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<div id="content"><h1 id="fair-leads">Fair Leads</h1>
<h3 id= "fair-leads-or-fair-winds-is-a-saying-sailors-and-knotters-use-to-greet-each-other.-it-comes-from-the-working-end-of-a-string-that-will-soon-be-forming-a-knot.">
Fair leads or Fair winds is a saying sailors and knotters use to greet each
other. It comes from the working end of a string that will soon be
forming a knot.</h3>
<hr />
<p>I would like to clarify and introduce some terms for you in order to
read this text in the desired way. For a while, we will stay in the
bight of this journey as we move into forming loops, theories and ideas
on how interactive picture books can be used to foster curiosity for
reading and creativity for children. I am building a web platform called
Wink that aims to contain a children’s story I wrote and am making into
an interactive experience, in relation to my research. <img
src="../irmak/unnamed.png" class="image-80" alt="“Knotatomy”" /> Through
this bight of the thesis, I feel the necessity to clarify my intention
of using knots as a “thinking and writing object” throughout my research
journey. Although knots are physical objects and technically crucial in
many fields of labor and life, they are also objects of thought and are
open for wide minds’ appreciation. Throughout history, knots have been
used to connect, stop, secure, bind, protect, decorate, record data,
punish, contain, fly and many other purposes. So if the invention of
flying -which required a wing that was supported using certain types of
knots was initiated with the knowledge of how to use strings to make
things, why wouldn’t a research paper make use of this wonderful art as
an inspiration for writing and interactive reading?</p>
<h2 id="knots-as-objects-to-think-with">KNOTS AS OBJECTS TO THINK
WITH</h2>
<p>There is a delicate complexity of thinking of and with knots, which
ignites layers of simultaneous connections to one’s specific experience;
where one person may associate the knots with struggles they face,
another may think of connecting or thriving times. In a workshop in
Rotterdam, I asked participants to write three words that comes to mind
when they think of knots. There were some words in common like strong,
chaotic, confusing and anxious. On the other hand, there were variations
of connection, binding, bridge and support. Keeping these answers in
mind or by coming up with your words on knots and embodying them in the
practice of reading would make a difference in how you understand the
same text.</p>
<figure>
<img src="../irmak/knot1.jpeg" class="image-95"
alt="“Knot words from Leeszaal West.”" />
<figcaption aria-hidden="true">“Knot words from Leeszaal
West.”</figcaption>
</figure>
<figure>
<img src="../irmak/knot2.jpeg" class="image-95"
alt="“Knot words from Leeszaal West.”" />
<figcaption aria-hidden="true">“Knot words from Leeszaal
West.”</figcaption>
</figure>
<p>Seeing how these words, interpretations of a physical object were so
different to each other was transcendental. In this thesis, I am excited
to share my understanding of knots with you. My three words for knots
are resistance, imagination and infinity. Keeping these in mind, I
experimented with certain reading modes as you will see later on.</p>
Knots are known to be used 15 to 17 thousand years ago for multiple
purposes. These purposes were often opposing each other. For example, it
could be used to let something loose or to restrain it; for pleasure or
pain; for going high above or down below… I believe this diversity of
uses can also be seen in how people approach knots as an idea or a
metaphor. One can think it represents chaos where someone else might see
it as a helpful mark. Essentially, this diversity is what got me
interested in knots years ago and since then, I have found ways to
implement this “loop of thought” in my daily life and research methods.
<section class="loops">
<p>There are two main reasons to why I chose to write this essay in a
“knotted” format. One is that I would like to share my process and
progress of research on this project and this involves “thinking with an
object”, in this case types of knots. In Evocative Objects, Sherry
Turkle, who is a sociologist and the founder of MIT initiative of
technology and self, refers to the object in the exercise of thinking as
emotional and intellectual companions that anchor memory, sustain
relationships and provoke new ideas. I completely agree with this
statement through personal experience. The second reason is that I see
this as an opportunity to experiment if I can use knots as an
interactive (which is not in knots’ nature since they are mainly
practiced in solo) and playful element in writing. This is also why I
would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in
specific.</p>
<p>For Turkle and Seymour Papert, who is a mathematician, computer
scientist and educator that did remarkable research on constructivism,
being able to make a reading experience tangible, or even physically
representable makes the process of thought more concrete. Concrete
thinking in this sense is a way of thinking that I adapted to in the
past years, where you think with the object and imagine it vividly
during the process and address meanings to it as you read or write
along. This way it’s easier to compartmentalize or attribute certain
parts of a text to an imagined or real physical item which makes the
mind at ease with complex chains of thought.</p>
<p>Imagine you are reading a story… What if you think of the string
itself as the journey and the slip knot (which is a type of stopper
knot) as a representation of an antagonist because of its specific use
in hunting, would this change your approach to reading this story? I
believe so…</p>
<p><sup><span
class="margin-note"><img src="../irmak/slipknot.png">Slipknot is widely
used for catching small animals like rabbits and snares. It is also
commonly used to tie packages.</span></sup>What if instead of a slip
knot a bowline was on the string, would that represent something else in
the story because of its usage in practice. A Bowline is commonly used
to form a fixed loop at the end of a string; it’s strong but easy to
tie, untie. Due to these qualities, we can imagine the bowline<sup><span
class="margin-note"><img src="../irmak/bowline.png">Bowline is known to
be used since 1627. Some believe it was used in Ancient Egypt because a
knot resembling it was discovered in the tomb of pharaoh Cheops. Even
after it’s used and very tight, bowline is still easy to untie, which
makes it commonly used.</span></sup> to represent the conclusion in a
story. What if we have a Square Knot, how would that change the course
of a narrative? Square knot is used to bundle objects and make the two
ends of the same string connect. From just this, we can use it to
represent the connection between the beginning and end of a story. My
point is, there are limitless implementations on how to use knots in
literature because of their versatile purposes and the narrative
vocabulary they create. Topologists are still trying to identify
seemingly infinite numbers of combinations which we simply call “knots”
and I see this as an inspiration to keep writing.</p>
<p>One example of the wondrous versatility and potential of knots is how
they are used to archive and encrypt information. Incan people from the
Andes region recorded information on Quipus, dating back to 700 CE
Quipus are textile devices consisting of several rows of cotton and/or
camelid string that would be knotted in a specific way to record, store
and transmit information ranging from accounting and census data to
communicate complex mathematical and narrative information (Medrano,
Urton, 2018). Another example is the Yakima Time Ball, which was used by
North-American Yakama people to show life events and family
affairs.<sup><span
class="margin-note"><img src="../irmak/square.png">Square knot is one of
the oldest knots. Romans knew it as Hercules knot. A roman scholar
claimed that it speeds up healing when used to secure a bandage. It is
often used to tie belts and shoe laces.</span></sup></p>
<p>This is why I humbly decided to document my research process with a
Quipu of my own. I am trying to symbolize the twists, decisions and
practices throughout this year with knots of my choosing. I was inspired
by Nayeli Vega’s question, “What can a knot become and what can become a
knot?”</p>
<h2 id="weaving-into-the-text">WEAVING INTO THE TEXT</h2>
<p>This thesis expects participation from its reader. You have the
<sup><span class="margin-note"><img src="../irmak/broken.png">Broken
knots are knots that aren’t tied well, done with a wrong material or was
under more pressure than it could take.</span></sup>option to have a
mode of reading, where you will be guided by strings to This thesis
expects participation from its reader. You have the option to have a
mode of reading, where you will be guided by strings to start reading
from a certain section according to the type of reader you are and read
the loops one by one until the end, weaving through the text. To
determine the string or mode of reading, there are some simple questions
to answer. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">Bends are joining
knots. They attach two strings together. The bend above is a sheet bend
and it works well when koining two different strings and can take
stress.</span></sup></p>
<p>The three modes of reading are combine, slide, build. After you
discover the starting point with the yes or no map in the upcoming
pages, you will continue the reading journey through the strings of
different colors that will get you through the text. This way, the
linear text will become in a way, non-linear by your personal
experience.</p>
<p>Bear in mind that you can choose to read this thesis from beginning
to end as a single string too if you wish so.</p>
<p>Combine mode of reading is for readers who are more interested in the
journey and the connections between process and result. Slide mode of
reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the project.
Build readers are detail oriented and academic readers who would prefer
a “traditional” lead to reading. <sup><span
class="margin-note"><img src="../irmak/hitch.png">Hitches are used to
tie strings to a standing solid object.</span></sup> Alongside the
different strings to follow the text, there will be little drawings in
the margins as seen above, which will have different representations
like in a Quipu. Certain knots represent the experiences that raise
interesting opportunities for research and distinct events I went
through while making the project and underneath the drawing you can find
the relation to the knot itself explained. For example if I couldn’t
manage to do something I planned to do, this will be represented with a
broken knot. Bend knots which are used to connect two strings, will be
representing the relation between theories and my own
experiences/motivations. Hitches which are knots that are formed around
a solid object, such as a spar, post, or ring will be representing the
evidence or data I have collected on the subject. We move on now with
the working end and make some loops!</p>
<h2 id="how-to-choose-your-string">HOW TO CHOOSE YOUR STRING</h2>
This map will reveal your mode of reading. The order of reading will be
indicated with a loop sign Please hold a string in your hand as you read
the text and make knots or loops as you weave through the reading as an
exercise for concrete thinking. See you at the standing end! and a
number on top of the sign with a color. This is the numeric order you
should follow to read the thesis, if you choose to read with a mode.
Every reader starts from 1 and continues until 12, with a consecutive
numeric order, according to their color/mode.
</section>
<figure>
<img src="../irmak/map.png" alt="“”" />
<figcaption aria-hidden="true">“”</figcaption>
</figure>
<section class="loops">
<p><sup><span class="margin-note loop-note">1 1
1<img src="../irmak/loop.png"></span></sup></p>
<h2 id="working-end">Working End</h2>
<h3 id="loop-1">Loop 1</h3>
<h3 id="why-am-i-doing-this">Why am I doing this?</h3>
<p>My desire to write a children’s book about grief and memory ignited
when I was studying in college and doing an internship in a publishing
house in Ankara. I was struggling to process a loss I experienced at the
time and to find something to cling to on a daily basis. Then one day I
started hearing a buzzing sound in my bedroom at my family’s house. I
searched everywhere but couldn’t find the source for this noise. I asked
my father and he started searching too. A couple of days passed and the
buzzing was still there.</p>
<p>One day I found a bee on the floor in my bedroom and realized that
the bees nested on the roof and were coming inside my room through a gap
in the lamp. I was terrified because I have an allergy to bees and
thought they might sting me in my sleep. This moment was when I realized
I was so determined to find this buzzing sound for some time that I
forgot about dealing with the loss I was experiencing. This made me feel
very guilty and I remember thinking I betrayed the person I lost.</p>
<p>As funny as it may appear, I felt like I was sabotaged by these bees
that I thought were here to hurt me but in the end they made me
understand that its ok to let things go and every being does what it has
to do to find its way of survival. The little habitat that they chose to
create in my room seemed like a calling or a sign that I can aff ect
another living being significantly without being aware of it. This goes
for everything, no matter if some people leave us in this world, they
have living matter in us that keeps pulsing. So then I started
researching bees and their ecosystems. I read Alan Watts, Alan Lightman,
Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver Sacks, Joanna
Macy, Rilke, Montaigne and theories on order in chaos, correlative
vision, harmony of contained conflicts and the mortality paradox. I
wrote a lot and erased a lot and fairly figured out the wisdom of not
knowing things.</p>
<p>Years passed and I wrote and deleted and rewrote the story that I am
working on to make interactive today so many times and was waiting on it
because it always felt incomplete. In a way it will always be incomplete
because of the natural ambiguity the topic carries. Years later, grief
was back in my life with the loss of my grandfather. So therefore, the
story I wrote and abandoned changed again as I attempted to rewrite it
as a diff erent version of myself with a diff erent understanding of
death. And this went on… The story remained hidden and I forgot why it
ever existed in the first place. <sup><span
class="margin-note"><img src="../irmak/broken.png">I wrote and deleted
and rewrote the story 3 times already.</span></sup> Last year when two
earthquakes hit Syria and Turkey, I was drowned like everyone I know, by
a collective trauma and grief. Then this horrible feeling flared up by
neglect and desperation. It was and still is impossible to mourn so many
strangers at the same time. I lost two dear friends, I was furious, away
from home, mostly alone and remembered vividly my failed attempt to
understand or place grief in one of the piles in my mind.</p>
<p>Previous months, I was working on this story (yes, again) but didn’t
know how to tackle the text because it was so diff erent to what I was
experiencing now, when compared to the last time I rewrote it. A tutor
asked me why I wrote this story in the first place and I couldn’t
remember. I kept tracing back to 2016 and step by step, remembered why,
as told above. The consciousness that this story is actually a personal
history of how I went through grief in diff erent stages of my life,
made me realise that it doesn’t have to be or even can be a perfect
story.</p>
<p>In the end with the experience I had with loss, I believe the story
turned out to be an ode to remembering or might I say an ode to not
being able to forget or an ode to the fear of forgetting. <sup><span
class="margin-note loop-note">11 7
4<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-2">Loop 2</h3>
<p>The effect of storytelling knowledge on kids’ development and
creativity. What can we learn from open ended and multiple ending
stories?</p>
<p>ability to form basic stories or to express their emotions through
fictional characters or events. Children are not born with a wide
vocabulary of emotions and expressions. They learn how to read, mimic
and express their feelings over time. The more children read, write and
are exposed to social environments, the more they widen their sense and
ability of expressing themselves. The language gained as kids comes in
many forms and storytelling plays a crucial role in this development.
The exposure to stories prepares the kids to the era of reading and
writing. Children come to understand and value feelings through
conversation (Dettore, 2002). When children are offered to read or share
stories, they also learn to understand people around them better and
gain emotional literacy.</p>
<p>Storytelling has been a means of communicating with others for many
centuries. It is not only a way to discuss important events, but also a
way to entertain one another (Lawrence &amp; Paige, 2013). Stories have
been told orally, in writing or with drawings for thousands of years and
some of these stories are still alive. This is because language is a
living thing that travels through time and still remains brand new. When
necessary, it just adapts form, evolves and blends in with the changing
world. Children comprehend the idea that they have a story to tell by
hearing other stories and this ignites the imagination. We tend to
forget many things but almost everyone remembers one small story they
heard or read when they were a kid, this moment we remember is the
moment a certain story sparked for us.</p>
<p>Nowadays storytelling takes many forms. For example, some readers’
story might even begin from here although it isn’t the beginning.
Interactivity is one of the storytelling forms that can signifi- cantly
improve children’s creativity. This is mainly because children as
readers or listeners get to contribute and aff ect the story. This of
course requires and improves creative and active thinking. Getting the
chance to choose a path for a fictional character gives the child the
freedom and confi dence of constructing a world, a character or an
adventure. Although this is essentially “writing” as we know it,
children think of this as a game, yet to discover they are actually
becoming writers. What kind of reward can we expect from active
participation in a story? Narrative pleasure can be generally described
in terms of immersions (spatial, temporal, emotional, epistemic) in a
fictional world (Ryan, 2009). When we are set to create or co-create a
world, the narrative has effects on us such as curiosity, suspense and
surprise. At this point, we start creatively producing ideas to keep
these three emotions. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">Multiliteracy
theory helped me ground my passion of using multimedia for children’s
literature.</span></sup> Interactive storytelling reminds everyone but
especially children that there are limitless endings to a story that is
solely up to the maker’s creation. Learning to think this way instead of
knowing or assuming an end to a story, I think influences the children’s
decision making abilities and sense of responsibility towards their
creations. It is basically the same in theatre where if an actor chooses
to create an imaginary suitcase on stage, they can’t simply leave this
object they created on stage and exit the scene because the audience
will wonder why the actor didn’t take the imaginary suitcase as they
left. In this case, when kids decide to choose a path or item or any
attribute for a character in a story, they feel responsible and curious
to see it through to the end or decide what to do with it. This
interactivity therefore creates a unique bond between the reader/writer
and the text.</p>
<p>There are many theories on how to approach interactive literature for
children. Multi-literacy theory and digital literacies are some of the
theories which I find relevant to my aim with Wink. Multiliteracy theory
in a nutshell is an education oriented framework that aims to expand
traditional reading and writing skills. This theory was developed by the
New London Group. They were a collective of scholars and educators who
addressed the changing nature of literacy in an increasingly globalized,
digital world. The theory explores multiple modes of communication
consisting The sense of storytelling settles for kids, starting from age
three. By this time, children have the of multimodal communication,
cultural and social contexts, critical inquiry, socio-cultural learning
theory and pedagogical implications. Multimodal communication focuses on
the variety of communication techniques. This was groundbreaking in the
90s because of its acknowledgment of a diverse range of literacies and
its departure from traditional approaches to literary texts. This theory
includes new media and communication studies such as visual, digital,
special and gestural literacies.</p>
<p>I kept this theory in mind as I chose the interactivity elements to
use in the picture book. I think the usage of multiple media such as
sound, image and games is a good way to start and diff erentiate from a
regular interactive e-book. The fact that this theory has an educational
perspective and is taking the rapidly changing qualities of literature
seriously, made me consider it as a guide in designing the
prototype.</p>
<p>Looking through the perspective of multiliteracies, questions come up
for me that lead to the rest of this thesis: What is an interactive
picture book? Is it a book? Is it a game? Is it an exercise?</p>
<p>What is it defined as? How can we design an interactive reading
environment without confusing children?</p>
<p><sup><span class="margin-note loop-note">8 9
5<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-3">Loop 3</h3>
<p>Differences and similarities between interactive e-books and
storytelling games.</p>
<p>Storytelling games and interactive e-books have many things in
common. To begin with, they both centralize the narrative to engage the
audience. While both of these formats are storytelling tools, e-books
tend to stay more in a linear narrative and format when compared to
storytelling games where the audience is commonly the main character.
Reading experiences are also a way to be in the shoes of the narrator or
the character but in a storytelling game, you embody the mission and the
experience overrules the story most of the time. In the specific example
of a child, storytelling games are complicated and puzzle driven where
the player has missions to complete. Whereas in an interactive e-book,
the missions are solely based on the interactive elements implemented in
the text and images.</p>
<p>Another difference is that the visual world in an interactive e-book
is less cinematic and has limited movement. The imagery plays a massive
role in a storytelling game where the world created is offered to the
player. In an interactive e-book, the text itself is designed to be
playful and ready for readers to discover.</p>
<p>The main difference in my opinion that separates these two methods of
storytelling is the reward. In a game, we expect to be rewarded by a
victory, passing a level or unlocking something throughout the
experience. In an interactive e-book, we work with the story and in
return we expect a good experience and there is no reward other than
that. But, the whole design of interactivity involves aspects of a game
where the reader –not the player- is captured by surprise effects or
elements that come up on the pages. This ignites curiosity but not
ambition, which is a good start to foster the love for reading.
<sup><span class="margin-note loop-note">5 4
11<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-4">Loop 4</h3>
<p>Ways of using interactivity in digital platforms</p>
<p>CASA theory, also known as the Cognitive-Aff ective-Social Theory of
Learning and Development, is a framework used in educational psychology
to understand how learning occurs within the context of cognitive, aff
ective, and social factors. Research on cognitive learning with keeping
in mind the limited attention span and memory factors. For children in
specific, I think these are very important factors to keep in mind when
trying to design an interactive experience. This is because children get
bored very easily and can be disengaged because of failure of
solving/understanding something in a story. This is something I kept in
mind as I wrote for children and chose the interactive elements in the
story. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">CASA framework
helped me understand the key elements in designing for
children.</span></sup></p>
<p>Finding the balance between making the interactive element surprising
and making it easy to interact with is the key to designing for kids in
this scenario. We don’t want to make them struggle and use the limited
attention span in a non-engaging way but we want to keep the reading
interesting enough so they want to continue.</p>
<p>Digging deeper into how to do this, I found Children Computer
Interaction (CCI) study very useful. This study examines how children of
different ages and developmental stages interact with digital devices
and how these interactions can support their growth. This made me think
about digital gestures; how they change through generations and how to
use these to design a platform where children can navigate easily and
freely. CCI suggests that when introducing a new media to children its
better to start easy and clear when they try it. Through this I think
the best easy interaction is the tap or click for children. It is easy
to do, instinctive and common. So I decided to base the interactive
elements on click animations. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">CCI was a theory
that helped me decide on the interactive elements.</span></sup> There
are multiple ways to use digital gestures in storytelling to make the
experience more intriguing. These are usually elements such as sound,
animations, voice-overs that are ignited with a click or tap by the
reader. For children younger than 5, its usually just tapping over the
page and experiencing an action-reaction. For older kids between the
ages 6-8, I made some workshops to figure out which types of interactive
elements are most useful in engaging them in the reading process.</p>
<p>It is true that sound and animations are very inclusive and it is
engaging for kids to find out which part of a page is interactive by
clicking on images. Another thing I found out is that kids enjoy being a
part of the story. For the prototype of Bee Within (the story I am using
to test interactivity also can be read in the appendix) I will focus on
color, sound and click based animations according to the results of my
research. <sup><span class="margin-note loop-note">4 3
2<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-5">Loop 5</h3>
<p>What is the target age group for the designated prototype and
why?</p>
<p>It is tricky when it comes to choosing the right age spectrum for
children’s interactive literature. Children between the ages 3-5,
referred to as preschoolers have more developed social skills and day by
day increasing interest in play. They can take on roles in imaginative
play scenarios. They can also share and take turns more, listen and
think about rules of a game. They can form friendships and connections
easily.</p>
<p><sup><span class="margin-note"><img src="../irmak/hitch.png">This
data about school age children was a starting point to choose the age
group to have the workshops with.</span></sup></p>
<p>School age children are between the ages 6-12, which is Wink’s chosen
age group is a little different. These kids can form more rooted
friendships and engage in more complex narratives. They learn to
negotiate and compromise around this time as well. This age group is
desired for Wink because kids this age are open to creative problem
solving, connecting events and comprehending slightly more complex
narratives. Moreover, this age group would benefit the most from the
interactive stories and the reading process because of the developmental
phase they are in.</p>
<p>The average amount of time children between these ages use on a daily
basis is depending on their parents and circumstances. But to be fair,
it is often not less than 2 hours. If a child isn’t very interested in
spending these hours reading a book, why not ask them: “Would you like
to be a part of a story?”</p>
<p>Today, kids from age 3 can use digital gestures successfully and
experience these as simple as flipping the page of a book. This is why
it is fairly easy to create an interactive picture book which kids can
navigate themselves and be able to browse through with or without their
parents. But for Wink, I chose to design for older kids because I want
to experiment on multi-leveled narratives and I want to avoid the risk
of confusing children. <sup><span class="margin-note loop-note">3 10
7<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-6">Loop 6</h3>
<p>Limits of interactivity in narratives for children and why do we have
less modes of reading and writing for children?</p>
<p>Although there are many upsides of creating digital environments for
children due to their advanced skills in technology from early ages,
there are also risks involved in this where the kid can be overwhelmed
and confused due to the autonomy they receive. Reading a story is
supposed to be effortless and a good free time activity but with
interactive picture books, it is slightly more than that and more
complicated as an experience. <sup><span
class="margin-note"><img src="../irmak/elbow.png">This is the elbow of
our strings. Elbows are created when an additional twist is added to a
loop. In this case, it represents the counter argument in the
string.</span></sup></p>
<p>First of all, with the story at hand, called Bee Within, there are
two other stories in one. Although the main story is about a little
girl’s journey, kids get the chance to hear the Queen Bee’s story and
the tree’s story as well. This is not a must but if they interact with
certain pictures on the page, they will be led to the bee’s perspective
or the trees. This is where the storyline can get a little bit
complicated for younger kids. The child reader at this point should be
able to follow the main storyline after visiting the side quests or
stories presented in the interactive book. To create this balance I
tried to limit the interactive elements I used in the main story. I
tried to keep the picture animations limited and focused more on the
storylines.</p>
<p>Another aspect I am concerned about after the workshop I did with the
kids, is the risk of confusion due to an undefined and multimodal design
for a “book”. Kids tend to be confused when they can’t define things or
are asked to improvise without knowing the purpose.They know what a book
is and that it is similar to what they encounter on the screen. But the
method of reading and interacting with Bee Within is different than what
they are used to. This concerns me because they might prefer to just
read a book or play a game instead of discovering a new thing, which
they are exposed to daily because they are always in a process of active
learning. So one more thing to learn might come as exhausting.
Therefore, in designing, I want to make interactions as clear as
possible for them. <sup><span class="margin-note loop-note">9 11
8<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-7">Loop 7</h3>
<p>Interactive reading and writing examples and surveys done with
kids.</p>
<p>As an improvisation theater enthusiast myself, I tried to engage the
kids with the story through some exercises and games during the
workshops. My aim was to see how involved they want to be in
storytelling. Improvisation has a certain way of storytelling and
interaction where there are either too many options or none. You need to
have good empathy and harmony with the person you are acting with and
you are designated to be creative in your own way. I tried to use
several improv games and warmups to involve the kids in the story more
and see how they see certain characters from the picture book.</p>
<p>My first attempt was to make a survey at the end of workshops with
kids to whether they liked it or not, but when I researched further,
surveying with kids has very different methods and complications.
<sup><span class="margin-note"><img src="../irmak/broken.png">There is a
broken knot here because I ended up not doing a survey with children at
the workshops.</span></sup> Most kids either really like or really
dislike things. Finding the in between emotions with a survey, ends up
being vague. Most surveys done with kids use emoticons as representation
of a good or bad or average time. Instead, I chose to observe the
environment and understand how much empathy kids can offer in an
interactive reading or playing environment. <sup><span
class="margin-note loop-note">6 2
6<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-8">Loop 8</h3>
<p>What does the joy of destruction and the awe effect have to do with
interactivity? Indeed, why did we ever start playing games? The most
important aspect of a game for me is that it surprises you and leaves
you in awe towards something you weren’t expecting happened. I feel like
every reaction I give when I’m surprised, is a mirror of what I felt
when I was playing freeze and had to stop moving at any given time or
when I found the last friend hiding somewhere in hide and seek. This
feeling of appreciation and unexpectedness is why most people remember
certain games, movies from their childhoods very vividly. Its an
introduction to a feeling we experience maybe for the first time because
we don’t necessarily learn from books how and when to feel surprised,
that is why it’s a surprise; we live it, experience it and it leaves and
impression with us.</p>
<p>In my opinion, what drives everyone as a common denominator is
amazement; because it takes us to our childhoods or distant memories
where we first felt that feeling of awe. This is the main purpose behind
any kind of interactive design and I think books can be an amazing
medium to experiment this with. Specifically because this ancient device
can take us to numerous worlds. For me as a millennial, books give me
enough amazement as it is. But as I worked in publishing through the
years and observed, I think kids today need something more to ignite
their interest. There are so many factors in a picture book such as the
image, the text and sound which can be played with to create an
experience that is more surprising. This is the main purpose behind my
research and protoype. Today’s world being visually stimulating and
serving very short attention spans with social media, it is a tough task
to insert a story or reading experience that requires full attention and
patience. There are examples of Tiktok stories, Instagram reels, audio
books and games that try to tell stories worth listening with attention.
Wink is also an attempt to do this and I believe the key is to make an
already engaging story enriched with interactive elements that appear to
you through a click if you choose to. I think this is also the key to
nourishing a new way of storytelling. <sup><span
class="margin-note loop-note">7 5
3<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-9">Loop 9</h3>
<p>Interactivity in reading and writing in history. What changed?</p>
<p>Interactivity has always been an experimental area in literature from
inscriptions to narrative games then to playable stories and artificial
intelligence. I will expand some of these examples from the rich history
of interactive fiction. When I dig a little bit into the media
archaeology there are three still relevant aspects that strike me and
change/improve my approach to Wink. The first is the need to connect
that remains untouched through centuries of human communication, the
second is how there were multiple projects concerning interactive media
especially for kids that later turned into narrative games or remained
as prototypes and lastly how the integration of media and literature has
been such a grand topic even before information and technology era. Some
examples to this is music, masks, puppets, props used in
storytelling.</p>
<p>Ancient texts with annotations such as The Odyssey, The Mahabharata
are maybe the earliest written interactive experiences in a historical
context. They are published with notes and explanations, clarifications
which make the text inhabit different opinions and approaches in an
engaging way where the reader can choose to hop on and off from the
annotation and margin texts.</p>
<p>From the 70s to the present there have been many examples but I will
be focusing on a few here. One of them is, Choose your own adventure
books which allowed the reader to participate in the plot. These still
exist as picture books where you are directed to certain pages according
to the choices you make throughout the story. Along with this were also
board games and cards that required interactive inputs. Some examples to
this is exploding kittens or cards against humanity where the player has
the autonomy to be creative and fill in the blanks to win the game.
Simultaneously, text-based adventure games such as Zork and Adventure
were popular. Early days of computing offered a wide space for exploring
virtual worlds. In the early 80s, hypertext fiction contributed to
electronic literature. Hyperlinks were used as a tool to navigate a text
and choose paths of reading. This inspired me to write this thesis with
different modes of reading as well. After the 80’s, Interactive fiction
gained popularity as a genre of interacting with text based input.
Dynabook by Alan Kay was prototyped during this time as a promising
reading and writing device designed for children.</p>
<p>The 21st century offers a combination of text and illustrations in
augmented reality books that have animations, sound and external
interactions. These are followed by digital storytelling platforms like
Wattpad and Storybird and interactive e-book apps such as Pibocco, Bookr
and Tiny Minies. Most of these apps are dedicated to education however
and not solely to creativity. Their aim is to use creative elements to
foster education for kids.</p>
<p>With Wink, I want to use a mainly educational tool (a book) to foster
creativity and expression. So I believe it is the opposite purpose as to
these examples in certain ways. I am trying to combine the delicacy of a
narrative where you can only be a reader and the excitement of
autonomous writing and experiencing.</p>
<p>This is because I think the understanding and usage of media changed
in the last years. Some tools that created the awe effect for users
faded and left their place to more compact designs. Although audio books
were very welcome at some point, younger users nowadays prefer book
summary apps or podcasts to them. Of course they are still used and not
outdated but there is certainly a visible change to where media is
heading. <sup><span class="margin-note loop-note">10 8
10<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-10">Loop 10</h3>
<p>Experimentation of creative exercises to be used in WINK. Exercises
of storytelling with words, images, drawing, sound and gestures.</p>
<p>Before I completed the prototype of Wink, I reached out to an
international school in Rotterdam to make a 20 minute workshop with kids
between ages 6-8. The aim here was to grasp the interactive elements in
the picture book to implement in the digital framework. I wanted to see
which parts of the story the children found exiting and which ones are
not so thrilling for them. It also helped me draw the pictures for the
book accordingly and edit the text with their reactions in mind. Due to
a privacy agreement, I couldn’t record or use any data from the workshop
but I made some helpful observations from my time there. <sup><span
class="margin-note"><img src="../irmak/hitch.png">This loop is all about
the observations I made during the workshops and the decisions I made,
according to the results.</span></sup></p>
<p>The first workshop I planned consisted of two main parts that made up
20 minutes. The first 10 minutes we read Bee Within (attached in the
appendix) together in a circle and the last 10 minutes we played little
improvisation games, focused on the three main characters in the story
(the bee, the kid and the tree). I made three groups and gave these
groups the three characters. I asked them to embody a character
throughout the workshop and be loyal to it. Each group of three had 1
minute on the stage to silently improvise their characters. They were to
use one sentence if they wanted to speak.</p>
<p>During the first part, I couldn’t observe as I was busy reading but
their teacher kindly took notes during this time, regarding the
children’ reactions to parts of the story. I inserted the bees and trees
narrative to the reading by tossing the paper I had in my hand and
picking up a new one as I kept reading the bees and trees story. This
was crucial because I wanted to see if this multiple stories in one
concept would be confusing for kids. The teacher told me that they were
excited about my gesture of juggling papers as I seemingly read one
story. They were intrigued and confused at first but they did keep up
with the storyline and understood all. Her notes basically said they
were very focused and less interested in the kids journey. They really
liked the bee and were a bit confused with the tree.</p>
<p>There were 12 international kids and 3 of them didn’t want to join
the workshop, they wanted to observe. I told them that they could paint
and draw what they see. The drawings they made were of their classmates
acting as trees or bees. They drew their classmate with a stinger and
the other was of a classmate as a tree with his hands wide open as he
was performing.</p>
<p>What struck me most on the second part of the workshop was how these
kids used the room so freely and in relation to their characters.
Because we read the story before the improvisation games, some of their
characters were influenced by how it is in the story we read. Next
workshop, I am planning to not tell the story but to talk about it
before and give context. This is because I want to see how their
understanding changes without a limitation of a story.</p>
<p>Bees in the classroom that day were all very active and they used
chairs, tables and windows to position themselves in a higher
perspective. Children who played the kid were usually standing closer to
the trees and looked very calm. Trees were all very different. One of
the kids used postits as leaves. Some of them didn’t have leaves because
it is winter. Trees didn’t move at all and the bees were buzzing all
around. “The kid” usually sat near the tree, on the tree (as in the
other performers’ lap or hugged them).</p>
<p>Overall only 2 groups used the option to say a sentence which were,
<em>“I want to go on an adventure”</em><br />
<em>“I don’t wanna leave Gray(the tree)”</em></p>
<p>This was a good feedback for me because I realized they are very
perceptive of actions and facial expressions rather than words. The
workshop we did in the studio with XPUB 2 students was harder than the
session with the kids because everyone felt so restricted to obligations
and were not comfortable to let go of bodily control. No one actually
attempted in using objects from the room which is a huge difference with
the kids because they drew on their faces, used plastic bags as wings
for the bee and made sounds with their mouths as trees.</p>
<p>The next workshop was to discover how improv would work without
reading the story first. This workshop was fruitful because it helped me
realize how much information or guidance I have to offer for children in
order for them to be comfortable to participate and interact without
confusion. We made a circle and I summarized the story to the kids,
acting in the middle of the circle. This broke the ice completely
because I was a part of the workshop and they thought I was funny. For
the next part, I divided the group in three and assigned a character to
them. After this, I asked them to decide on an attitude, pop in the
middle and tell or act out their character. I went first and they
followed easily. They were not under the influence of the story so the
performances were different but they still got influenced by each other,
which in my opinion is inevitable. Some of the kids were buzzing/running
around, the “kids” were walking around, acting like they are playing
which I found very interesting. Some trees were small some were mighty
and old. It was helpful to see the different attributions they gave to
the characters.</p>
<p>After the circle session, they separated in three groups: the kids,
the bees and the trees. I asked each group to come up, walk around
randomly, embodying the character they chose. Then as I rang the bell, I
asked them to change the character. I asked them to be a busy, tired,
injured, happy and scared bee one by one. They kept walking randomly and
acted these feelings out. For the “kids”, I asked them to be angry, sad,
scared, and curious. For the trees I asked them to be wise, mad, funny
and happy. The results were amazing. They adapted very quickly to the
changing of emotions which showed me that this age gap was good to work
with. The trees stopped walking as I changed the emotions and this was
an affirmation to not animate the tree with movement but more with
changing of color and tiny animations. They mostly used arms and face
expressions to show the emotions, some of them ducked or made sounds. As
I said mad, one of the kids ran and put her red jacket on. This made me
think about using color to show emotions for the tree. It was good to
see that they weren’t scared or discouraged by negative emotions as
well. We ended the workshop by drawing our characters. It was nice to
see them own their imaginary characters enough to draw them with joy.
<sup><span class="margin-note"><img src="../irmak/broken.png">There is a
broken knot here because I changed my mind about adding motional
elements to the tree character. Kids seemed to see the tree as
stationary.</span></sup></p>
<p>The last workshop was dedicated to discovering the sound aspect. The
tree in the story speaks in verses so I chose one verse and
read/performed it in a circle to begin with. Then I gave them some
instruments: a drum, a bell, aluminum folio, a balloon and a bubble
wrap. I asked for a few volunteers and they made sound effects as I read
the verse very slowly. This went good and I saw that they like to
dramatize the sounds and make them funny or unexpected. They used the
bubble wrap to make sounds for snowing or aluminum folio for the
volcano. They had great fun but I think I made a mistake by making a few
kids do foley at the same time because they didn’t know how to take
turns and were hesitant at first. Then quite impressively, they made
their own system where they took turns to make effects for each
sentence.</p>
<p>Then I made four groups of three. 3 kids as actors and 3 kids as
foley actors. They buddied up and made short scenes where one group made
sounds effects to the others acting on stage. This was the best part of
this workshop because they could lead the actors with the sounds they
made or vice versa. This I think is very important because it shows that
they like to be a part of or be effective to the story itself. They were
very creative in using the objects in the room and turning them into a
tool for sound. They enjoyed to foley the bee and the other characters
not so much. Which showed me that I should focus on the sound of the bee
in the prototype.</p>
<p>Overall, the workshops were very helpful for me to understand where
to focus on as I develop. I realized that some of the sound, color and
movement animations I planned were too complicated and I decided to make
them more simplistic. I decided to animate the tree with only color
because I was effected by this one participant who took the red jacket
to represent the tree was mad. For the bee I decided to focus on sound
more. For the kid I decided to use more visual animations to make it
more interesting.</p>
<p>One other thing the workshops helped me with is the multiple stories
I am planning to tell in one narrative. The book I have has two side
quest/stories so it nice to see that kids weren’t confused with these
narratives. I decided to make the story of the tree as a click game
where the lines appear by clicking and the bee’s story through a text
based game. I wanted to use click game with the tree because it seemed
like they needed more stimulation to be interested in that story and I
though a ‘reveal the story’ click game could keep them interested. For
the bee, knowing they like the character, I wanted to make it more like
a game to give the kids a chance and autonomy to be a part of the story
itself. <sup><span class="margin-note loop-note">2 6
9<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-11">Loop 11</h3>
<p>The differences of these exercises in WINK than the already existing
interactive e-book platforms The interactive e-book apps existing today,
made especially for children, are quite similar in both format and
purpose. If we take a look at Bookr, Piboco, and Kotobee, we can see
they seek a new way to tell a story but have one mode of reading. The
stories are linear and can be read once, without side quests. This is
the main difference with what I am trying to design. Wink acts as a tool
to play with and choose paths. The story isn’t linear in the traditional
way where you interact with the pictures and finish the book but there
are side stories to the main story that they can discover or choose not
to. I think this is a solid difference. This makes it a playable
narrative, different from a book.</p>
<p>This prototype is a good start to see how far I can get with the
interactive elements and side stories without confusing or discouraging
the children. There are many other aspects that can be implemented to
this design such as writing elements and drawing but for the meantime,
also in correspondence with the workshops, I choose to test the sound
and image along with one main and two small narratives.</p>
<p>For future prototypes, I envision space to draw and write as a
contribution to the story and maybe turning Wink into a hybrid format
with more autonomous features. For me, at this point, it’s valuable and
essential to see if my technique of combining narratives is working or
not.</p>
<h3 id="loop-12">Loop 12</h3>
<h2 id="standing-end">Standing End</h2>
<p><sup><span class="margin-note loop-note">12 12
12<img src="../irmak/loop.png"></span></sup> After many loops of
thought, we are here at the standing end of the thesis. There is room
for more loops and knots in the future to secure this string of thought
but for now, we have come to the dock and rest ashore.</p>
<p>Reading this thesis with a string, using concrete thinking as a
technique to go through a research and text was a helpful exercise for
me and helped me mark my thoughts and ideas. The overarching theme of
knots and experimental approach to modes of reading was valuable for me
to share and try as an enthusiastic young writer. I like that I asked
the reader to interact with the thesis and follow paths accordingly.</p>
<p>It was enlightening to see the results of working with kids and be
able to see from their point of view and alter everything according to
these encounters. Using CCI and Multiliteracy theory as a guide to
approach the design and prototype was helpful in understanding how to
approach and tackle the desire of making something for children.</p>
<p>Now from where I stand, I feel more rooted and have a clearer idea of
what works and doesn’t work. Some features that I think would work very
well like the choice of writing didn’t go as planned because multiple
narratives is already too much. I realized I underestimated the effect
of introducing a new media to children. This is why I decided to take it
step by step with the interactivity.</p>
<p>Taking a step to make Wink and using the story I wrote and feel is
important in my personal history as a prototype was a breakthrough. I
feel like my interest and desire to discover new ways of writing,
reading and experiencing literature is ongoing and it was a beautiful
journey so far. I am looking forward to making more knots on this long
and mysterious string at hand.</p>
</section>
<h2 id="bibliography">Bibliography</h2>
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new learning’, Pedagogies: An International Journal, 4(3), pp. 164–195.
doi:10.1080/15544800903076044.</p>
<p>Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as
emotional archaeologists,” Childhood education, 78(5), pp. 278–281. doi:
10.1080/00094056.2002.10522741.</p>
<p>Ingold, T. (2015) The life of lines.London, England: Routledge.</p>
<p>Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew:
Teaching and learning through storytelling:What our ancestors knew:
Teaching and learning through storytelling,” New directions for adult
and continuing education, 2016(149), pp. 63–72. doi:
10.1002/ace.20177.</p>
<p>Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children,
computers, and powerful ideas. London, England: Basic Books.</p>
<p>Ryan, M.-L. (2009) “From narrative games to playable stories: Toward
a poetics of interactive narrative,” StoryWorlds A Journal of Narrative
Studies, 1(1), pp. 43–59. doi: 10.1353/stw.0.0003.</p>
<p>Smeets, D. and Bus, A. (2013) “Picture Storybooks Go Digital: Pros
and Cons,” in Quality Reading Instruction in the Age of Common Core
Standards. International Reading Association, pp. 176–189.</p>
<p>Strohecker, C. (ed.) (1978) Why knot? MIT.</p>
<p>The Effect of Multimodality in Increasing Motivation and
Collaboration among 4th CSE EFL Students (no date).</p>
<p>Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT
Press.</p>
<p>Urton, M. M. &amp;. (2018) The khipu code: the knotty mystery of the
Inkas’ 3D records, aeon. Available at: https://
aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records.</p>
<p>Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole
Life. Available at: https://wholelife.hkw.de/
codes-in-knots-sensing-digital-memories/.</p>
<h2 id="acknowledgements">Acknowledgements</h2>
<p>Thank you Marloes de Valk, for your enlightening feedbacks and ideas.
Thank you Michael Murtaugh, Manetta Berends, Joseph Knierzinger, Leslie
Robbins and Steve Rushton for sharing your time and knowledge with me
throughout these years.</p>
<p>Thank you XPUB friends for funny, hectic and memorable moments we
made together.</p>
<p>Thanks to my family and especially Kemal, my brother, who supported
me in my studies and encouraged me to do better, always…</p>
<p><em>So long and thanks for all the fish!</em></p>
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