signs, symbols and books
that will help children become familiar with the
code and conventions of print and literacy.
Some children come to school at ages 4 or 5
knowing a little about reading and writing and
some come with virtually no experience at all.
Those who know very little may have had 'little
opportunity or encouragement.' Perhaps
the young child who has little formal knowledge of
reading and writing found those symbols to be
confusing in their own right and/or withdrew from
some preliminary confusing instruction attempted
by a parent, teacher, or big bird. Whatever the
reason, children enter school with vastly
different prior experiences and knowledge.
Children are all ready to learn something, but
are starting from different places (Clay, 1994).
As a wise kindergarten in Bordentown, New Jersey
said to me recently:
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"children don't need to be readied; I need to be
ready to teach them given their prior experience"
(Liz Brotherton, Kindergarten Teacher).
assumption 05
learners often find the transition from language
to abstract code difficult . As mentioned earlier
in this document, young children are going
through many life-change transitions. (As non-
developmentalists, we rarely acknowledge the life-
crisis of the 5-year old!). Imagine, however,
that you are the child in the scenario below.
Sense the decoding task from the child's
perspective:
You are 5 years-old -- a big person with a backpack ,
stuffed with a special pencil pouch, notebooks ( and your
favorite beanie baby). You just started "big school" --
brother's school. You love to talk, invent and listen to
stories. You even know how to say your ABCs. One day,
you're sitting on the story rug in reading circle,
listening to a funny story about Babar the Elephant.
___
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Miss Vicky says: "LJ what's that word?" You look
desperately at the picture, and proudly say "elephant"
___
Miss Vicky: "well that is a picture of an elephant, but
that's not the wordwhat is the first letter , what does it
start with?"
___
You put your hand on your head, screw up your face into a
wrinkly pucker, and you think, and you think :
___
"uh, uh mmstart withit starts with a long stick with two
stomachs"
The alphabet is code: mysterious symbols. In the English
language, that code takes on many guises when combined into
patterns called words. To the very young child (2-5) at
emergent literacy stages, the code is hieroglyphic:
arbitrary, marks with no greater significance than
scribbles.
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Reading is a complex process of making meaning of print
symbols. "Nine aspects of the reading process -- sensory,
perceptual, sequential, experiential, thinking, learning,
association, affective, constructive -- combine to produce
reading with understanding of intentional or implied meaning
of text or image (Burns,Roe,Smith, 2002). To read is to
understand. Decoding sounds and symbols in parts or whole
(words) does not a reader make. But the route to meaning
requires skills.
In sum, although there are many other factors related to
learners, learning, and learning to read. I believe the
core list in this chapter provides a framework for tenets
that undergird my project. My intent with its structure
(construct), story, activities, navigation choices is to
create a pedagogically sound program that will engage
children and support teachers in their literacy instruction
in classrooms.
Chapter 3 Knowledge Design I
3.1 knowledge design theory
3.1.1 knowledge versus information
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3.1.2 why it's critical
3.2 design questions
3.3 knowledge design challenges
3.4 knowledge design structure
3.4.1 the map
3.4.1.1 principles
p1 story-skills structure
p2 story structure
p3 skills-modalities structure
p4 skills-sctivities structure
p5 navigation structure
_________________
3.1 Knowledge design theory
My thinking about project work has been heavily influenced
by the theories and projects of David Perkins (Harvard) and
Rich Lehrer (University of Wisconsin, Madison); both are
cognitive theorists and researchers. David Perkins seminal
work is Knowledge as Design, Rich Lehrer's early technology
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projects on hypermedia and history were my first
introduction to cases of the theory (Lehrer, 1987).
3.1.1 Knowledge as design versus information
Everyone has information - lots of it - or has multiple
ways of getting it, especially in today's information
media age. Information can be as basic
as knowledge of what day of the week it is or as
specialized as a the elements on a chemistry chart.
But to view knowledge as design rather than isolated
pieces of information would mean to consider it as
"structures adapted to a purpose(Perkins, 1986). In
the architecture or product design world, for example,
we can easily see what it meant. A screwdriver is an
example of a design adapted to an easily-understood
purposeful use as a tool (Perkins, 1986).
To consider an intellectual or cognitive construct as a
design is a bit more abstract . But there are some
obvious cases that help make the point about design.
These would include representations of mental models
such as Einstein's theory of relativity or maps of any
kind, including those we construct in this MFADT
program to represent the structure -- hierarchy and
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relationships -- of the ideas that make up our design
technology projects. A useful logic of knowledge as
design is offered by the originator of its theory,
David Perkins:
knowledge is usable
use denotes purpose
purpose denotes design
3.1.2 Why is knowledge as design critical ?
To adopt a knowledge as design perspective is to take
an active approach to thought and adaptation of the
multiple bits and pieces of information at our
disposal. Knowledge as design connotes by its very
definition a cognitive-constructivist approach that
assumes learning happens and deepens when users
generate knowledge. Viewing knowledge
".as information purveys a passive view of
knowledge, one that highlights knowledge in
storage rather than knowledge as an implement
of action" (Perkins, 1986).
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3.2 Knowledge design questions
I organized my thinking and work for my literacy project by
a knowledge as design perspective, asking four design
questions as proposed by Perkins:
1 What is its purpose (or purposes)?
2 What is its structure ?
3 What are model cases of it?
4 What are arguments that explain and evaluate it?
My purpose, as explained in Chapters 1 and 2, is to maximize
young children's literacy learning by inventing a
pedagogical construct for marrying diverse approaches to
teaching reading. Identifying and representing the context
(the first two stages of problem solving models) does not
automatically present a solution. In fact, there are few
teachers, researchers, or specialists who would argue with
the idea of a cohesive methodology. Many practitioners
strive to achieve this end only with varying degrees of
success because of constraints briefly discussed in Chapter
1. I saw the need for a viable structure or framework for
helping teachers achieve greater balance in their classroom
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reading methodology. A sound, workable structure is the
focus of the remaining portion of this chapter.
3.3 Knowledge design challenges
Using a theory of knowledge design meant I must account for
the "knowns" in all key domains related to children,
teachers, classroom, and curriculum. This is indeed a
complex matter. My education background gave me an
overview. My research in the past year has included
reviewing the most recent Reading Reasearch Handbook (Kamil,
2000). I got much insight and content from many sources,
including the Bank Street College of Education course I took
(summer, 2001) on emergent literacy, and the observations I
have done in the past several years in classrooms. These
experiences , however, represent only a beginning. My
consultation with experts , specifically, Bill Stokes of
Lesley College (Cambridge, MA) , about the pedagogy -- its
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scope, balance, accuracy -- has just begun. In short, the
knowledge design challenge is just that!
3.4 On a full moon is composed of multiple, interrelated
structures. These structures represent a purposely-
knit set of relationships -- taken together : a set of
principles. I will discuss the structures and
correlate-principles as design.
3.4.1 map and principles
This map provides a schematic of the architecture for
my project.
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figure 3.1
p1 story-skills structure
The program 's interface has complementary sides:
(1) story and (2) skills. My intent is to
reinforce the association between the story and the
skills, which, by design, will also emerge from the
story. Theories of relevance and meaning, such as
those of Dewey (project-based learning) or Bruner
(discovery learning), have been extended by the
cognitive researcher, John Bransford, with his
research on "anchored learning." An anchor,
briefly, is the departure and return point for
structuring (scaffolding) a learning experience .
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Bransford founded the Vanderbilt Cognition,
Technology, Learning Center, where he and colleagues
created anchored learning technology applications
such as Jasper Woodbury (a mathematics problem
solving DVD) and Ribbit and the Magic Hats -- a
multimedia program that had a major impact on my
work (Bransford et al, 1987) . Thus, my story,
Piccolo's Lilypad is the anchor for literacy lessons
on the skills side of the interface.
p2 story structure
Structure of a story is a defining characteristic of
the concept of narrative. Learning about the
convention of story structure is an important
literature skill. Thus, in my project, children will
stay within the story interface minimally
throughout one scene. At the end of each scene,
children can make a choice: continue to the next
scene or move to the skills interface for literacy
lessons. From the skills interface, a return to
story is always available. My key point here is
that each scene in itself retains its integrity as a
way to reinforce the concept of a narrative.
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p3 skills-modalities structure
figure 3.2
The functions that drive the skills side are:
"listen and do", "write and draw", and "record".
( Note: I have decided to combine "write and
draw" shown separately above (Farnan, 1999). )
The modalities -- auditory, tactile, expressive --
are especially important for young learners, who
are "concrete-operational" (Piagetian key concept)
in their ways of knowing. The transition from
natural language to abstract code can be
facilitated by using strategies
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that involve the child's storytelling. The
child's storytelling can take place through
language, drawing, writing (mark making), play
acting. A great strategy I have observed many
times is that of the teacher writing the child's
version of the story as dictated by the child.
The teacher then uses the child's own words to
deliver instruction. That instruction could be on
any skill from initial /end consonants, sight word
knowledge, etc. These modalities or functions in
my project provide parallels to those in analog
materials and extends them.
p4 skills-activities structure
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figure
3.3
The graphic above shows each modality (bee, snake,
cricket ). Butterfly's function (draw) will be
combined with write. The butterfly icon will be
deleted. Three activity types are now defined for
"listen and do" -- the bee's function. These are:
(1) how many beats? (2) sound board (3) what
comes next? (a story structure activity). I have
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completed structures, graphics, animation, sound
and programming for "how many beats?".
p5 navigation structure
The primary navigation enables users' choice of
story or skills experience:
moon: on the story side - - as the story scene
progresses, the moon changes from a crescent to
a full moon; when the moon is full on the
story side, it is clickable; children can shift
to activities or continue with the story; on
the skills side -- the moon is always full;
children can freely move back to the story
leaf : the leaves on the branch of the tree
denote the scenes in the story; when scene one
begins, the scene one leaf has fallen; when
scene one ends, the scene two leaf falls;
children can choose to continue story by
choosing leaf two ( for scene two) or go to
the skills side by clicking the full moon .
They can also choose the scene one leaf, to
repeat scene one. From the story side, scene
one, here are beginning and ending frames
showing moon & leaf changes. The full moon is
the major navigation cue for the program,
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indicating a change between the story and
skills interface is possible. The scene leaves
are inter-interface navigation cues. Only at
the end of whole scenes can children shift to
activities. major navigation cues.
figure 3.4
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Chapter 4 Knowledge Design II
4.1 vision
4.2 prototype and trajectory
4.2.1 children
4.2.2 teachers
4.2.3 curriculum
4.24 pedagogy
4.2.5 classroom
4.2.6 assessment
4.2.7 interface
4.28 animation
4.29 programming
4..30 sound design
4.3 multimedia advantage
____________
4.1 Vision
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My vision for on a full moon is that it be an integral part
of the everyday learning resources of prek-lst grade
classrooms. To achieve this end, my program must meet
requirements regarding learners and design. I have provided
brief background on these topics in Chapters 2 and 3. In
this chapter, I will show
4.2 Prototype and trajectory
4.2.1 Children . As described in Chapter 2, a
developmentally-appropriate environment is critical in
early childhood education. In fact, many early
childhood experts say that the true curriculum of
education for the 4-year old is development:
cognitive, psychosocial and physical.
(Branscombe,2000). This becomes apparent when you
realize how integrated these domains are in so many of
the tasks that young children engage in. For example,
learning to tie a shoe is a cognitive, physcial, and
social-cooperative task. Consider the difference in
the upper elementary grades, where content domains like
math or science create separate (albeit artificial)
learning worlds.
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>prototype. Here are examples from my protototype that
demonstrates my focus on who children are at age 4-6:
Character Design & Story : Piccolo - hand-drawn with
ink and water-color wash, Piccolo emerged from a shaky-
hand and reams of newsprint drawings. He's small-
boned, with overly-long frog legs , but graceful. He
has balletic and theatrical ways and a major
difference from other frogs: he does not have a croak
voice; only
a musical piccolo-like high voice. He is shy but
longs to be part of the frog life on the pond.
Piccolo is sad. His differences have put him on
the periphery, watching daily from his special
lilypad.
This story is now in its second version. I
created it originally as part of my Bank Street
early literacy course last summer. Feedback I
received from my instructor, Dick Feldman, was
enormously helpful in shaping its revision.
Themes I have woven into the narrative are of
routine, ownership, placeness and security -- all
primary in the young child's world.
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Cyclops. Cyclops is a blustery-mythical creature
unlike any native on the pond. He has one-eye
and one-horn and magical power to transport
himself and others to mystical far-away lands.
Cyclops,
too, shares Piccolo's sense of "weirdness" in
relationship to other creatures, but has learned
to use his one-eye to achieve his inner vision.
Through his adventures with Piccolo, he helps
Piccolo understand a little more about himself.
He also gives him encouragement and resources to
call on whentrying to make friends and join the
others on the pond. Cyclops (ultimately)
represents a hybrid parental-teacher figure, all
important for young children in their transition
from home. Many teachers of young children affect
the role of caregiver, which is an appropriate
role for 4-5-year old children in classrooms.
(Hull, 2001).
>trajectory : more stories. I envision creating
more stories and also including public domain
rhymes, folktale, and easily-permissioned quality,
children's stories. These will form a data base
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of stories for unit and lesson plans for the
teaching of literacy through the activities on
the skills side. The animation for this story is
at its very early stage, having been my first. I
anticipate making the animation smoother and more
natural, by using movable parts of my characters
instead of only a few whole motion-capture
drawings.
4.2.2 Teachers. Teachers are the pivotal
decision-makers regarding children's learning.
All of the mandates and assessments cannot remove
the autonomy and power teachers have in their
intimate, daily relationships with children.
Therefore, giving them flexible, and modular tools
to work with is important. It needs to be easy to
grab a story, a minilesson, or record an activity.
Lots of easily-chunked, small lessons that can be
tailored to individual needs are a requirement.
>prototype: "how many beats" is a phonemic
awareness segmenting and blending skills-activity.
With the skills activity : "how many beats"
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teachers can guide children from easy one-syllable
to more difficult two-to-three syllable words.
>trajectory: In real classrooms, teachers take
the story words and use them as the basis for
literacy skills activities: writing, responding,
predicting. The lessons I am planning, will build
inan integrative way, flowing from story words and
themes. My goalis to create a repertoire of
easily-accessed lessons for flexible adaptation,
given individual childrens' needs.
Teachers' administrative function. An important
part of my vision, is the teachers' presets for
both story and skills. For example, on the story
side, teachers will be able to set
story with print words only on the screen
story with audio dialog and sound
story with sound and print
story with pantomime and music only
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These preferences will reflect both the lesson
plans for whole group instruction and individual
child-use and learning need.
On the skills side, teachers will be able to
select parts of activities such as the word-sets
they want children to work with for, say, the
activity "how many beats?"
4.2.3 curriculum. Buckets and bins, shelves and
closets are required in the early childhood
classroom because they hold the curriculum!
Blocks, unifix cubes, multiple notebooks --
journals, word books, drawing books, writing books
-- upright in boxes, puzzles, bins of children's
stories organized by unit themes (ponds, the
senses, animal homes, ) represent the teacher's
classroom collection. The curriculum is
delivered in small bites and easily-integrates
(1) disciplines (math, science, literacy, ) (2)
modality: writing, speaking, acting, drawing, etc.
>prototype The skills area purposefully
provides for the multiple senses: auditory
("listen and do"); cognitive/tactile ("write and
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draw"); expressive language and song ("record.").
The curriculum is purposefully modular . While
there will be meaningful groupings by type of
activity and difficulty, there will not be an
imposition of sequence. Unlike mathematics,
there are many sequences and many, many paths that
children take to achieve literacy profieciency.
Teachers need to choose what's right for the child
at the right time!
>trajectory Knitting together the loose weave of
skills for initial
knowledge to deeper understanding of both word and
story meaning is hugely-ambitious. As
mentioned previously, I will be consulting Bill
Stokes at Lesley College, who is the head of the
Hood Literacy Project there and an expert in the
domains of child development, special education,
literacy, and English as a second language. Here
is
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a partial taxonomy, I created for activity-types
across modalities, extending from scene 1 of the
story.
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Figure 4.1
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4.2.4 Pedagogy. Pedagogy refers to methodology:
instructional strategies and tactics. The
pedagogy in on a full moon is intentionally
"active." That is, strategy comes from a
cognitive perspective, facilitating the child's
engaged and active construction of his or her own
knowledge. This is based on the theories of
Piaget, Vygotsky, Bruner and much contemporary
many contemporary researchers already cited such
as Rich Leher, John Bransford, and David Perkins.
>prototype. "how many beats" is an example of
cognitively-oriented strategy. Children must
intentionally choose the word, drag and drop it,
think, and initiate the beating action. The
child decides when they are done by clicking the
bee. Individual difference in children makes it
necessary for the child to so indicate.
Otherwise, you have the nasty consequences of
adult experts or software developers deciding
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about the proper time on task. (For true in-
attention to task, I am planning a time-out voice
a bit like the Carmen San Diego radio guy who
calls "are you there?"). To further reinforce
the importance of the bee-click when done, I
continue to be reminded of the time when Dakota
was only 4 and using the Reader Rabbit software,
which is intrepidly behavioral. The decoding
chick emerging from an egg (a segmenting-blending
activity) decides when it's time-out and tells the
answer. Dakota was very annoyed because he
hadn't yet answered the question. With a
frustrated look, Dakota said "what's wrong with
that guy: does he think I'm STUPID?"
>trajectory . The activity types for "listen and
do" are
how many beats? (phonemic awareness: syllable
segmenting and blending )
sound board (word families, beginning-end
consonants, etc)
what comes next? (story structure)
I have general plans for activity types for the
other 2 modalities: ("write and draw" and
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"record"). I have decided to combine "write and
draw" based on an observation I did recently in a
kindergarten at The Lambertville Elementary
School (NJ) and research on the transactions of
mark making (Farnan, 1999).
4.2.5 Classroom. The scale and center-oriented
arrangement of early childhood classrooms makes
the desktop computer clearly an appendage -- most
often stuck in a corner, unused and even abused
with stuff on top of it or stuck to its screen
(Kindergarten at Peter Muschal School,
Bordentown!). Here is a typical early childhood
classroom , reading center setting.
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figure 4.2
>trajectory. My vision is that the physcial
interface for on a full moon will be a
touchscreen embedded in an adaptation of
KinderTable, invented by Soojin Choi (MFADT,
2001).
I am currently collaborating with Soojin and
Sharon Sherman, Chairperson, Elementary
Education, College of New Jersey on site-
based classroom research with KinderTable in
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several New Jersey public schools. Here is
my report on some of our early findings:
PRELIMINARY FINDINGS
Below are questions guiding some preliminary
findings of our emergent classroom research
of KinderBoard on KinderTable (Choi, 2001).
These are examples, touching on the larger
issue (or picture of) how KinderBoard on
KinderTable could be used in classrooms. How
is the table interface and touchscreen
appropriate for the classroom learning
environment is the overarching question.
does KinderTable support collaborative work
amongst children?
KinderTable seems to support a maximum triad
of children for on-task collaborative work.
Interestingly, it also invites on-lookers,
sometimes children spread-eagle across the
table to see what's going on. We have
observed that teachers need to thoughtfully
pair children (per commonly-known research on
cooperative learning.) For the most part,
children are cooperative with one another - a
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value of the classrooms in general. The range
of reasons for some children overextending at
the table include:
END EXCERPT
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4.2.6 Assessment. Assessment is a big policy
deal even in early childhood classrooms.
Standardized measures of isolated sound-symbol and
word knowledge are being mandated in almost every
state. During my observation in the fall, 2001, I
saw a wonderful PreK-K teacher in a progressive,
public school administer a decontextualized,
phonics assessment from the McGraw Hill Literacy
Assessment System to a 4-year-old boy. Noticing
my dismayed look when she sat the child down, she
said to me:
'I was supposed to do this in September. I waited
until December. I make it like a game. Yes, I
know, it doesn't match my instruction. But I have
to do it. ' (anon).
>trajectory. I plan to create a formative assessment
component for my program. Formative assessment
collects information throughout the learning process
and is most useful for instructional planning and
decision making (Salvia-Ysseldyke, 2001) . My goal is
to get permission from Marie Clay to adapt some of her
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seminal observation surveys and to develop a print
component for teachers to use while working with
children with On a full moon . (Clay, 1993).
4.2.7 Interface.
The graphical interface also represents a
pedagogical principle. I have decided to use the
natural environment of the story, including
setting the activities in pond-plant-life, to
reinforce the organicism that I am trying to
achieve with the entire construct. Thus, for
"listen and do" the activities are embedded in the
wild roses. In the "listen and do" activity "how
many beats?" the child clicks the middle flower
and word-petals are strewn around the environment.
A drum also emerges simultaneously (in a child's
world and in a multimedia world
these fantastic occurences make perfect sense!).
I have done the drawing by hand for the program.
I started to draw as an adult, studying at first
with a printmaker on Martha's Vineyard some 10
years ago. For 2 years at that time, I studied
design and drawing at night at the BAC spent many
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a lunch hour drawing sculptures at the Boston MFA
and becoming intensely "drawn" to this novel (for
me) way of thinking and expressing myself. As my
professional job became more and more demanding,
and I couldn't figure out what to do with my new
found zeal, I stopped drawing. This December
end, in a panic, I realized that I wanted and
needed my program to have the verisimilitude of
story that I love, that children love, that all of
us love. With the help of an artist, I received
some coaching (a pencil pouch, a drawing pad) and
some models to work with over the Christmas break.
Piccolo and his world were born.
My intent for the use of hand drawing is to
maintain an authenticity and feeling of the spirit
of children's books. In my case, I believe there
to be a naivete in my drawings that children seem
to respond to. My longer-range vision is to work
with an artist-animator who can both draw and
animate other stories to be included in this
project. Story is the anchor for learning in On
a full moon.
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Technical note: the pond is a scanned piece of high-rag
water color paper; then broken apart with the trace
bitmap function. Once broken, the rag wedges (now blown
up) became a lacework. I placed a dark grey background
under the lacework and shaped it into an ellipse to form
the pond.
The tree, in this story, is the anchor graphic for both
the story interface and the skills interface. For
other stories, in the future, I would expect a
dual interface to grow from the story setting just as
it has for Piccolo's Lilypad. Below is a screen dump
from the skills-side interface. Chapter 3 includes
examples from the story-side interface.
figure 4.2
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4.2.8 Animation
To prepare for my simple animation of Piccolo's
Lilypad, I studied character design using Faith
Hubley and others as inspiration. I drew and drew
- a character pose a minute for 30 minutes each
day during the Christmas break. The characters
and the setting started to emerge. I was having
fun.
figure 4.3
I decided to draw my main characters in several
whole motion-sequences.
In retrospect, I believe I should have done the
parts-motion approach as I think the animation
lacks variety. This was my first animation, and
I am eager to take on animation seriously as I
realize (a) how great a tool it is for telling
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stories (b) I enjoyed every grueling minute of
putting it together.
4.2.9 Programming
The programming is with Flash 5 functions
(animation) and action-scripting. A primary
challenge for me is to use Flash more efficiently
to reduce memory. Although I instantiated objects
for commonly-used graphics, I believe I can
improve in this area withexperience, especially
with animation. The drawings were purposefully
done in black ink to keep color at a minimum.
Interfaces (story and skills) are black and white.
BUT, I did get carried away drawing my tree with
lots of ink on a stick, and memory-hogging color
was introduced in the flora of the skills side.
I want to look at all factors before making any
decisions about how to reduce file size.
Related to the pedagogy and programming, I need
to think way-ahead about what makes sense from the
teaching and learning perspective. For example,
it is critical to program the bee as an
intentional click when the child is done with the
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beats activity: To give the child feedback (right
or wrong) for the beats activity, it's necessary
to know that the child is done! To assume a fixed
amount of wait time -- which many commercial
software programs do -- countermands sound
instructional practice. Thinking through as many
variables as possible is important, but I realize
that the true test will be with children and
teachers. I expect adjustments will need to be
made.
4.30 Sound design.
I spent a lot of time thinking through and
experimenting with alternative treatments for the
story animation, transitions, support for major
functions like the insects (modalities) on the
skills side. Although the sound for the
prototype is a scratch disk, I believe I have a
model. For the story side, I chose Glenn Gould
doing Mozart (like no one else does) frenetically,
which works well
for Piccolo's race around the pond. For the
skills side fade up and accents, I chose some
Thelonius Monk sounds. My plan is to
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commision a composer and ultimately own original
music for
the program.
The character dialog was recorded with a Sony DAT.
All sound editing was done with Pro Tools.
4.3 Multimedia advantage
I believe that multimedia provides advantages for my
construct. These distinctive advantages include
transition from story mode and skills teaching mode is
relatively seamless: providing balanced materials based
on story requires time and work for teachers.
Typically, the teacher reads a story on the reading
corner rug and follows that up with a table-top activity.
Teachers dedicated to a literature-language approach will
create those lessons and materials. But increasingly,
especially with the isolated skills-teaching mandates,
teachers concommitantly resort to isolated, de-
contextualized worksheets. My program makes it possible
for teachers to move back and forth between story and
skills and choose from a palette of skills that includes
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phonemics and/or story-meaning activities. (There will
be many other literacy experiences provided as well).
flexibility regarding children's individual needs,
curriculum fit, or learning style: multimedia offers
tools such as record; senory experiences with sound,
perceptual motor with clicking and/or touchscreen
manipulation, recording and tactile experiences with
drawing and writing tools.
animation , sound, and playing with computer-objects
engages children
Children love to push buttons, manipulate objects, sing
and hear their own voices. In my opinion, multimedia was
made for children.
provides a dynamic framework for children's and
teacher's choices within a pedagogically sound
structure. Choice is a high-priority concept in early
education. All daily curriculum includes some form of
"choice time" (variously called: learning center,
stations, work place (Branscombe, 2000). Teachers,
also, need to be able to choose within a repertoire of
strategies for children's individual learning needs.
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multimedia feature for future development would include
print, portfolio function for aggregating work within
the program, and a robust data base for sorting skills,
stories, words, and resources for teacher education.
Chapter 5 Evaluation and Conclusion
5.3 reflection
5.4 next steps5.4 site-based testing
5.5 children
________
5.1 Reflection
evolving doorThe amount of time dedicated to concept
formulation, research, classroom observation, knowledge
design and implementation for On a full moon has been less
than one year. An indicator of how much its concept has
evolved might be its name changes. First it was Red
light/green light. Then it was Once upon a little bird; and
now it's on a full moon. Good thing, too. I'll bet those
birds would have been tough negotiators. What didn't change
was that it's all about trying to facilitate balanced
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literacy instruction through easily navigable sides: story
and skills. It's all about navigation?
light begins to dawn my thesis advisor talks, and I really
start to hear and/or see the implications of some
fundamental experience design concepts. In our most recent
session, we talked about user expectation, decision
points, visual syntax , controller vs representer, cuing
in both aural and visual ways on the same object, pace and
pass through, weighting emphasis even moreso with an added
cue on the moon -- the obvious big guy in the program;
gathering up all instructions so they don't spill over
objects (when they're not supposed to); behavior
vocabulary; whether or not the sequencing system of the
"beats" activity is intuitive or notit's so interesting and
so hard to operationalize these ideas when immersed in both
"newness" and process; but I do realize it's a recursive
process. I think my advisor understands emergent literacy.
Will children like it? Liam wrinkled his brow in a worried
frown during the story. That's a good sign.
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Will teachers use it? I envision the need for an easy-to-
use data base -- and teacher support: more than just print;
probably workshops. If the kids use it,
they'll show the teachers.
Will the blend of activities and tool functionality be
widely-embraced? Teachers will need to use the program to
generate curriculum -- not just rely on content provided.
I need a lot more learning: animation and programming.
Drawing, too.
5.5 Next Steps
Development: Prototype Scene 1
Graphical charts
For all parts below -- place-holders while scene 1 is under
development.
Skills:
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Activities for the mode, " Listen and Do": "sound board" and
"what comes next?" are under development.
Story
Scene 2
Flesh out narrative
Write character dialog
Draw characters - parts
Record with Dakota
Select /create sound design
Digitize and edit
Animate
Guide to the Program
Navigation guides
5.6 Site-based testing
Site-based testing of the prototype will be of the utmost
importance.
Child-testing
I will concurrently with the above, test the main page,
titlescreen page, story-scene1, and skills interface with
"how many beats?". This will take place June-August.
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5.7 Children
"Young children are at-risk if they start relying on a
narrow range of strategies , inventing from memory, pecking
at isolated bits of information paying little attention to
visual details , looking so hard for words he/she knows,
guessing words from first letters, forgetting what the
message is about (Clay, 1993)."
This is a fearful spectre -- especially in today's
politicized education climate. Children are the reason for
on a full moon.
__________
Appendix A3
Character Dialog
Appendix A1
Classroom Collection (Bank Street Literacy Course)
Classroom Collection Children's Book Analysis
Appendix A2
Story Synopsis
__________
Appendix A3
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Character Dialog
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