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- Berättelsens struktur
- Layout
- Hur berättelsen kan illustreras

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Prototyp i Figma med:
- Design
- Wireframes
- Komponenter
- Designsystem

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https://youtu.be/xTCwQb4_F9A

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Presentation designprojekt - Matilda Lithvall

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http://www.filosofiska.nu/filosofiska/filosofi-for-barn/

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Barn är i sig själva filosofer. De funderar över stora frågor som de också vill kunna diskutera, inte bara få ett svar på. Genom att ha filosofiska samtal med barn stärker vi barnens kritiska, kreativa och empatiska tänkande och erbjuder dem olika perspektiv.

Filosofiska samtal med barn i förskoleåldern är korta, enkla stunder med gemensamt tänkande i fokus. Samtalen utgår alltid från barnens egna filosofiska frågor eller något som pedagogerna uppmärksammat att barnen är nyfikna på. Med barn som ännu inte är verbala börjar vi att leka strukturerade "filosofi"-lekar, dvs lekar som går ut på att göra en distinktion (sortera), jämföra, eller ge och ta emot. Detta förbereder för samtal där barn så småningom kan särskilja, jämföra och ge och ta emot argument och resonemang. Samtalet är ett gemensamt utforskande där man hjälps åt att hela tiden hitta bättre lösningar.

Vi uppmärksammar lyssnandet som en aktiv handling i ett filosofisamtal. Barnen får möjlighet att ge uttryck för sitt perspektiv men också få till sig de övriga barnens perspektiv.

Filosofiskas profil är filosofi. Filosofi kommer från det grekiska ordet Philosophia, vilket betyder kärlek till visheten eller vän av insikt. På vår förskola innebär filosoferande reflekterande samtal, vars syfte är att stärka det egna tänkandet - det kritiska, kreativa och empatiska.

I filosoferande för barn, det som på engelska förkortas P4C (Philosophy for children), är ingen fråga för liten eller för stor. Genom det reflekterande samtalet ges barnen möjlighet att utveckla och förfoga över sitt eget resonerande och omdöme. Filosoferande är inte bara meningsfullt och utvecklande, utan också glädjefyllt. Samtalet innebär också en del regler:

Samtalet är ett gemensamt utforskande i en eftertänksam dialog och allas ansvar, där man hjälps åt att hela tiden hitta bättre lösningar. Det är inte en debatt med vinnare eller förlorare.

Lyssnande

Det finns många tänkbara idéer som kan visa sig välgrundade. Men det är inte så, att det inte finns rätt eller fel. Alla svar accepteras inte, eftersom en sådan ståndpunkt inte leder till att tänkandet fördjupas. I analysen kan det alltså bli uppenbart att vissa svar är mer varaktiga.

Man måste vara beredd att ompröva och kanske ändra sin uppfattning.

Man är beredd att lyssna till och ta intryck av vad andra har att säga.

Deltagarna hjälps åt att hålla en röd tråd, genom att avgränsa och hålla sig till ämnet.

Man är beredd att formulera djärva gissningar eller tolkningsmöjligheter som kan kasta nytt ljus över diskussionen.

Varje deltagare bedöms vara så intressant, att man bryr sig om att ställa frågor till och lyssna på honom eller henne.

Var och en ges tid och utrymme för att formulera och omformulera en idé utan att bli avbruten.

Varför har vi valt metoden filosofi för barn? Jo, enligt forskning av Ann S Pihlgren främjar strukturerade filosofiska samtal följande förmågor hos barnen:

Förmågan att lösa problem

Förmågan att underbygga och förklara sina egna påståenden

Förmågan (och viljan) att känna igen, förstå och behandla olika abstrakta idéer och värden

Förmågan att värdera och anpassa nödvändig kunskap eller förståelse till andra och nya situationer

Förmågan att uttrycka sina egna idéer i tal

Förmågan att lyssna och förstå andras synsätt

Förmågan att samarbeta i grupp

Förmågan till avancerad samarbetande dialog

Förmågan att använda (och ifrågasätta) uttalanden från andra för att utveckla sitt eget tänkande

Förmågan att använda tyst interaktion för att stödja en samarbetande och respektfull gruppkultur/andra individer

Förmågan (och modet) att uttrycka och motivera sina egna ståndpunkter

Förmågan att se skillnad på personliga konflikter och idékonflikter

Generellt visar forskning, att det finns en stark korrelation mellan skolframgång och barns känsla av intresse och delaktighet. Interaktiva undervisningsmetoder (som att ställa autentiska frågor) tycks skapa en sådan omgivning.

Läs mer om Filosofi för Barn:

http://www.sodrateatern.com
http://cehs.montclair.edu/academic/iapc/
http://www.teachingchildrenphilosophy.org/wiki/Main_Page
http://www.p4c.com
http://www.mtholyoke.edu/omc/kidsphil/stories.html

Pedagogerna på förskolan Filosofiska har gått kursen "Kritiskt tänkande kring värdegrundsfrågor" om 7,5 hp i samarbete med Södertörns högskola och Luleå Tekniska Universitet. Denna kurs syftade till att lära om filosofiska samtal med och för barn. Den leddes av Anders Persson och Liza Haglund. Liza Haglund har utvecklat och drivit Ung filosofi, kurser för unga som gått på Södra teatern i över 10 år. Intresset för filosofi med barn har gett henne möjlighet att delta på en mängd olika konferenser och workshops och hon har fört filosofiska samtal med unga i flera olika länder och i skilda sammanhang.

Filosofiska samtal med barn i förskoleåldern är korta, enkla stunder med gemensamt tänkande i fokus. Samtalen utgår alltid från barnens egna filosofiska frågor. Med barn som ännu inte är verbala börjar vi att leka strukturerade "filosofi"-lekar, dvs lekar som går ut på att göra en distinktion (sortera), jämföra, eller ge och ta emot. Detta förbereder sedermera för samtal där barn så småningom kan särskilja argument, jämföra, samt ge och ta emot argument och resonemang.

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Barn är i sig själva filosofer. De funderar över stora frågor som de också vill kunna diskutera, inte bara få ett svar på. Genom att ha filosofiska samtal med barn stärker vi barnens kritiska, kreativa och empatiska tänkande och erbjuder dem olika perspektiv.

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https://files.eric.ed.gov/fulltext/EJ1300305.pdf

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https://link.springer.com/article/10.1007/s13158-018-0230-z

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Introduction

Success in school is dependent, to a great extent, upon the development of skills in reading and writing gained during the early childhood years (NAEYC 1998). The development of literacy skills should therefore be nurtured from an early age. Accordingly, an increasing number of parents and other educators now hold the opinion that a child should be able to learn to read and write in kindergarten. In response, many kindergartens have adopted formalized methods of instruction for teaching literacy. However, this approach has left little room for young children's natural and playful way of learning (Bassok et al. 2016). This has led to a call for a design approach that supports literacy development and greater child engagement in the learning processes. One response to this call is a focus on storytelling. Storytelling is a natural way of communicating with young children.

Digital technology has also become a part of most children's everyday experiences. By the time children reach kindergarten, they are likely to have had countless encounters with various digital forms of communication. Therefore, for today's young children, to be literate should also include developing a range of digital skills and knowledge. Digital literacy development has received far less attention than traditional forms of literacy. The increasing integration of digital forms of reading and writing into everyday life suggests that the role of technology for (digital) literacy development of kindergarten children is also a timely and important topic.

The main aim of the present study is to describe a series of activities to support literacy and digital literacy skills in which storytelling is infused within an instructional design framework. In addition, a set of literacy and digital literacy measures were developed to assess the effects of these activities. To our knowledge, the effort to create a series of activities that blend a more formal type of instruction with storytelling and to assess the effects on digital literacy skills in early childhood education presents a relatively novel approach.

Storytelling and Digital Storytelling

Storytelling is a process in which someone (the storyteller) uses vocalization, narrative structure, and mental imagery to communicate with an audience (the listener) (Peck 1989). The listener also uses mental imagery and communicates back to the storyteller primarily through body language and facial expressions (Roney 1996). This interaction is repeated in multiple communication cycles during any storytelling event. Storytelling thus becomes an act of mutual meaning-making and learning by all participants (Katuscáková and Katuscák 2013). Storytelling supports literacy development because it allows children to also hear models about how language can be used. Storytelling can also promote writing skills by encouraging children to create their own stories, modify stories that they have heard, and even write plays based on familiar tales (Cassell 2004; Nicolopoulou et al. 2015).

For a long time, storytelling was employed spontaneously rather than as a deliberate and planned instructional approach in early childhood education (Coskie et al. 2010; Phillips 2013). The use of storytelling as an engaging and meaningful teaching approach in early literacy education began with the work of Kieran Egan ( 1985, 1986). Egan proposed that teaching is best shaped in story formats because storytelling stimulates children's imagination which is a very powerful learning tool. Agosto ( 2016) noted that storytelling can nurture cognitive engagement, critical thinking, and story sequencing. Her research also showed that follow-up activities such as discussion, retelling, and topic-related activities (written, drama, oral) can further enhance literacy development.

Storytelling has always been at the core of human activity (Lambert 2010). Individuals and societies have continuously explored new ways to make stories compelling, moving, empowering, and everlasting. Recently, this has occurred by integrating information and communication technologies (ICT), yielding a form of digital storytelling (Brígido-Corachán and Gregori-Signes 2014). Generally, digital storytelling revolves around presenting short, personal narratives (Meadows 2003) that combine images with text, narration, voice, and music (Robin 2008). In other words, digital storytelling offers children story content in digital, technology-based formats.

Porter ( 2005) explained digital storytelling as integrating the ancient art of oral storytelling with an array of technical tools to present personal tales with images, graphics, music, and sound, including the storyteller's voice. This definition resembles that of Robin ( 2008) and Psomos and Kordaki ( 2015) who characterized digital storytelling as traditional storytelling with multimedia. Similarly, Kearney et al. ( 2011) describes digital storytelling as a short narrative captured in video format. Several studies with older children have shown that digital storytelling can generate children's interest and learning motivation and facilitate their understanding of complex subject matter (Robin 2008; Sadik 2008).

Empirical studies on digital storytelling in early childhood education have concentrated on the teacher (e.g., Kildan and Incikabi 2015; Yuksel-Arslan et al. 2016). Effects of digital storytelling on children have, to our knowledge, been investigated for math or ICT, but not literacy (e.g., Preradovic et al. 2016). The relationship of digital storytelling to children's overall literacy development in early childhood education is therefore yet to be explored.

Measuring Literacy and Digital Literacy Development

Literacy is the use of social practices of creating and interpreting meaning through text (Kern 2000). A person who focuses on text comprehension is reading to learn, and while doing so becomes literate. To be able to read to learn, children should learn to read (Robinson et al. 2013). There are considerable debates about when children should develop their reading skills and how the acquisition of literacy should manifest itself in the early years (Fletcher-Flinn 2015).

In early literacy development, a distinction is often made between code- and meaning-related skills (Lonigan et al. 2011). Code-related skills include print knowledge, alphabet knowledge, and phonological awareness, among other things (Owodally 2015). Meaning-related skills include vocabulary, grammatical ability, and oral narrative ability (Westerveld et al. 2015). Knowledge about causes, correlates, and predictors of children's reading successes and failures in primary and secondary education has expanded greatly in recent decades. This knowledge has led to the development of standardized and nonstandardized methods of measuring literacy development in early childhood (Lonigan et al. 2011).

A common form of nonstandardized methods for measuring literacy development revolves around teacher observations and related assessments such as checklists, rating scales, and portfolios of children's products. Since the procedures are not standardized, the demonstration of children's skills may not be uniformly measured across all children. A common critique of nonstandardized methods is that teacher observations are often informal rather than well-structured, resulting in measurement of skills that only reflect the teacher's judgment of the child (Brown and Rolfe 2005).

A popular standardized method for literacy development assessment is the dynamic indicators of basic early literacy skills test (DIBELS; Kamii and Manning 2005). The DIBELS mainly focuses on code-related skills. It consists of the following subtests: initial sounds fluency, letter naming fluency, phonemic segmentation fluency, nonsense word fluency, and word use fluency. The suitability of the DIBELS, and other standardized instruments, for measurement of early childhood literacy development, has generated considerable debate (Myers et al. 1996; National Research Council 2000). Concerns have been voiced about time required for such assessment, distractions that interfere with accurate measurement of capabilities, and young children's limited test-taking abilities to assess competence. In view of these concerns, this study has adapted content from standardized tests to align with the directions of the local curriculum. The measurement of skills in this study focused on just three key skills of literacy development: alphabet recognition, phonological awareness, and print awareness. Meaningful items were created for authenticity of the child assessments.

The increasing use of technology in children's everyday life has stimulated the emergence of digital literacy which has also been referred to as computer, technology, information, media, and communication literacies (Martin and Grudziecki, 2006). All these terms share the view that they involve technology other than text. Throughout this paper, we use the term digital literacy to refer to the use of social practices of creating and interpreting meaning through texts with technology (e.g., Kern 2000). According to Ng ( 2015), a digitally literate person is a competent user of three dimensions of digital technology: technical, cognitive, and socio-emotional. The dimension of technical skills is the most developed area of digital skills measurement. It includes knowledge of devices and operating skills with a focus on technical usage of computer (Ba et al. 2002), online abilities (Sonck et al. 2011), exploring tablets (Marsh 2016), and operational use of digital devices (Eshet-Alkalai and Chajut 2009; Eshet-Alkali and Amichai-Hamburger 2004; Eshet 2012). However, there is little research related to the assessment of cognitive or socio-emotional dimensions of digital literacy.

The present study considers cognitive and socio-emotional skills dimensions because they are important prerequisites of digital literacy. This choice is also in line with a definition of digital literacy in early childhood education that has emphasized the use of digital and non-digital practices in using different digital technologies (Burnett et al. 2014; Sefton-Green et al. 2016). The cognitive skills dimension of digital literacy includes critical thinking and multimodality, which infers that communication and representation is more than just about language. The socio-emotional skills dimension includes communicative and social skills. We did not assess technical skills development in this study because available tests are too complex for young children, and we wanted to stay away from highly specific facets of technical skills and investigate more general cognitive and socio-emotional dimensions.

Measurement for both literacy and digital literacy development in the present study has taken into account two critical considerations: (1) a focus on content and determining what should be measured, in order to be able to assess the effectiveness of designed activities; (2) establishing a procedure which was not time-limited in order not to put children in stressful situations.

The Current Study

The main research question addressed in this research is: Do oral or digital storytelling activities increase literacy and digital literacy development? In order to answer this question, an experimental design was adopted that included three different conditions: a control condition with usual literacy practices implemented in one classroom and two experimental conditions implemented in two other classrooms. One condition focused on literacy through oral storytelling, and the other condition focused on digital literacy using technology-based storytelling. No differences in children's outcomes for literacy were expected between the two experimental conditions.

Method

Participants

The study was conducted in a public preschool in Indonesia. The study involved three classrooms that accommodated 45 children (25 girls and 20 boys), with an average age of 5.39 years (SD = 0.41). All classrooms used the same curriculum.

Research Design

The research design was quasi-experimental with three conditions. Classrooms were randomly assigned to conditions: control (C); oral storytelling (S); and digital storytelling (DS). In the control condition (C), the children received their regular classroom literacy enhancement activities. This condition yielded baseline data and information on maturation of literacy and digital literacy development across the time of the study. In one experimental condition, the children received oral storytelling activities (S), in which a story was read aloud and presented with some visual clues. In the other experimental condition, the children received digital storytelling activities (DS) and the children watched and listened to a recorded story.

Instructional Materials

There were three storytelling sessions for each of the experimental conditions. The theme for the three storytelling sessions was "Me." This is a common theme for classroom activities at the beginning of the school year. The sessions focused on "My Name," "My Birthday," and "My Hobby." The content of sessions had an identical story line across the experimental conditions. The didactic approach in each activity session followed Gagné's events of instructional design (Smith and Ragan, 2005). For example, the theme of the first activity was "My name" (See Table 1). The main objective was to enhance the children's understanding of their own identity as presented in oral and printed form. More specifically, the activities supported the development of the recognition of letters and the sounds associated with letters in children's full name and nickname. The story line revolves around a boy who likes his name, recognizes his name written on his belongings, and also recognizes the sounds of his name.

Table 1 Gagne's events of instruction for the activities focused on the theme, "My name"

Assessment Instruments

Literacy Measures

The literacy measures assessed three core skills of early reading and writing, namely alphabet knowledge, phonological awareness, and print awareness. Alphabet knowledge and phonological awareness play different roles in literacy acquisition and development. These two sets of knowledge are both necessary for the acquisition of literacy (Muter 1994). The same literacy measures were used before and after the children had participated in the three intervention activities.

Alphabet knowledge is one important aspect in the acquisition of literacy during the early childhood years (Foulin 2005; Wood and McLemore 2001). It is defined as the ability to name, distinguish shapes, write, and identify the sounds of the alphabet (Piasta and Wagner 2010).

Phonological awareness is another important skill linked to the acquisition and development of reading skills in school (McLachlan and Arrow 2010). It is an awareness of sounds in spoken words that is revealed by abilities such as rhyming, matching initial consonants, and counting the number of phonemes in spoken words. Phonological awareness has been measured, and consequently defined, by many different tasks. One of them is isolating single sounds from words (Murray et al. 1996).

Print awareness refers to children's ability to recognize the function and form of print and the relationship between oral and written language (Pullen and Justice 2003). Important reading prerequisites include children's ability to recognize environmentally embedded and contextualized print, to understand the form and function of print, and to perceive the relationship between speech and print (Kassow 2006). In their study, Justice and Ezell ( 2001) highlight the importance of measuring this ability by using storybooks in order to provide a meaningful context for the words.

Literacy Assessment

This involved assessment of five skills: (1) identify the initial sound of words (phonological awareness), (2) know your own name (print awareness), (3) recognize letters (alphabet knowledge), (4) recognize everyday words (print awareness), and (5) recognize names in written form (print awareness). The child's skill level was measured by asking increasingly more complex questions for each feature. Assessment of any of the literacy skills was stopped if a child failed to correctly answer a question. The children's responses were scored with a rubric using a 4-point scale for each task (See "Appendix A"). Before beginning each part of the literacy assessment, the child was given two practice items.

For example, the process for the literacy assessment item of "identify the initial sound of words" involved stimulus material consisting of 12 words in everyday use, and each word consisted of two to three phonemes. After hearing the word, the child was asked to say the first sound in the word. Because many children would identify the name of the letter rather than the sound, they were given feedback on their responses to the practice items to make sure that they understood the task. If a child failed to identify the initial sound of the first word given, he/she would receive no points for that part of the assessment. If a child answered the first item correctly, a new word was then presented. Reliability analyses using Cronbach's alpha showed that there were satisfactory results for the overall literacy pretest ( α = 0.63) and posttest ( α  = 0.79).

Digital Literacy Measures

Measurement involved an assessment of cognitive and socio-emotional skills that are considered prerequisites of digital literacy. Since this procedure was supplemental to, and independent of, the general classroom literacy assessment, data on these measures were gathered from five randomly chosen participants from each classroom (i.e., five children per condition). The average age of these 15 children (eight girls and seven boys) was 5.47 years (SD = 0.33) which was similar to the average age for the whole sample.

Cognitive skills items assessed early expressions of multimodality and critical thinking, abstract and reflective thinking (Kazakoff 2015; Wenner et al. 2008). The measure linked the items to storytelling and operationalized these items as recall of a past event, planning for a new event and picture reading. For instance, recall of a past experience is important for story comprehension. It hinges on reflection about the context of an event (who, where, and when) and on the ability to explain an unfolding story (how and why). The ability to "read" a picture is an important skill in digital literacy. This facet in the digital literacy measure was the counterpart of the purely text-oriented items in the literacy assessment.

Socio- emotional skills were assessed by communication about the self with others through digital platforms (Ng 2015). An important aspect of this skill in early childhood concerns is having a sense of self-identity (Marsh et al. 2005). The development of self-identity includes knowing one's name, age, and gender. In addition, it concerns how the child's understands his/her place in the world (Raburu 2015).

The digital literacy measure consisted of a rubric with the following items: (1) recall a past event (cognitive skills); (2) plan an event (cognitive skills); (3) read a picture (multimodality-cognitive skills); (4) understand one's own identity (socio-emotional skills); and (5) engage in a conversation (socio-emotional skills).

Digital Literacy Assessment

Administration of the digital literacy measures followed the same procedure as for the literacy test (see "Appendix B" for all items and the scoring rubric). For the measure "recall a past event," the items were focused on children's ability to identify details from a single, personal experience. Each child was asked to recall a recent holiday experience. If a child could not recall a single experience, the score for this test item would be zero points. If a child recalled an event, he/she was asked to provide details about that experience. The allotted points would then depend on the number of details that were given (i.e., what, where, when, with who, and how). If a child started to mention another event, the experimenter would redirect the discussion to the original event. If the child could not do this or could not give details, the questions for this item ended. Reliability analyses using Cronbach's alpha showed that there were satisfactory results for the digital literacy pretest ( α = 0.65) and posttest ( α  = 0.87).

Procedure

The intervention study consisted of three phases: pretest (Week 1), implementation (Weeks 2-4), and posttest (Week 5). In the pretest, a group of three to five children gathered in the reading room of the school where the experimenter and a research assistant were present. The experimenter would then engage with each child, in turn, for the assessments. Administration of the literacy assessment took 10-15 min for each child, while the digital literacy assessment took 25-35 min for each child. During the assessment process for each child, the other children in the room engaged in playful activities led by the research assistant.

During the implementation phase, in the control condition, the children participated in the regular literacy-focused classroom activities led by the teacher and with the experimenter present. In the experimental conditions (storytelling and digital storytelling), the activities were given by the experimenter while the regular classroom teacher was present to assist with the children. The overall structure of these activities was the same in both conditions (see also Table 1). First, there was storytelling. Next, there was a whole-class discussion about the story, and finally, there were follow-up activities. Each storytelling session began with the experimenter explaining the rules for the session and preparing the children for the story by informing them about the title, characters, and main idea.

In the oral storytelling condition, the experimenter then read the story along with presenting some visual clues to the children. While in the digital storytelling condition, the story was prerecorded and included texts, pictures, voices, and sounds and then was digitally presented using a projection device. The story in the first storytelling session was about a boy who likes his name, followed by a whole-class discussion about the story. This was followed by two story-related activities. One of these was an individual project with a focus on children's creativity; for example, children designed a book label using the letters of their own name. The second follow-up activity was a group project, such as dramatic play involving an exchange of the children's name cards.

The posttest was administered in the week following the three activity sessions with a similar procedure to the pretest sessions.

Data Analysis

Eight of the 45 children participating in the intervention study did not complete both the literacy pretest and posttest because of absence (five children) or because they were special needs students (three children). Only complete data for the 37 children who completed all assessment tasks were used in the final analyses.

Because the distribution of scores on some measures in the pretest and posttest violated measurement assumptions for normality and homogeneity of variance, we report the findings using nonparametric tests (i.e., Kruskal-Wallis H test). Significant findings were followed by post hoc tests (i.e., Mann-Whitney U test); two-tailed tests were used with alpha set at 0.017 (0.05/3), using Bonferroni corrections for multiple tests. For effect size, we report the r-statistic (Field 2005). This statistic is qualified as small, medium, and large effects for the values r = 0.10, r = 0.30, and r = 0.50, respectively. For change in assessment from pre to post, key assumptions for gain scores (i.e., posttest score minus the pretest score) were met to assess change using analysis of variance (ANOVA), followed by Tukey HSD post hoc analysis after significance. For these effect sizes, we report the d-statistic (Cohen 1988). The findings are classified as follows: small for d = 0.20, medium for d = 0.50, and large for d  = 0.80, respectively.

Results

Development of Literacy Skills

Table 2 presents the mean item scores and standard deviations for the literacy and digital literacy assessments for each group (control condition; oral storytelling condition; and digital storytelling conditions). These mean scores showed that the overall scores of the participants in all three conditions at pretest and posttest were below the mid-scale value of 2. In addition, there were moderate levels of variance, as indicated by the standard deviations.

Table 2 Descriptive statistics for literacy assessment for each condition before and after the intervention activities

The boxplots for the literacy posttest, shown in Fig. 1, provide a visual presentation of differences in outcomes by condition. The shaded areas in each box represent the mid 50% of the scores. The horizontal line in the box is the median score in each condition. The top (or bottom) 25% of scores are shown in the distance between the highest (or lowest) horizontal line and the highest (or lowest) edge of the shaded box. The shaded boxes of the control and digital storytelling condition do not overlap (indicating significant difference between these two groups as identified by the statistical tests). In contrast, there is some overlap between the oral storytelling and digital storytelling conditions. The median scores of the two experimental conditions are also similar.

Boxplot for the literacy posttest scores for each condition

Development of Digital Literacy Skills

The pretest results showed that all participants ( n = 15) in the three conditions (control, oral storytelling, digital storytelling) had comparable digital skills at the start of the activities, M = 1.88 (SD = 0.23), M = 1.92 (SD = 0.18), and M = 1.88 (SD = 0.23). After the activities, the posttest results were M = 2.04 (SD = 0.22), M = 2.80 (SD = 0.28), and M  = 3.00 (SD = 0.42). The results also showed that the median score and the distribution of the digital literacy posttest scores in the control condition did not overlap with those of the experimental conditions. In contrast, there was an overlap of the distribution of the scores between the two experimental conditions and also the median scores were close to each other.

Discussion

Increased attention to (digital) literacy goals in early childhood education has been accompanied by more formalized educational practices. These endeavors have been criticized as being out of tune with how young children (like to) learn (Miller and Almon 2009). The present study investigated the design and effectiveness of a storytelling approach to achieving digital literacy goals. The storytelling activities were systematically structured by adopting the events of instructional design proposed by Gagné (Smith and Ragan 2005).

The core content of these activities involved storytelling to enable a natural, playful way of learning. This also is in accord with the view that storytelling is a cornerstone of digital literacy development. Storytelling provided the objectives, models, and motivation for literacy skills application. For example, storytelling in the first activity revolved around a child's name and included how to say, spell, and write that name. Follow-up activities provided opportunities for practice of the presented skills. These activities stimulated the children to apply what they had learned to their own situations. This format was the same across the two experimental conditions, although in the digital storytelling condition the story was prerecorded, using multimedia including texts, pictures, voices, and sounds. In the design of the stories, special attention was given to considerations from multimedia learning theory (Mayer and Moreno 2003). That is, the design aimed for a strong match between the verbal and nonverbal information in the stories (Takacs et al. 2015). In the digital storytelling activities, the digital content aimed to support the children's activities and engagement with the real world was highlighted in accord with the statement published by NAEYC and Fred Rogers Center ( 2012).

The measures used assessed a broad spectrum of literacy skills in early childhood. The use of rubrics to implement authentic assessment tasks (Bagnato et al. 2014) also avoided subjectivity in the measurement processes by the use of the rubric.

The administration of a pretest afforded an assessment of learning gains and enabled us to test the comparability of the children's starting levels of (digital) literacy skills across classrooms. Pretest scores indicated that there were no differences in the mean skills levels in classrooms/conditions at the pretest assessments.

The digital storytelling activities had a significant effect on the children's literacy skills development. Whereas the children in the control condition showed little improvement across the intervention period, the children in the experimental conditions achieved significant gains in literacy skills. Findings suggested that the digital storytelling activities also enhanced the children's digital literacy skills. For digital literacy development, significant gains were found only for the experimental conditions. Storytelling activities seemed to be equally effective, across the experimental conditions, for developing the children's digital literacy skills.

The findings showed that the effects of the digital literacy activities on digital literacy development were promising. However, this part of the research was exploratory and involved only a small sample of children who participated in the assessments. It is recommended that future research include bigger sample sizes to form more definitive conclusions on the effects of storytelling sessions on digital literacy development. A second methodological limitation of the research was that the storytelling activities were led by the experimenter while the regular activities in the control condition were taught by the classroom teacher. During the activities, the teacher or experimenter served as a teaching assistant and vice versa. We decided to adopt this course of action to disrupt as little as possible the normal classroom routine in the control classroom.

Conclusions

Overall, the research indicated that the integration of a storytelling approach with the didactic approach of Gagné's nine events of instruction is a promising approach for enhancing literacy and digital literacy development in early childhood classrooms. Nevertheless, to move beyond the entertainment or novelty effect that digital storytelling might bring (Campbell 2012), future studies might consider designing a more extensive series of activities to reduce the novelty effect and to maximize all possible benefits that might result from digital storytelling activities.

Acknowledgements

The authors acknowledge the funding by DIKTI scholarship from Directorate General of Higher Education, Ministry of Research, Technology and Higher Education of the Republic of Indonesia.

Author information

Authors and Affiliations

1. Department of Instructional Technology, Faculty of Behavioral, Management and Social Sciences, University of Twente, PO Box 217, 7500AE, Enschede, The Netherlands

Irena Y. Maureen, Hans van der Meij & Ton de Jong

2. Department of Educational Technology, Faculty of Educational Sciences, Universitas Negeri Surabaya, Kampus UNESA Lidah Wetan, Surabaya, 60213, Indonesia

Irena Y. Maureen

Corresponding author

Correspondence to Irena Y. Maureen.

Ethics declarations

Conflict of interest

The authors declare that they have no conflict of interest.

Ethical Approval

All procedures performed in this study involving human participants were in accordance with the ethical standards of the institutional and/or national research committee and with the 1964 Helsinki declaration and its later amendments or comparable ethical standards. The study has been approved by the Ethical Committee of University of Twente.

Informed Consent

Informed consent was obtained from the parents/guardians of all individual participants included in the study.

Appendices

Appendix A: Scoring Rubric for the Literacy Assessment

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Key skills assessed

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1 point

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Appendix B: Scoring Rubric for the Digital Literacy Test

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Maureen, I.Y., van der Meij, H. & de Jong, T. Supporting Literacy and Digital Literacy Development in Early Childhood Education Using Storytelling Activities. IJEC 50, 371-389 (2018). https://doi.org/10.1007/s13158-018-0230-z
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Keywords

Digital storytelling

Storytelling

Literacy skills

Early childhood

Literacy intervention

Experimental design

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Supporting Literacy and Digital Literacy Development in Early Childhood Education Using Storytelling Activities - International Journal of Early Childhood

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Educators have increasingly adopted formalized approaches for teaching literacy skills in early childhood education. In line with an emergent critique of this approach, the present study investigated the design and effectiveness of a literacy intervention that blended Gagné's nine events of instructional design with storytelling.

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https://designthinking.ideo.com

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https://www.core77.com/posts/12232/the-4-fields-of-industrial-design-no-not-furniture-trans-consumer-electronics-toys-by-bruce-m-tharp-and-stephanie-m-tharp-12232#

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The 4 Fields of Industrial Design: (No, not furniture, trans, consumer electronics, & toys), by Bruce M. Tharp and Stephanie M. Tharp - Core77

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Dunne and Raby’s Teddy Bear Blood Bag
You do what?
“So, you design factory machines? Is that what you mean?” Many of us have switched from calling ourselves “industrial designers” to saying that we are “product designers.” But the difficulty grows if your design work does not fall squarely inside t…

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- För vem är det ett stöd? Barnen eller pedagogerna? I vilken situation?
- Sätt dig in i diskursiv design - det finns olika typer.
- Boka handledning med Mattias eller Kristoffer.
- Börja ta in användare snabbt.

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- Samla ihop relevanta delar från den första presentationen i höstas.

- Läs kurslitteratur.

- Gör en storyboard för att enklare kunna förklara och förtydliga projektet.

- Gör en första pitch.

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- Delta i designaktivitet med kurskamrater - charette.

- Skriv intervjufrågor.

- Boka individuell handledning.

- Läs om diskursiv design.

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https://medium.com/@kaywerlyn/discursive-design-why-provoking-emotions-are-important-in-design-8754ca13d889

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As a product designer, discursive design may not always be the first choice of design that we usually do. In school, we are taught to make prototypes, models and drilled about the importance of ergonomics and making the user feel comfortable about using our products. However, if we can all take a step back and look at the bigger picture, making users 'feel comfortable' is also getting an emotion out of them. From here, we can say that emotions are indeed significant in design. Discursive design is the essence of this, and today I want to talk about why provoking emotions are important in design.

Discursive design seeks to evoke emotions through product design and their main purpose is to communicate and get an idea across. These designs may not be fully functional because they are set for users to think about issues that can be personal or social.

One example of discursive design is the Polluted Water Popsicles created by a group of students from the National Taiwan University of Arts.

These popsicles are made from dirty water and are solely made for the purpose of raising awareness of the polluted river water in Taiwan. On first glance this may look like a pretty cool project because each popsicle come in different 'flavours' according to the source of where the water was taken from, and each of them has their individual packaging that were designed with bold colours. However, if you count the number of popsicles that they made you will realise that they have over 50 different flavours which means that there is a significant amount of areas in Taiwan with polluted water. This raises questions about the amount of dirty water we have on our planet and makes me think about our future generations, who might have to drink from these waters one day if we do not make an effort to clean up our rivers and oceans now.

The reason why this project was such a success was because even though they are designing for emotions, the students are essentially designing using their emotions as well. If you are passionate about your design, then your design will manifest your passion. This is important because the new generation of designs are always about the 'user experience' but when we do not feel what we want our users to feel, then no matter how great the functions are, it is still a flop if the users do not feel what the designers want them to.

Another famous example is Black Mirror's 'Nosedive' episode. This episode explores the way we use social media and the possibility of what social media can be.

The episode follows Lacie, a young woman who is obsessed with climbing the social ladder. However, in her society it is no longer a choice because everything you do gets recorded down and affects your social rating. Her survival depends on how high her ratings are. Even though this episode is a scenario at the end of the spectrum of what social media could do to the society, it does not prevent me from thinking about the consequence of what might happen if someone more powerful than common citizens like us could get full control of the society through social media. In reality, there have been news that China may adopt this social credit rating system. This issue sparked a controversy about the government's unrestricted use of social media on its citizens. At the end of 'Nosedive', Lacie had new obstacles in her way which caused her social rating to plummet and eventually she had a mental breakdown. It certainly did not end well for her, and with China planning to implement this system in the near future, will things go well for them?

We cannot deny that the things we use in our daily lives were once designed by someone. Raising our deepest concerns and issues about the world can be made easier through discursive design. As designers, we have the upper hand to control our users' thoughts and emotions to a certain extent and by doing this, we can impact the way our users think and feel, which might eventually impact their lifestyle. Who says that only doctors and politicians can change the world? We can too!

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Discursive Design: Why Provoking Emotions are Important in Design

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As a product designer, discursive design may not always be the first choice of design that we usually do. In school, we are taught to make prototypes, models and drilled about the importance of ergonomics and making the user feel comfortable about using our products.

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https://www.core77.com/posts/41991/What-is-Discursive-Design

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Ask a designer if they've heard of critical design, design fiction, speculative design, or discursive design and you'll almost certainly get a "yes." Ask if they can differentiate between them, and you might as well be asking them to distinguish fiscal strategies among the Republican presidential candidates. (If you were to ask a politician to differentiate between critical design and design fiction you would undoubtedly get a much more elaborate and confident answer than the typical designer-though completely made-up of course).

Even the designers that affiliate themselves with speculative design have difficultly articulating the difference between what they do and, say, design fiction. Having interviewed dozens of such practitioners, most have some idea or a working personal definition of speculative- or fictive-approaches, but they are generally not confident enough to make any firm declarations-they often avoid or are ambivalent about such labeling.

This is really not that surprising for such a relatively young field of practice. But the ambiguity or confusion certainly doesn't do us any favors. Seasoned Core77 readers might remember a 2009 article on " the four fields of design" where we tried to help make sense of this kind of work by relating it to other types of design based on designers' deepest intentions. Rather than focus on what we design, or how we design, instead the concern is on why we design.

The article is still well worth the read for the big picture as it charts out the fields of commercial-, responsible-, experimental-, and discursive-design. But here we will drill down a bit further into discursive design to set the stage for Core77's new Discursive Design channel.

Critical Design, a Brief History

While most designers have heard of critical design, a term coined by Anthony Dunne and Fiona Raby in the mid-1990s, they probably have not read the book, Hertzian Tales, from whence its definition came. And this is a very particular definition. Along with other aspects, critical design was described as: dealing specifically with electronic objects; being based upon a more academic notion of critical theory (specifically the Frankfurt School for you well-read designers); and being in opposition to typical "affirmative design" that populates the marketplace and the domestic product-scape. Over the years, though, the term has been stretched and appropriated to encompass a wide range of associated work (that transcends all three of these original bounds as well as others).

But before "critical design" the general term "conceptual design" was probably most prevalent while "interrogative design" was used by Krzysztof Wodiczko at least by the early 1990s, and "anti-design" and "radical design" have been used to describe international movements in the 1960s and 70s. And architecture had been using "critical architecture" for at least a decade prior to "critical design"-in fact, "post-critical architecture" had already arrived just as design was starting to get its criticality on. Undoubtedly there were many other versions of, and nomenclature for, this type of work that never made it into the history books. Most recently, speculative design and design fiction have established themselves within the design lexicon.

Discursive Design as Thought Catalyst

This natural expansion of product design beyond its historic roots as the handmaiden of industry and commerce has allowed (some) designers to step into a wondrous new frontier-employing their design thinking to promote, and potentially affect, social thought. While "good design" is often professed to be unobtrusive, intuitive, invisible and something that does not make the user think too much, discursive design instead actually targets the intellect. The primary goal is to prompt self-reflection, ignite the imagination, and foment contemplation-to deliberately make the user think (deeply).

This, of course, demands a purposeful shift-the designed object's primary role is no longer utilitarian, aesthetic or commercial. Instead it is mostly (though certainly not exclusively) a thought catalyst. The product is given form and function so that it can communicate ideas-this is the goal and the measure of success. Rather than tools for living and doing, these are tools for thinking. While different, this design approach is only a shift in orientation, it is not a radical departure. It is still product design, but with somewhat different product affordances.

Just as the graphic designer can create more readable and effective election ballots, they also can create political posters. Both activities employ the same tools and mediums, but one helps people do, the other helps people think.

Our conception of discursive design work is akin to graphic design's political posters. To question the legitimacy of product design's expansion into this arena is tantamount to challenging illustrators who make political cartoons, musicians who write protest songs, filmmakers who create expository documentaries, writers who pen critical op-ed columns, or any other creative practitioner whose efforts are directed toward more socially-engaged ends rather than basic forms of utility and entertainment.

Taxonomy of Discursive Design

With general and sometimes subtle distinctions, there are many brands or titles for such an expanded design approach: critical design, design fiction, speculative design, speculative re-design, interrogative design, design-for-debate, radical design, conceptual design, and dissident design, for example. And there is probably a new one being contemplated or created right now somewhere in the world. But what lies at the root of them all is deliberate use of products to communicate ideas that are ideologically, socially, and/or psychologically charged-and often provocatively so.

We fully acknowledge and respect both the idiosyncratic and the agreed-upon characteristics of these different approaches. And we fully expect that new and viable shoots and branches will emerge. Because of this, we feel that it is important to understand the field as an increasingly broad range of practice that is comprised of many forms-think "genus" in relation to "species." Discursive design operates at the genus level, below which there are many species, such as critical design, design fiction, speculative design, etc.

We feel that "discursive" represents the core of all of these forms, and operates most effectively as an organizing genus. The word "discursive" comes from "discourse," which can be understood most basically as the expression or treatment of a topic-part of a discussion or debate. A discursive design is an object that has been intentionally (and usually abstractly) embedded with discourse and/or is used to elicit discussion.

Its ultimate reason for being is not to provide utility, though it definitely does that lest it not be associated with "product." Instead, the designer conceives of a product that is capable of communicating ideas. But these are not just any ideas, they are those with psychological, sociological, or ideological weight; the topic is substantive enough to support a complex of competing perspectives and values.

It should be emphasized that as a part of the discursive design genus, each species shares the same general philosophy of an expanded conception of product design. They all use artifacts to engage the intellect, but each species differs somehow in terms of method, posture, approach or effect.

Introducing the Discursive Design on Core77

For Core77's Discursive Design channel we will be including all such forms. When the designers identify their work with a species-level description (design fiction, speculative design, etc.) we will include that. And often when projects are not identified by the designers, we will often suggest a particular species-level description.

Names and definitions can be crucial for the development of practices and disciplines-they create the necessary common ground for individual understanding and broader discussions. They help disciplines understand themselves as well help when communicating with other fields. Names represent identities. Identities facilitate mutual understanding. And mutual understanding furthers respect, collaboration, and growth.

We believe that it is time for product design to catch up with all of the other creative disciplines-architecture, graphics, fashion, music, writing, performance, etc.-and embrace greater intellectual engagement and move beyond the restrictive boundaries of mere utility, entertainment, and beauty. These traditional contributions are certainly highly important and valued, but we can and should also be fostering cultural development through broader forms of participation. Design has more to offer, and we hope that the Core77 Discursive Design channel will help to encourage more reflective and engaged product design and to foster a strong community of practice.

If you have discursive design work that you think fits the bill, please contact us for possible posting on this channel.

Happy reading.
Happy designing.
Happy discoursing.

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Whether you call it critical, fiction or speculative design, it's time for design to be a thought catalyst

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https://www.core77.com/discursive-design

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Discursive Design (from the word “discourse”) is a broad category of design that tries to communicate substantive ideas and make its audience think. At its best it can lead to individual behavior change, public debate, and even cultural change. Discursive design encompasses a variety of other types…

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- Individuell handledning

- Kontakta förskolechef ang. intervjuer och användartest

- Visionsprototyp till pitch 2

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- Stryk gamification.

- Avgränsa - ringa in, ett visst antal filosofer - kolla upp varifrån de olika perspektiven grundas.

- Ringa in 3 områden - rättvisa är för stort, smalna ner. Det kan handla om att dela med sig.

- Sokratiska frågor som grund.

- Aktiviteter - röra sig mellan det digitala och det analoga.

- Kolla upp "zotero" för referenshantering.

- Fokus på det digitala - hur man kan använda en app som ett underlag för diskussion kring filosofiska frågor med barn.

- Kolla upp John Rawls tankeexperiment.

- Frihet, trygghet och att inte vara konstant övervakad - tre pelare.

- Ta kontakt med lärare direkt.

- Ta upp hur dessa frågor kan förändras genom att undersöka hur det såg ut förr.

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Uppmuntrar till egen reflektion och egna beslut. Testar olika sätt.

https://urplay.se/serie/165981-ugglan-och-kompisproblemet

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En snickare har haft sönder sin bästa kompis bord. Vad ska hon göra? För att hitta en lösning på det svåra kompisproblemet går hon till världens klokaste uggla för att be om råd. Men ugglans förslag att inte göra någonting eller att säga förlåt utan att mena det visar sig vara dåliga, för att inte s…

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https://issuu.com/bazarmasarin/docs/bazarbarnkonventionenslutversionen/s/148015

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Bazar Masarin: Barnkonventionen

42Barnkonventionen & Kompisböckerna

Intervju: Jenny Edvardsson

Linda Palm är författare och föreläsare.

Inom förskola och skola är hon kanske mest känd som författare till Kompisböckerna, som tar avstamp i Barnkonventionen.

Vad handlar Kompisböckerna om?

Kompisböckerna är en hel serie av böcker som alla handlar om igenkännande händelser kring teman som rör vår vardag. Hemma och på förskolan. Vi vet att vi ska vara bra kompisar, men hur gör vi när det inte alltid känns helt enkelt. Med kompisböckerna vill jag göra det konkret för att lyfta med barnen till vidare samtal. Jag vill arbeta för att barn ska få uppleva ett gott klimat och känna sig trygga. Mitt uppdrag är att skapa ett material som är enkelt att förstå och kan användas av både barn och vuxna. Genom samlingen Kompisböcker baserade på Barnkonventionen, som innehåller tio berättelser kopplade direkt till artiklarna, vill jag öka barnens kunskap och förståelse för sina rättigheter. Vad är till exempel trygghet? Barnets bästa - vad är det och vem bestämmer det? I berättelserna om Kanin, Igelkott och kompisarna får vi en förståelse för vikten av tolerans och respekt för andra människor. Berättelserna är tänkta att vara en ingång till det långsiktiga arbete med Barnkonventionen och de mänskliga rättigheterna som ska fortgå

genom förskolan och grundskolan. Materialet har blivit mycket uppskattat både hemma hos familjer och på förskolor och skolor. Jag är också ute och föreläser utifrån dessa böcker och vill inspirera andra att arbeta med "Kreativa sätt till barns rätt."

Hur fick du idén till Kompisböckerna?

Jag presenterade idén bland många andra för en förlagsredaktör bakom en trång monter på bokmässan. Det är nio år sedan nu. Vi bestämde oss för att starta med just denna serie och sedan är vi flera i teamet som tillsammans har arbetat fram produkter till kompisserien under åren. Lisa Sollenberg har illustrerat de fantastiskt fina och känslosamma bilderna till samtliga böcker. Det finns över trettio bilderböcker, inspiration, handledning, affischer, handdockor och ett facebookkonto. Till de senare hör samlingen av Kompisböcker baserade på barnkonventionen.

Varför valde ni att ha djur istället för barn i dessa böcker?

Vi valde djur som karaktärer för att dessa berättelser ska ha fokus på känslorna och själva kompisproblemet, alltså det som händer i berättelsen. Vi ville inte lägga vikt vid vem som är med eller hur personen i fråga ser ut.

Valet föll på en kanin och igelkott? Var det något du hade bestämt från början? Lisa, som illustrerar bilderna, fick i uppdrag att skissa fram olika förslag. Vi ville skapa ett vardagligt material där så många som möjligt kunde känna igen sig. Gemensamt fastnade vi för just Kanin och Igelkott som huvudkaraktärer. Kanin är stor, mjuk och användbar med sina långa öron som kan förstärka känslor. Igelkott är liten och vass men även mjuk och sårbar när det behövs.

Vilka artiklar från barnkonventionen har du utgått ifrån?

Jag har utgått från flera av artiklarna. Det handlar bland annat om trygghet, rätten till

utbildning, lika värde, yttrandefrihet och bästa möjliga hälsa.

Har du några vidare planer kring Kompisböckerna?

Det finns alltid viktiga områden som behöver lyftas och då är kompisböckerna ett perfekt format i ton och känsla. Så länge de är fortsatt omtyckta och läsare gillar att använda dem finns anledning att utveckla serien vidare. I dagsläget kan jag inte säga mer än så.

Om du skulle berätta för läsarna om Linda Palm. Vad skulle du då säga?

Jag är en ambitiös fyrabarnsmamma som

Omslag: Tio kompisböcker baserade på barnkonventionen, Palm, L. Ill. av Sollenberg, L. Natur & Kultur 2014

gärna ser till att ha olika projekt igång. Utöver skrivandet engagerar jag mig som företagare, inspiratör och nätverkare. Jag älskar planering, dokumentation och kreativa idéer och är därför aktiv i sociala kanaler där jag både kan hämta och bidra med inspiration. Jag planerade tidigt min utbildning och har arbetat med pedagogiska verksamheter under ca tjugo år. Jag älskar att inspirera andra och förstod att jag på mitt sätt, genom böcker, kunde bidra med att få barn delaktiga

i samtal om saker som rör dem. Nu arbetar jag vidare med många olika slags projekt, alla med fokus på värdegrunden. Jag vill fortsatt bidra till att stärka och lyfta barnen. Det handlar även om att ge dem tid och att vara en medmänniska.

När började du skriva?

Min första utgivning var 2004, alltså för 15 år sedan. Då började jag arbeta med det peda-

gogiska materialet för serien om Kråke. Sedan dess har det hunnit bli över 50 böcker, både barnlitteratur och läromedel. När jag sedan var hemma med vårt tredje barn startade jag företaget Linda Palm Creative och har sedan dess utvecklat och utökat tiden i takt med hur det fungerat hemma. Jag har nu skrivit på heltid i ca 8 år.

Du har skrivit många böcker som används i förskola och skola. Hur kommer det sig?

Jag är förskollärare i grunden och givetvis har det påverkat mitt sätt att lyssna in barns tankar och funderingar. Att skriva och göra saker och händelser mer konkreta och pedagogiska är mitt sätt att bidra med ett verktyg som inspirerar, skapar igenkänning och får barnen engagerade till samtal. En stor händelse kopplad till mitt engagemang som författare var förra året då jag fick ta emot Lärkanpriset, kategori förskola. Jag är så tacksam och hedrande över detta erkännande.

Varifrån får du inspiration till ditt skrivande?

Jag intresserar mig och lyssnar på barn, hur de tänker och fungerar. Jag skriver ofta upp några nyckelord eller begrepp som klickar igång en idé och som jag sedan bygger vidare på allt eftersom. Jag kan också få inspiration av att det saknas bra material om vissa områden, och tänker att här kan jag vara till nytta och bidra med min kunskap.

Om vi går in på din egen läsning, vilken är din starkaste läsupplevelse?

Jag läser gärna om andra människors livsberättelser och är intresserad över att varje människa har ett unikt liv och sin egen berättelse. För mig får det gärna vara en avsändare jag känner till. Då upplever jag att berättelsen blir mer verklig och personlig. År 2015 fick jag ta emot Hédi Frieds lärarpris och då hade jag förmånen att få umgås med henne. Den dagen glömmer jag aldrig! Att få sitta ner, samtala med Hédi och höra hennes känslostarka livsberättelse genom humor och allvar och sedan veta att det finns nedskrivet för all

framtid, i form av en bok Skärvor av ett liv, det var mäktigt. Hon skrev en personlig hälsning till mig i boken och när jag sedan läste boken gav den mig en extra stark läsupplevelse!

Om du fick välja att besöka en plats från en bok. Vilken skulle det vara?

Det finns två platser jag skulle vilja besöka. Den ena är Astrid Lindgrens lägenhet på Dalagatan. Vad jag förstår är där kontinuerliga visningar, så den drömmen är ju inte helt orimlig. Den andra är Prins Edward Island, platsen där Anne of Green Gables utspelar sig. Det var min favoritserie som ung. I beskrivningarna trollas det fram en vacker miljö.

Vilken barn- och/eller ungdomsboken tycker du är den allra bästa? Vad är det som gör den så bra?

Jag håller mig till barnböckerna och svarar därför Kråkes vett och etikett eller någon av de andra böckerna i den serien skriven av min författarkollega Marie Rydell. Det finns ett stort antal Kråkeböcker, även om just bokklubben inte längre finns kvar. Kråkeböckerna tar på ett enkelt och pedagogiskt sätt upp olika områden som barn ofta är nyfikna på, exempelvis besök på brandstationen, sjukhuset eller polisen. I Kråkes vett och etikett får man läsa om Hallonpruttar och Nya kompisar och så finns det ett roligt avsnitt om hur vi tänker oss att man bör uppföra sig vid matbordet. Det ligger nära mitt författarfokus om hur vi är och gör mot varandra. Dessutom är Kråkeböckerna illustrerade av Jessica Lindholm som ju sedan blev illustratör till mina omtyckta böcker om Svea. Likheten syns, när du vet om det. Jag har läst Kråkeböckerna för mina egna barn och även arbetat mycket med dem i förskola och förskoleklass. Det var genom dem som jag fick möjlighet att börja arbeta med läromedelsmaterial. Därför kommer Kråke alltid att ha en speciell plats i min bokhylla.

Kontakta Linda Palm info@lindapalm.se www.lindapalm.se Instagram: lindapalmcreative

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Bazar Masarin: Barnkonventionen 42Barnkonventionen & Kompisböckerna Intervju: Jenny Edvardsson Linda Palm är författare och föreläsare. Inom förskola och skola är hon kanske mest känd som författare till Kompisböckerna, som tar avstamp i Barnkonventionen. Vad handlar Kompisböckerna om? Kompisböckerna är en hel serie av böcker som alla handlar om igenkännande händelser kring teman som rör vår vardag.

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- (N)eeds: pedagoger på förskola ska enligt läroplanen utveckla barns förmåga av att reflektera kring etiska dilemman och livsfrågor. Däribland så kallade filosofiska frågor som inte har ett enda givet svar - vilket kan vara svårt att ta sig ann.

- (A)pproach: en potentiell lösning är en applikation som innehåller digitalt berättande kring olika filosofiska frågor. Denna ska fungera som ett stöd för diskussion mellan pedagoger och barn för att visa på nya perspektiv.

- (B)enefits: de viktigast fördelarna med denna lösning är att pedagoger får ett stöd i en potentiellt svår situation. Detta minskar risken att pedagogen använder egna åsikter för att förmedla endast ett perspektiv. Att få ta del av flera perspektiv skapar även en möjlighet att utveckla kritiskt tänkande.

- (C)ompetition: de konkurrenter som används på förskolor idag, skulle kunna vara kompis böckerna och ugglan och kompisproblemet. Här tar man i viss mån upp filosofiska frågor i förhållande till förhållningssätt och normer och värden. Det finns dock en tydlig pekning mot hur man bör agera och tänka.

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- Pitch 2

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- Enkätundersökning

- Utforska olika koncept med hjälp av prototyper

- Läs i boken om diskursiv design

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Eftersom att jag inte lyckats få tag i min gamla förskolechef och att jag varit sjuk bestämde jag mig för att byta från intervjuer till en enkätundersökning.

Jag har publicerat den i tre olika förskole-forum på Facebook.

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https://docs.google.com/forms/d/e/1FAIpQLSfgORFBpqRLTot2c2UIuVQRaYVsMIwfmLUoHCWR0YT1_C58GA/viewform?usp=sf_link

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Blanda interaktiv storytelling med ett fysiskt gränssnitt

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Blanda interaktiv storytelling med ett fysiskt gränssnitt

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Här har man skapat en app med storytelling som förstärks genom interaktion med fysiska karaktärer. Dessa karaktärer är tillverkade i papper och med hjälp av dem och en plattform kan man välja berättelse.

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Peekabook - Interactive storytelling app

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Peekabook - Interactive storytelling app

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Definition of RFID Tags

RFID tags are a type of tracking system that uses smart barcodes in order to identify items. RFID is short for "radio frequency identification," and as such, RFID tags utilize radio frequency technology.

These radio waves transmit data from the tag to a reader, which then transmits the information to an RFID computer program. RFID tags are frequently used for merchandise, but they can also be used to track vehicles, pets, and even patients with Alzheimer's disease.

An RFID tag may also be called an RFID chip.

How do RFID Tags Work?

An RFID tag works by transmitting and receiving information via an antenna and a microchip - also sometimes called an integrated circuit or IC. The microchip on an RFID reader is written with whatever information the user wants.

Types of RFID Tags

There are two main types of RFID tags: battery-operated and passive.

Battery-operated RFID tags contain an onboard battery as a power supply. Battery-operated RFID tags might also be called active RFID tags.

Passive RFID tags are not battery-powered and instead work by using electromagnetic energy transmitted from an RFID reader.

Passive RFID tags use three main frequencies to transmit information: 125 - 134 KHz, also known as Low Frequency (LF), 13.56 MHz, also known as High Frequency (HF) and Near-Field Communication (NFC), and 865 - 960 MHz, also known as Ultra High Frequency (UHF). The frequency used affects the tag's range.

When a passive RFID tag is scanned by a reader, the reader transmits energy to the tag which powers it enough for the chip and antenna to relay information back to the reader. The reader then transmits this information back to an RFID computer program for interpretation.

Passive RFID Tag Types

There are two main types of passive RFID tags: inlays and hard tags.

Inlays are typically quite thin and can be stuck on various materials

Hard tags are just as the name suggests, made of a hard, durable material such as plastic or metal.

Active RFID tags use one of two main frequencies - either 433 MHz or 915 MHz - to transmit information. They contain three main parts, including a tag, antenna, and interrogator. The battery in an active RFID tag should supply enough power to last for 3-5 years.

When it dies, the unit will need replaced, as the batteries are not currently replaceable.

Active RFID Tag Types

There are two main kinds of active RFID tags: beacons and transponders.

Beacons send out an information ping every few seconds, and their signal is readable from several hundreds of feet away. Because they are sending out data so frequently, their battery tends to deplete quicker.

Transponders, like passive RFID tags, require the use of a reader to transmit information. When within range of one another, a reader first sends out a signal to the transponder, which then pings back with the relevant information. Because they only activate when near a reader, transponders are much more battery-efficient than beacons.

What are RFID Tags Used for?

RFID tags used in a wide range of applications, including:

Inventory management: RFID tags can be attached to products or packaging to track their location and movement throughout the supply chain.

Access control: RFID tags can be used as electronic keys to grant access to secure areas or to track employee movements.

Asset tracking: RFID tags can be used to track valuable assets, such as equipment, vehicles, or tools, to prevent theft or loss.

Animal tracking: RFID tags can be used to track animals for research, wildlife management, or farming purposes.

Payment systems: RFID tags can be used in contactless payment systems, such as transit fare payment cards or electronic toll collection.

Healthcare: RFID tags can be used to track medical equipment, monitor patient vital signs, and ensure proper medication administration.

Overall, RFID technology enables automated data collection and can improve efficiency, accuracy, and security in a variety of industries and applications.

Examples of RFID Tags

Since an active RFID is constantly sending out a signal, it makes an excellent choice for those looking for up-to-the-minute live tracking, such as in tolling and real-time vehicle tracking applications. They are an expensive product, but they do offer a long read range, which may be preferred depending on their application.

Passive RFID tags are a much more economical choice than active RFID tags, and cost around 20 cents each. This makes them a popular choice for supply chain management, race tracking, file management, and access control applications.

While a passive RFID tag does not require a direct line of sight to the RFID reader, it has a much shorter read range than an active RFID tag. They are small in size, lightweight, and can potentially last a lifetime.

Since active RFID tags feature a larger, more rugged design than passive RFID tags, they are better suited for applications where durability is required. They are frequently used in toll payment transponder systems, cargo tracking applications, and even in devices used to track people.

Disadvantages of RFID Tags

RFID tags aren't ideal compared to other tracking labels for a number of reasons. Some problems with RFID include different security and technological issues.

Because an RFID tag cannot distinguish between readers, the information can be read by almost anyone once it has left the original supply chain. Because RFID readers are so portable, and the range of some tags so great, scammers can gather information they would otherwise not have access to. This means that anyone can collect potentially sensitive information without a person's knowledge.

Another security concern for consumers is that RFID tags can be linked to individual credit cards, creating the potential for financial theft and fraud.
Technology-wise, RFID tags are problematic largely because there are no real global or industry standards. Since they operate on radio frequency, RFID tags and their systems can also easily become jammed or disrupted, reducing their usability. This results in longer wait times and decreased productivity in both retail and warehouse settings.

There are also signal issues that can occur with RFID inventory systems, including collision - when signals from two or more readers overlap, and interference caused by metal, water, or other magnetic fields in the surrounding area.

An RFID system is also time-consuming and labor-intensive to set up. Companies need to test various hardware and tag systems to determine the best fit, which can take months to arrange. In addition to the cost of the RFID system itself, such as RFID tags and scanners, an increase in time and labor also means an increase in cost.

These types of disadvantages are often avoided with the use of barcodes, which is why they are still a popular data collection and inventory control choice for many businesses.
Asset Tracking Solutions from Camcode:

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What are RFID Tags? Learn How RFID Tags Work, What They're Used for, and Some of the Disadvantages of RFID Technology

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RFID tags are a type of tracking system that uses smart barcodes in order to identify items. RFID is short for "radio frequency identification," and as such, RFID tags utilize radio frequency technology. These radio waves transmit data from the tag to a reader, which then transmits the information to an RFID computer program.

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- Jag har endast fått ett svar på enkäten och behöver därmed tänka om. Ev. utföra Intervjuer i alla fall.

- Kamratbedömning

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https://digitaldesign.padlet.org/Elfvan88/dp603i-portfolio-uy2me7b9ugv14a2f

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This book is magical - exploring emergent readers’ preferences and wishes for storytelling tools

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https://www.cyoa.com

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The official website for Choose Your Own Adventure, the original and bestselling interactive book series where YOU decide the outcome of the story.

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- Intervjuer med 4 pedagoger på en förskola

- Skisser logga och koncept

- Skisser berättelse

- Flödesscheman

- Storyboards

- High fidelity prototyp

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- Nytta (lila väg): jag älskar glass och skulle bli gladare av att köpa en glass än vad barnet skulle bli av att jag lämnar tillbaka pengarna.

- Behov (blå väg): barnet har pengar, det hemlösa djuret har ingen mat. Hunden behöver pengarna mer.

- Ägande (rosa väg): barnet tappade pengen - den tillhör barnet.

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- Jämlik: alla ska få exakt lika mycket

- Nytta: den som blir lyckligast ska få mest

- Behov: den som har störst behov ska få mest

- Förtjänst: den som har jobbat hårdast ska få mest

- Äganderätt: den som äger något bestämmer över det

https://www.demokratipagar.se/demokratiska-samtal/vad-ar-rattvisa/handledning/

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Anteckningar från intervjuer med 4 pedagoger

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Anteckningar från intervjuer med 4 pedagoger

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Gemensamma faktorer:

Det är frågor som kommer upp dagligen men som man inte har pratat så mycket kring i personalgruppen (om alls).

Det finns ett obehag för denna typ av frågor som inte har något svar vilket kan leda till att man undviker dem (intervju 1).

I samtliga intervjuer kom följande fras upp “de får lära sig att livet inte alltid är rättvist” - vad säger detta om synen på rättvisa? Detta kan tolkas som att när det inte är rättvist så får man acceptera någon form av nederlag snarare än att försöka förstå situationen från ett annat perspektiv. Finns det en syn på rättvisa? Hur kommer prototypen tas emot av personalen med tanke på att den då visar fler perspektiv? Går det emot diskurser kring rättvisa som finns på förskolan?

Frågorna kan komma när som helst men ofta vid matsituationen (som sker precis innan vila/lässtund där artefakten föreslås att implementeras).

Samtliga höll med om att det var svårt - man vill ge återkoppling direkt, ta deras frågor på allvar och gärna ha ett svar även om man inte alltid har det. Brist på tid och hårt tryck på annat innehåll.

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https://www.figma.com/file/v2JZ44CBWlyBgPTpgsnS02/Philosophy-Time?node-id=1%3A3&t=EeMPWGbV0WLn3G2V-1

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Från seminarium:
- För mycket information i presentationen
- Använda ljudeffekter
- Kolla upp om pengen som plockas upp klassas som stöld
- Sök återigen efter befintliga berättelser/dilemman

Från handledning:
- Vilket filosofiskt perspektiv utgår jag ifrån? Kolla upp vem det var som kom på de 5 perspektiven på rättvisa jag använder
- Slutet system? Sätta in i kontext från början
- Val - sedan kommer ny information
- Användartesta i en barngrupp - gör en ny low fidelity-prototyp med skisser. Printa bilder på karaktär och be barnen färglägga. Fråga vilka dilemman de brukar stöta på. Förstår de konceptet pengar eller är det för abstrakt? Behöver jag byta till något mer konkret som ex. pizza.
- Boka handledning efter användartest.

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https://www.figma.com/file/61bZQpB7V3KqEz48t2cqSc/Philosophy-Time---version-2?type=design&node-id=0%3A1&t=wovF6b0JAejbCu98-1

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Prototyp i Figma med:
- Design
- Wireframes
- Komponenter
- Designsystem