diff --git a/ada/index.html b/ada/index.html index e736359..16977f2 100644 --- a/ada/index.html +++ b/ada/index.html @@ -10,14 +10,14 @@ -

Title

-

Grad project Description

+

Backplaces

Hi.
I made this play for you. It is a question, for us to hold together.

Is all intimacy about bodies? What is it about our bodies that makes @@ -48,16 +48,18 @@ Inspired by an email response from a survey I conducted about receiving emotional support on the Internet, this story explores the contradiction of being online while wanting to disconnect. It is a web play inviting you to navigate both of these feelings.

-

Good Pie is a great big play of pies, a performance that took a year -to bring together. It had three phases. First, as my friends left, I -baked each of them a goodbye pie. Then I hosted two performances. In the +

Cake Intimacies is a performance that took a year to bring together. +It is a small selection of stories people told me and I held to memory +and rewrote here. The stories come from two perfomances I hosted. In the first, I asked participants to eat cake, sitting facing or away from -each other and sharing their stories about cake and the Internet. In the -second I predicted participants’ future lives on the Internet using -felted archetypes and received stories from their Internet past in -return. This website is a reflection of all these experiences. Each Good -Pie has a filling that tells a story, merging the bodily with the -digital and making a mess of it all.

+each other and sharing their stories about cake and the Internet. The +second perfomance was hosted at the Art Meets Radical Openness Festival, +as part of the Turning of the Internet workshop. For this performance I +predicted participants’ future lives on the Internet using felted +archetypes and received stories from their Internet past in return. Now +the stories are here, each of them a cake with a filling that tells a +story, merging the bodily with the digital and making a mess of it +all.

I love you and hope you see what I saw in these stories.

Safe dreams now. I will talk to you soon.

diff --git a/ada/thesis.html b/ada/thesis.html index 284335e..564438f 100644 --- a/ada/thesis.html +++ b/ada/thesis.html @@ -10,16 +10,16 @@ -

&lt?water -bodies&gt : A narrative exploration of divergent digital -intimacies

+

<?water bodies>

+

A +narrative exploration of divergent digital intimacies

Water, stories, the body, all the things we do, are mediums that hide and show what’s hidden. (Rumi, 1995 translation)

꙳for you

@@ -153,7 +153,9 @@ legitimacy of his connections, finding no way to do so except by emphasizing their tangible bodily experiences. The community’s claim to authenticity thus had to lie in the physical experiences of its members— the visible bodies and hearable voices, the weddings, births, and -funerals (1993). You’re dreaming again, good.
Would you feel closer to me if you could hear my voice?
Is my voice a sound? Could it be a feeling?.

+funerals (1993). You’re dreaming again, +good.
Would you feel closer to me if you could hear my voice?
Is +my voice a sound? Could it be a feeling?.

Even then, and even by people with no interest in undermining the value of the virtual, the distinction between physical and virtual was confusing. Rheingold himself reinforces the boundary of body relations @@ -414,7 +416,12 @@ integral role in human aesthetics, all harmonic series diverge, perpetually expanding without ever concluding. They embody a richness that transcends conventional boundaries, blending into one another infinitely.

-

[Figure 1 - Harmonic Series to 32 (Hyacint,2017).]

+
+ + +

By likening digital bodies to divergent series, we embrace the complexity and infinite possibilities arising from their interconnectedness and deviation from the norm. However, it’s crucial to @@ -694,7 +701,7 @@ cybercommunities’, Journal of Sociology, 51(4), pp. 950–967. doi:10.1177/1440783313486220.

Yun, J. (2020) ‘The Leaving Season’, in Some Are Always Hungry. University of Nebraska Press.

-

&lt?/water bodies&gt

+

<?/water bodies>

\ No newline at end of file diff --git a/aglaia/index.html b/aglaia/index.html index 80a73eb..0829953 100644 --- a/aglaia/index.html +++ b/aglaia/index.html @@ -10,87 +10,101 @@

Talking Documents

-

Talking Documents are performative bureaucratic text inspections -using auto-ethnographical means that intend to create temporal public -interventions through performative readings.

-

While I had this inherent concern about borders and bureaucratic -structures in relation to migration, I decided to start zooming in and -explore my own bureaucratic surroundings through my personal lens. As a -student, I was eager to understand and dig into the educational -institutions’ bureaucratic mechanisms being driven by smaller-scale -bureaucratic struggles and peers’ narratives, stories and experiences. -My starting point were concerns and a need to explore potential -bureaucratic dramaturgies within the educational institution I am -currently part as a student. However, unexpected emergencies placed -centrally my personal bureaucratic struggles that were being unfolded in -parallel with the making period. Accordingly, this project was -dynamically being reshaped due to the material constraints of the -bureaucratic timeline. I utilized the paperwork interface of my -smaller-scale story in order to unravel and foreground questions related -to the role of bureaucracy as less material border and as a mechanism of -regulation that reflects narratives, ideologies, policies of the -state.

-

The scenario Central element of this project is a seven-act scenario -that construct my personal paperwork story, unraveling the actual -struggles of my communication with the government due my recent eviction -on the 31st of January 2024. The body of the text of the “theatrical” -script is sourced from the original documents, email threads as well as -recordings of the conversations with the municipality of Rotterdam that -I documented and archived throughout this period. I preserved the -sequence of the given sentences and by discarding the graphic design of -the initial forms, I structured and repurposed the text into a playable -scenario. I perceive the document as a unit and the primary interface of -the bureaucratic network. The embedded performativity of “real” -bureaucratic rituals establishes and empowers (bureaucratic) -institutions through repetitive acts. The transformation of the +

+ + +
+

This project appeared as a need to explore potential bureaucratic +dramaturgies within the educational institution I was part as a student. +I was curious about educational bureaucratic mechanisms being driven by +smaller-scale paperwork struggles and peers’ narratives, stories and +experiences. However, unexpected emergencies - due to my eviction on the +31st of January 2024 - placed centrally my personal struggles unfolded +in parallel with the making period. I ended up conducting accidentally +auto-ethnography as the project was dynamically being reshaped due to +the material constraints of the bureaucratic timeline.

+

Talking Documents are performative bureaucratic text inspections that +intend to create temporal public interventions through performative +readings. I utilized the paperwork interface of my smaller-scale story +in order to unravel and foreground questions related to the role of +bureaucracy as less material border and as a regulatory mechanism +reflecting narratives, ideologies, policies.

+

Central element of this project is a seven-act scenario that +construct my personal paperwork story, unraveling the actual struggles +of my communication with the government. The body of the text of the +“theatrical” script is sourced from the original documents, email +threads as well as recordings of the conversations with the municipality +of Rotterdam I documented and archived throughout this period. I +preserved the sequence of the given sentences and by discarding the +graphic design of the initial forms, I structured and repurposed the +text into a playable scenario.

+

+

+

I perceive the document as a unit and as the fundamental symbolic +interface of the bureaucratic network. The transformation of the materiality of a document into a scenario to be enacted collectively in -public attempts to examine these artifacts and highlight the shrouded +public aims to examine these artifacts and highlight the shrouded performative elements of these processes.

-

The public readings of the scenario I see the collective readings of -these scenarios as a way of instant publishing and as a communal tool of -inspecting bureaucratic bordering infrastructures. How can these -re-enactments be situated in different institutional contexts and -examine their structures? I am particularly interested in the -site-specificity of these “acts”. I organized a series of performative -readings of my own bureaucratic literature in different spaces and -contexts, pubic and semi-public, like Leeszaal, WDKA, Art Meets Radical -Openness Festival in Linz, the City Hall of Rotterdam where I invited -people to perform the play together, like a theater. The marginal voices -of potential applicants are embodying and enacting a role. “The speech -does not only describe but brings things into existence”(Austin, 1975). -My intention was to stretch the limits of dramaturgical speech through -vocalizing a document and turn individual administrative cases into -public ones. How do the inscribed words in the documents are not -descriptive but on the contrary “are instrumentalized in getting things -done”(Butler,1997). Words as active agents. Bodies as low-tech “human -microphones”. A group of people performs the bureaucratic scenario in -chorus, out loud, in the corridor of the school’s building, in the main -hall, at the square right across, outside of the municipality -building.

+

I see the collective readings of these scenarios as a way of instant +publishing and as a communal tool of inspecting bureaucratic bordering +infrastructures. How can these re-enactments be situated in different +institutional contexts and examine their structures? I organized a +series of performative readings of my own bureaucratic literature in +different spaces and contexts, pubic and semi-public WDKA, Art Meets +Radical Openness Festival in Linz, the City Hall of Rotterdam where I +invited people to perform the play together, like a tiny theater.

+
+ + +
+

+
+ + +
+
+The garden of Gemeente + +
+

The marginal voices of potential applicants are embodying and +enacting a role. “The speech does not only describe but brings things +into existence”(Austin, 1975). My intention was to stretch the limits of +dramaturgical speech through vocalizing a document and turn individual +administrative cases into public ones. How do the inscribed words in the +documents are not descriptive but on the contrary “are instrumentalized +in getting things done”(Butler,1997). Words as active agents. Bodies as +low-tech “human microphones”. A group of people performs the +bureaucratic scenario in chorus, out loud, in the corridor of the +school’s building, in the main hall, at the square right across, outside +of the municipality building.

I documented and recorded these public acts and I re-created the -collectively vocalised and transformed scenario. This audio piece is a -constellation of different recordings and soundscapes of these public -moments that I edited and collaged into a single story that could -constitute a vocal archive.

-

I am inviting past and future applicants, traumatized students, -injured bearers, bureaucratic border crossers, stressed expired document -holders to share, vocalize, read out loud, amplify, (un)name, dismantle -the injurious words of these artifacts.

-

[images] [Leeszaal West Rotterdam - 7th of November 2023 – People -queuing to receive their documents] [WDKA- Winjhaven Building- 5th of -February 2024- reading of act0 “” and act1 “”] [Art Meets Radical -Openness Festival – Linz, Austria - 11th of May 2024 - Reading act 2”” -and act3 “” in the tent] x2 [City Hall Rotterdam- 30th of May 2024 - -Reading of act 5 “” and act 6 “”] x2 [XML at XPUB studio - January 2024 -- Passport Reading Session] [BOOKLET 1] [BOOKLET 2]

+collectively voiced scenario. This audio piece is a constellation of +different recordings and soundscapes of these public moments, a vocal +archive, published in the graduation exhibition of XPUB in 2024.

+
+ + +
\ No newline at end of file diff --git a/aglaia/thesis.html b/aglaia/thesis.html index fd0ca94..0cac57f 100644 --- a/aglaia/thesis.html +++ b/aglaia/thesis.html @@ -10,10 +10,11 @@

Performing the @@ -629,9 +630,10 @@ such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role was being instrumentalized as an “interrogation” of one’s own involvement in the reproduction of social discourses, power, authority, hegemony.

-

[ Participants, during Leeszaal event, are waiting in a queue (18) to -collect the application forms and sign1 ] [ One of the forms that the -audience had to fill out during the Lesszaal event ]

+

[Leeszaal West Rotterdam - November 2023 – People queuing(18) to +receive their documents and sign ]

+

[ One of the forms that the audience had to fill out during the +Lesszaal event ]

3.

Title: “Passport Reading Session” When: January 2024 Where: XML – XPUB studio Who: Ada, Aglaia, Stephen, Joseph

diff --git a/introduction/index.html b/introduction/index.html index 7fce61c..123f97c 100644 --- a/introduction/index.html +++ b/introduction/index.html @@ -10,10 +10,11 @@

Act 1. Scene 1.

@@ -41,10 +42,10 @@ during…

the reader: we?

the book: …I mean the four of us, the students of Experimental Publishing at the Piet Zwart Institute. From 2022 until today, June -2024, we published three special issues together. We wrote four theses’ +2024, we published three special issues together. We wrote four theses and made four graduation projects. We grew our hair out and cut it and grew it again and dyed it. We cared and cried for each other, we brewed -muddy coffee and bootlegged books. (the book tears up) Finishing a +muddy coffee and bootlegged books. (The book tears up) Finishing a Master’s is a bit of a heavy moment for us and this book is a gentle archive, a memory of things that have been beautiful to us.

the reader (sarcastically): do you have a tissue, im soooo diff --git a/irmak/index.html b/irmak/index.html index 6dd5317..e6a4abe 100644 --- a/irmak/index.html +++ b/irmak/index.html @@ -10,23 +10,50 @@

-

Wink!

-

Grad project Description

-

Wink is a prototype for an interactive picture book platform. This platform aims - to make reading into a mindfull and thought provoking process by using interactive and playful elements, multiple stories within one narrative and sound elements. Especially today where consumerism and low attention span is a rising issue especially amongst young readers, this was an important task to tackle. The thought of Wink emerged to find a more sustainable and creative way of reading for elementary school children. -

-

Working as a children's literature editor for years, I came to a realisation that picture books were turning into another object that kids read and consume on daily basis. At least this is what I observed in Turkey. Teachers and parents were finding it difficult to find new books constantly or were tired of rereading the same book. As a young person in the publishing sector, I believe there should be more options for children as there is for adults; such as ebooks, audiobooks etc. But moreover a "book" that can be redefined, reread or be interacted with. So I revisited an old story I wrote, translated to English and named it, "Bee Within".

-

Bee Within, is a story about grief and it is based on my experiences throughout the years. I erased it, rewrote it, edited it, destroyed it multiple times over the past years, simultaneously with new experiences of loss. In the end, 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 - which I now think is a great and sweet battle between death and life. I think it is an important subject to touch upon, especially for children dealing with trauma in many parts of the world. -

-

Over the past two years, experimenting with storytelling techniques, interactivity options and workshops with children and adults, around reading and doing various exercises on Bee Within, I improved the story to be a more playful and interactive one which can be re-read, re-played and eventually re-formed non digitally to be reachable for all children. Here is some documentation from the beggining of this journey towards making accesible interactive narratives...

-
+

Wink!

+

A Prototype +for Interactive Children’s Literature

+

Wink is a prototype for an interactive picture book platform. This +platform aims to make reading into a mindfull and thought provoking +process by using interactive and playful elements, multiple stories +within one narrative and sound elements. Especially today where +consumerism and low attention span is a rising issue especially amongst +young readers, this was an important task to tackle. The thought of Wink +emerged to find a more sustainable and creative way of reading for +elementary school children.

+

Working as a children’s literature editor for years, I came to a +realisation that picture books were turning into another object that +kids read and consume on daily basis. At least this is what I observed +in Turkey. Teachers and parents were finding it difficult to find new +books constantly or were tired of rereading the same book. As a young +person in the publishing sector, I believe there should be more options +for children as there is for adults; such as ebooks, audiobooks etc. But +moreover a “book” that can be redefined, reread or be interacted with. +So I revisited an old story I wrote, translated to English and named it, +“Bee Within”.

+

Bee Within, is a story about grief and it is based on my experiences +throughout the years. I erased it, rewrote it, edited it, destroyed it +multiple times over the past years, simultaneously with new experiences +of loss. In the end, 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 which I now think is a great and sweet battle +between death and life. I think it is an important subject to touch +upon, especially for children dealing with trauma in many parts of the +world.

+

Over the past two years, experimenting with storytelling techniques, +interactivity options and workshops with children and adults, around +reading and doing various exercises on Bee Within, I improved the story +to be a more playful and interactive one which can be re-read, re-played +and eventually re-formed non digitally to be reachable for all children. +Here is some documentation from the beggining of this journey towards +making accesible interactive narratives…

+
\ No newline at end of file diff --git a/irmak/thesis.html b/irmak/thesis.html index d33b792..a6d5a86 100644 --- a/irmak/thesis.html +++ b/irmak/thesis.html @@ -10,50 +10,56 @@ -

Fair Leads

-

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

+

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.

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.
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 fi elds 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, fl y and many other purposes. So if the invention of fl -ying -which required a wing that was supported using certain types of -knotswas 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?
KNOTS AS -OBJECTS TO THINK WITH There is a delicate complexity of thinking of and -with knots, which ignites layers of simultaneous connections to one’s -specifi c 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 diff erence -in how you understand the same text.
Seeing how these words, -interpretations of a physical object were so diff erent 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 infi nity. Keeping these in mind, I -experimented with certain reading modes as you will see later on.
-Knots are known to be used 15 to 17 thousand years ago for multiple +an interactive experience, in relation to my research.

+

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 knotswas 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?

+

KNOTS AS OBJECTS TO THINK +WITH

+

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 diff erence in how you understand the +same text.

+

Seeing how these words, interpretations of a physical object were so +diff erent 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.

+

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 @@ -61,8 +67,9 @@ 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. -
There are two main reasons to why I chose to write this essay in a +implement this “loop of thought” in my daily life and research +methods.

+

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 @@ -75,8 +82,9 @@ 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. -
For Turkle and Seymour Papert, who is a mathematician, computer +processes in which we call thought when we think with knots in +specific.

+

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 @@ -89,311 +97,338 @@ mind at ease with complex chains of thought. 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…
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 fi xed loop at the end of a string; it’s -strong but easy to tie, untie. Due to these qualities, we can imagine -the bowline 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 infi nite numbers of +your approach to reading this story? I believe so…

+

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 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.
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 specifi c 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 aff airs. 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?”
-WEAVING INTO THE TEXT 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. 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 diff erent colors that will get you through the text. -This way, the linear text will become in a way, non-linear by your -personal experience. Bear in mind that you can choose to read this -thesis from beginning to end as a single string too if you wish so.
-Combine mode of reading is for readers who are more interested in the +inspiration to keep writing.

+

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 aff airs. +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?”

+

WEAVING INTO THE TEXT

+

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. 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 diff erent colors that will get you through the text. This +way, the linear text will become in a way, non-linear by your personal +experience.

+

Bear in mind that you can choose to read this thesis from beginning +to end as a single string too if you wish so.

+

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.
Alongside the different strings to -follow the text, there will be little drawings in the margins as seen -above, which will have diff erent 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 fi nd 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 ownexperiences/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! -
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 can follow to read the thesis.

-

Working End

-

Why am I doing this?
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 fi nd 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 fi nd -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.
One -day I found a bee on the fl oor 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 terrifi ed 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 fi nd 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.
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 fi nd -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 signifi cantly 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 confl icts and the mortality paradox. I wrote a lot -and erased a lot and fairly fi gured out the wisdom of not knowing -things.
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 fi rst place.
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 fl -ared 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. -
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 fi rst place and I couldn’t +a “traditional” lead to reading.

+

Alongside the different strings to follow the text, there will be +little drawings in the margins as seen above, which will have diff erent +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 +ownexperiences/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!

+

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 +can follow to read the thesis.

+

Working End

+

Why am I doing this?

+

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.

+

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.

+

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.

+

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.

+

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.

+

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.
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
-Loop 2 The effect of storytelling knowledge on kids’ development and +story.

+

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

+

Loop 2

+

The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending -stories? ability to form basic stories or to express their emotions -through fi ctional 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 off ered to read -or share stories, they also learn to understand people around them -better and gain emotional literacy.
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 & 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.
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 fi ctional 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 +stories?

+

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 off ered to read or +share stories, they also learn to understand people around them better +and gain emotional literacy.

+

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 & 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.

+

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 fi -ctional world (Ryan, 2009). When we are set to create or co-create a +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 eff ects on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to keep -these three emotions.
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 infl uences 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.
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 fi nd 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 +these three emotions.

+

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.

+

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.
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.
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? What is it defi ned as? How can -we design an interactive reading environment without confusing children? -
Loop 3 Diff erences and similarities between interactive e-books -and storytelling games 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 -specifi c 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. Another diff erence 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 off ered to the player. In an -interactive e-book, the text itself is designed to be playful and ready -for readers to discover. The main diff erence 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 eff ects 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.
Loop 4 Ways of using interactivity in digital platforms -CASA theory, also known as the Cognitive-Aff ective-Social Theory of +special and gestural literacies.

+

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.

+

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?

+

What is it defined as? How can we design an interactive reading +environment without confusing children?

+

Loop 3

+

Diff erences and similarities between interactive e-books and +storytelling games

+

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.

+

Another diff erence 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 off ered to the +player. In an interactive e-book, the text itself is designed to be +playful and ready for readers to discover.

+

The main diff erence 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 eff ects 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.

+

Loop 4

+

Ways of using interactivity in digital platforms

+

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 -specifi c, I think these are very important factors to keep in mind when +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.
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. Digging deeper into -how to do this, I found Children Computer Interaction (CCI) study very -useful. This study examines how children of diff erent 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. 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 fi gure out -which types of interactive elements are most useful in engaging them in -the reading process. It is true that sound and animations are very -inclusive and it is engaging for kids to fi nd 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. Loop 5 What is the target age -group for the designated prototype and why? 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. School age children -are between the ages 6-12, which is Wink’s chosen age group is a little -diff erent. 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 benefi t the most from the interactive stories and the reading -process because of the developmental phase they are in. 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 +story.

+

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.

+

Digging deeper into how to do this, I found Children Computer +Interaction (CCI) study very useful. This study examines how children of +diff erent 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.

+

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.

+

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.

+

Loop 5

+

What is the target age group for the designated prototype and +why?

+

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.

+

School age children are between the ages 6-12, which is Wink’s chosen +age group is a little diff erent. 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.

+

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?” Today, kids from age 3 can use digital -gestures successfully and experience these as simple as fl ipping 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.
Loop 6 Limits -of interactivity in narratives for children and why do we have less -modes of reading and writing for children? 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 eff ortless -and a good free time activity but with interactive picture books, it is -slightly more than that and more complicated as an experience. 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 +to be a part of a story?”

+

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.

+

Loop 6

+

Limits of interactivity in narratives for children and why do we have +less modes of reading and writing for children?

+

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 eff ortless and a good free time activity but with +interactive picture books, it is slightly more than that and more +complicated as an experience.

+

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 @@ -401,328 +436,352 @@ 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. Another aspect I am concerned about after the workshop I did -with the kids, is the risk of confusion due to an undefi ned and -multimodal design for a “book”. Kids tend to be confused when they can’t -defi ne 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 diff erent 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. Loop 7 Interactive reading -and writing examples and surveys done with kids 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. 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 diff erent methods and -complications. 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 off er in an interactive reading or -playing environment. Loop 8 What does the joy of destruction and the awe -eff ect 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 fi rst 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.
In -my opinion, what drives everyone as a common denominator is amazement; -because it takes us to our childhoods or distant memories where we fi -rst 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. Specifi cally 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. Loop 9 Interactivity in reading -and writing in history. What changed? Interactivity has always been an -experimental area in literature from inscriptions to narrative games -then to playable stories and artifi cial intelligence. I will expand -some of these examples from the rich history of interactive fi ction. -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 fi rst 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. 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, clarifi cations which make the -text inhabit diff erent opinions and approaches in an engaging way where -the reader can choose to hop on and off from the annotation and margin -texts. 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 fi ll in the blanks -to win the game. Simultaneously, text-based adventure games such as Zork -and Adventure were popular. Early days of computing off ered a wide -space for exploring virtual worlds. In the early 80s, hypertext fi ction -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 diff erent modes of reading as well. After the 80’s, -Interactive fi ction 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.
-The 21st century off ers a combination of text and illustrations in +storylines.

+

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 diff erent 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.

+

Loop 7

+

Interactive reading and writing examples and surveys done with kids +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.

+

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 diff erent methods and complications.

+

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 off er in an interactive reading or playing +environment.

+

Loop 8

+

What does the joy of destruction and the awe eff ect 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.

+

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.

+

Loop 9

+

Interactivity in reading and writing in history. What changed?

+

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.

+

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 diff erent opinions and approaches in an +engaging way where the reader can choose to hop on and off from the +annotation and margin texts. 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 +off ered 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 diff erent 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.

+

The 21st century off ers 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. 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. This is -because I think the understanding and usage of media changed in the last -years. Some tools that created the awe eff ect 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. Loop 10 -Experimentation of creative exercises to be used in WINK. Exercises of -storytelling with words, images, drawing, sound and gestures. 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. The fi rst -workshop I planned consisted of two main parts that made up 20 minutes. -The fi rst 10 minutes we read Bee Within (attached in the appendix) -together in a circle and the last 10 minutes we played little +foster education for kids.

+

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.

+

This is because I think the understanding and usage of media changed +in the last years. Some tools that created the awe eff ect 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.

+

Loop 10

+

Experimentation of creative exercises to be used in WINK. Exercises +of storytelling with words, images, drawing, sound and gestures.

+

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.

+

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. During the fi rst 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 fi rst 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. 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. 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 infl uenced 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.
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 diff erent. 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). Overall only 2 groups used the option -to say a sentence which were, “I want to go on an adventure” “I don’t -wanna leave Gray(the tree)” 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 diff erence 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. The next workshop was to discover how improv would work -without reading the story fi rst. This workshop was fruitful because it -helped me realize how much information or guidance I have to off er 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 +use one sentence if they wanted to speak.

+

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.

+

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.

+

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.

+

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 diff erent. 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).

+

Overall only 2 groups used the option to say a sentence which were, +“I want to go on an adventure” “I don’t wanna leave Gray(the tree)”

+

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 diff erence +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.

+

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 off er 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 fi rst and they -followed easily. They were not under the infl uence of the story so the -performances were diff erent but they still got infl uenced by each +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 diff erent 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 diff erent attributions -they gave to the characters. 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 affi rmation 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.
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 eff -ects 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 fi rst. Then quite impressively, they made +they gave to the characters.

+

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.

+

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 eff ects 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 eff ects for each -sentence. 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 eff ects 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 eff ective 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 +sentence.

+

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 eff ects 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 eff ective 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. 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 eff ected 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.
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.

-Loop 11 The diff erences 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 diff erence 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 -fi nish 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 diff erence. This -makes it a playable narrative, diff erent from a book. 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. 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. Loop 12 Standing -End After many loops of thought, we are here at the standing end of the +of the bee in the prototype.

+

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 eff ected 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.

+

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.

+

Loop 11

+

The diff erences 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 diff erence 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 diff erence. This makes it a +playable narrative, diff erent from a book.

+

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.

+

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.

+

Loop 12

+

Standing End

+

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. Reading this thesis with a string, using concrete thinking as a +ashore.

+

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. 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. 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 eff ect of introducing -a new media to children. This is why I decided to take it step by step -with the interactivity. 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.
Bibliography: Cope, B. and -Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, new learning’, -Pedagogies: An International Journal, 4(3), pp. 164–195. -doi:10.1080/15544800903076044. Dettore, E. (2002) “Children’s emotional -GrowthAdults’ role as emotional archaeologists,” Childhood education, -78(5), pp. 278–281. doi: 10.1080/00094056.2002.10522741. Ingold, T. -(2015) The life of lines. London, England: Routledge. 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. Papert, S. and -Papert, S. A. (2020) Mindstorms (revised): Children, computers, and -powerful ideas. London, England: Basic Books. 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. 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. Strohecker, C. (ed.) (1978) Why knot? MIT. The Effect of -Multimodality in Increasing Motivation and Collaboration among 4th CSE -EFL Students (no date). Turkle, S. (ed.) (2014) Evocative objects: -Things we think with. MIT Press. Urton, M. M. &. (2018) The khipu -code: the knotty mystery of the Inkas’ 3D records, aeon. Available at: -https:// +the reader to interact with the thesis and follow paths accordingly.

+

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.

+

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 eff ect +of introducing a new media to children. This is why I decided to take it +step by step with the interactivity.

+

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.

+

Bibliography: Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: +New Literacies, new learning’, Pedagogies: An International Journal, +4(3), pp. 164–195. doi:10.1080/15544800903076044. Dettore, E. (2002) +“Children’s emotional GrowthAdults’ role as emotional archaeologists,” +Childhood education, 78(5), pp. 278–281. doi: +10.1080/00094056.2002.10522741. Ingold, T. (2015) The life of lines. +London, England: Routledge. 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. Papert, S. and Papert, S. A. (2020) Mindstorms +(revised): Children, computers, and powerful ideas. London, England: +Basic Books. 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. +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. Strohecker, +C. (ed.) (1978) Why knot? MIT. The Effect of Multimodality in Increasing +Motivation and Collaboration among 4th CSE EFL Students (no date). +Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT +Press. Urton, M. M. &. (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. Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole Life. Available at: https://wholelife.hkw.de/ -codes-in-knots-sensing-digital-memories/. Appendix: -

+codes-in-knots-sensing-digital-memories/.

\ No newline at end of file diff --git a/irmak/thesis.md b/irmak/thesis.md index b49aa67..b6565df 100644 --- a/irmak/thesis.md +++ b/irmak/thesis.md @@ -16,16 +16,16 @@ wrote and am making into an interactive experience, in relation to my research. 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 fi elds of labor and life, they are also objects of thought and +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, fl y and many other purposes. So if -the invention of fl ying -which required a wing that was supported using certain types of knotswas +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 knotswas 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? ## KNOTS AS OBJECTS TO THINK WITH There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous -connections to one’s specifi c experience; where one person may associate the knots with struggles +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 @@ -35,7 +35,7 @@ a diff erence in how you understand the same text. Seeing how these words, interpretations of a physical object were so diff erent 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 infi nity. Keeping these in mind, I experimented +words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented with certain reading modes as you will see later on. Knots are known to be used 15 to 17 thousand years ago for multiple purposes. These purposes @@ -68,20 +68,20 @@ Imagine you are reading a story… What if you think of the string itself as 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… 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 fi xed loop at the +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 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 infi nite numbers of combinations which we simply call “knots” +still trying to identify seemingly infinite numbers of combinations which we simply call “knots” and I see this as an inspiration to keep writing. 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 specifi c way to record, store and transmit information +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 aff airs. @@ -110,7 +110,7 @@ aren’t looking to connect ideas but are more focused on the motivation and pur project. Build readers are detail oriented and academic readers who would prefer a “traditional” lead to reading. -Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have diff erent 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 fi nd the relation to the knot itself explained. +Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have diff erent 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 ownexperiences/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! @@ -131,8 +131,8 @@ hearing a buzzing sound in my bedroom at my family’s house. I searched everywh 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. -One day I found a bee on the fl oor 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 terrifi ed because I have an +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 @@ -140,13 +140,13 @@ person I lost. 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 fi nd 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 signifi cantly without being +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 confl icts and the mortality paradox. I wrote a lot and erased a lot and fairly +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. Years passed and I wrote and deleted and rewrote the story that I am working on to make interactive @@ -154,17 +154,17 @@ today so many times and was waiting on it because it always felt incomplete. In 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 fi rst place. +in the first place. 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 fl ared up by neglect and desperation. It was +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. 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 fi rst place and I couldn’t remember. I kept +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. @@ -176,7 +176,7 @@ remembering or might I say an ode to not being able to forget or an ode to the f The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending stories? -ability to form basic stories or to express their emotions through fi ctional characters or events. +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 @@ -197,21 +197,21 @@ one small story they heard or read when they were a kid, this moment we remember the moment a certain story sparked for us. 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 - +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 fi ctional character gives the child the freedom and confi +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 fi ctional +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 eff ects on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to keep these three emotions. 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 infl uences the children’s decision making abilities and sense of +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 @@ -221,7 +221,7 @@ to do with it. This interactivity therefore creates a unique bond between the re the text. 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 fi nd relevant to my aim with Wink. Multiliteracy theory in a nutshell is an education oriented framework that aims to expand traditional +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 @@ -253,7 +253,7 @@ both centralize the narrative to engage the audience. While both of these format 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 specifi c example of a child, +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. @@ -276,7 +276,7 @@ Ways of using interactivity in digital platforms 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 specifi c, I think these are +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 @@ -300,10 +300,10 @@ There are multiple ways to use digital gestures in storytelling to make the expe 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 -fi gure out which types of interactive elements are most useful in engaging them in the reading +figure out which types of interactive elements are most useful in engaging them in the reading process. -It is true that sound and animations are very inclusive and it is engaging for kids to fi nd out which +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 @@ -322,7 +322,7 @@ School age children are between the ages 6-12, which is Wink’s chosen age grou 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 benefi t the most from the interactive +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. The average amount of time children between these ages use on a daily basis is depending on @@ -330,7 +330,7 @@ their parents and circumstances. But to be fair, it is often not less than 2 hou of a story?” Today, kids from age 3 can use digital gestures successfully and experience these as simple as -fl ipping the page of a book. This is why it is fairly easy to create an interactive picture book which +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. @@ -354,8 +354,8 @@ balance I tried to limit the interactive elements I used in the main story. I tr animations limited and focused more on the storylines. Another aspect I am concerned about after the workshop I did with the kids, is the risk of confusion -due to an undefi ned and multimodal design for a “book”. Kids tend to be confused when -they can’t defi ne things or are asked to improvise without knowing the purpose.They know what a +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 diff erent 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 @@ -388,13 +388,13 @@ it surprises you and leaves you in awe towards something you weren’t expecting 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 fi rst time because we don’t necessarily learn from books how and when to +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. In my opinion, what drives everyone as a common denominator is amazement; because it takes -us to our childhoods or distant memories where we fi rst felt that feeling of awe. This is the main +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. Specifi cally because this ancient device can take us to numerous worlds. +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 @@ -411,9 +411,9 @@ of storytelling. Interactivity in reading and writing in history. What changed? Interactivity has always been an experimental area in literature from inscriptions to narrative -games then to playable stories and artifi cial intelligence. I will expand some of these examples -from the rich history of interactive fi ction. 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 fi rst +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 @@ -421,17 +421,17 @@ and literature has been such a grand topic even before information and technolog examples to this is music, masks, puppets, props used in storytelling. 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, clarifi cations which make the text inhabit diff erent opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts. +written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit diff erent opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts. 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 fi ll in the blanks to win the game. Simultaneously, text-based adventure games such as Zork and Adventure were popular. Early days of -computing off ered a wide space for exploring virtual worlds. In the early 80s, hypertext fi ction +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 off ered 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 diff erent modes of reading as well. -After the 80’s, Interactive fi ction gained popularity as a genre of interacting with text based input. +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. @@ -464,7 +464,7 @@ It also helped me draw the pictures for the book accordingly and edit the text w 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. -The fi rst workshop I planned consisted of two main parts that made up 20 minutes. The fi rst 10 +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 @@ -472,12 +472,12 @@ them to embody a character throughout the workshop and be loyal to it. Each grou 1 minute on the stage to silently improvise their characters. They were to use one sentence if they wanted to speak. -During the fi rst part, I couldn’t observe as I was busy reading but their teacher kindly took notes +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 fi rst but they did keep up with the storyline and understood all. Her notes basically said they +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. @@ -488,7 +488,7 @@ was of a classmate as a tree with his hands wide open as he was performing. 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 infl uenced by how it is in the story we read. Next workshop, +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. @@ -511,15 +511,15 @@ control. No one actually attempted in using objects from the room which is a hug the kids because they drew on their faces, used plastic bags as wings for the bee and made sounds with their mouths as trees. -The next workshop was to discover how improv would work without reading the story fi rst. This +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 off er 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 fi rst -and they followed easily. They were not under the infl uence of the story so the performances were -diff erent but they still got infl uenced by each other, which in my opinion is inevitable. Some of the +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 +diff erent 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 diff erent attributions they gave to the characters. @@ -531,7 +531,7 @@ and scared bee one by one. They kept walking randomly and acted these feelings o “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 affi rmation to not animate the tree with movement but +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 @@ -546,7 +546,7 @@ volunteers and they made sound eff ects as I read the verse very slowly. This we 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 fi rst. Then quite impressively, they made their own system +how to take turns and were hesitant at first. Then quite impressively, they made their own system where they took turns to make eff ects for each sentence. Then I made four groups of three. 3 kids as actors and 3 kids as foley actors. They buddied up @@ -581,7 +581,7 @@ format and purpose. If we take a look at Bookr, Piboco, and Kotobee, we can see 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 diff erence 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 fi nish the book but there are side stories to the main +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 diff erence. This makes it a playable narrative, diff erent from a book. This prototype is a good start to see how far I can get with the interactive elements and side diff --git a/print/index.html b/print/index.html index 681569f..d159dc9 100644 --- a/print/index.html +++ b/print/index.html @@ -1916,32 +1916,32 @@ an interactive experience, in relation to my research.

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 fi elds of labor and life, they are also objects of +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, fl y and many other purposes. So if the -invention of fl ying -which required a wing that was supported using +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 knotswas 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?

KNOTS AS OBJECTS TO THINK WITH

There is a delicate complexity of thinking of and with knots, which -ignites layers of simultaneous connections to one’s specifi c -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 diff erence in how you -understand the same text.

+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 diff erence in how you understand the +same text.

Seeing how these words, interpretations of a physical object were so diff erent 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 infi nity. Keeping these in mind, -I experimented with certain reading modes as you will see later on.

+knots are resistance, imagination and infinity. Keeping these in mind, I +experimented with certain reading modes as you will see later on.

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 @@ -1983,7 +1983,7 @@ antagonist because of its specific use in hunting, would this change your approach to reading this story? I believe so…

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 fi xed loop at the end of +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 to represent the conclusion in a story. What if we have a Square Knot, how would that change the course of a narrative? @@ -1992,14 +1992,14 @@ 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 infi nite numbers of +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.

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 specifi c way to record, store +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 @@ -2034,7 +2034,7 @@ little drawings in the margins as seen above, which will have diff erent 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 -fi nd the relation to the knot itself explained. For example if I +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 @@ -2058,9 +2058,9 @@ 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.

-

One day I found a bee on the fl oor in my bedroom and realized that +

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 terrifi ed because I have an allergy to bees and +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 @@ -2068,15 +2068,15 @@ very guilty and I remember thinking I betrayed the person I lost.

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 fi nd 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 signifi cantly without being aware of it. This goes +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 confl icts and the mortality paradox. I +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.

Years passed and I wrote and deleted and rewrote the story that I am @@ -2087,10 +2087,10 @@ 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 fi rst place.

+ever existed in the first place.

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 fl ared up by neglect and desperation. It was and still +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 @@ -2098,7 +2098,7 @@ piles in my mind.

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 fi rst place and I couldn’t +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, @@ -2111,8 +2111,8 @@ being able to forget or an ode to the fear of forgetting

The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending stories?

-

ability to form basic stories or to express their emotions through fi -ctional characters or events. Children are not born with a wide +

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 @@ -2137,25 +2137,25 @@ heard or read when they were a kid, this moment we remember is the moment a certain story sparked for us.

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 +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 fi ctional character gives the child 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 fi -ctional world (Ryan, 2009). When we are set to create or co-create a +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 eff ects on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to keep these three emotions.

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 infl uences the children’s decision +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 @@ -2168,22 +2168,21 @@ therefore creates a unique bond between the reader/writer and the text.

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 fi nd 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.

+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.

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 @@ -2206,11 +2205,11 @@ 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 specifi c -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.

+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.

Another diff erence 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 off ered to the @@ -2232,7 +2231,7 @@ 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 -specifi c, I think these are very important factors to keep in mind when +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 @@ -2259,11 +2258,10 @@ 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 fi gure out which types of -interactive elements are most useful in engaging them in the reading -process.

+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.

It is true that sound and animations are very inclusive and it is -engaging for kids to fi nd out which part of a page is interactive by +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 @@ -2285,7 +2283,7 @@ 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 benefi t the most from the +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.

The average amount of time children between these ages use on a daily @@ -2294,7 +2292,7 @@ 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?”

Today, kids from age 3 can use digital gestures successfully and -experience these as simple as fl ipping the page of a book. This is why +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 @@ -2323,17 +2321,17 @@ 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.

Another aspect I am concerned about after the workshop I did with the -kids, is the risk of confusion due to an undefi ned and multimodal -design for a “book”. Kids tend to be confused when they can’t defi ne -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 -diff erent 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.

+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 diff erent 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.

Loop 7

Interactive reading and writing examples and surveys done with kids As an improvisation theater enthusiast myself, I tried to engage the @@ -2364,22 +2362,22 @@ 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 fi rst 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.

+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.

In my opinion, what drives everyone as a common denominator is amazement; because it takes us to our childhoods or distant memories -where we fi rst 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. Specifi cally 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 +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 @@ -2391,11 +2389,11 @@ nourishing a new way of storytelling.

Loop 9

Interactivity in reading and writing in history. What changed?

Interactivity has always been an experimental area in literature from -inscriptions to narrative games then to playable stories and artifi cial +inscriptions to narrative games then to playable stories and artificial intelligence. I will expand some of these examples from the rich history -of interactive fi ction. When I dig a little bit into the media +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 fi rst is the need to connect +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 @@ -2405,7 +2403,7 @@ examples to this is music, masks, puppets, props used in storytelling.

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, clarifi cations +context. They are published with notes and explanations, clarifications which make the text inhabit diff erent opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts. From the 70s to the present there have been @@ -2415,14 +2413,14 @@ 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 fi -ll in the blanks to win the game. Simultaneously, text-based adventure +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 off ered a wide space for exploring virtual worlds. In the early 80s, -hypertext fi ction contributed to electronic literature. Hyperlinks were +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 diff erent modes of reading as -well. After the 80’s, Interactive fi ction gained popularity as a genre +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.

@@ -2457,8 +2455,8 @@ 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.

-

The fi rst workshop I planned consisted of two main parts that made -up 20 minutes. The fi rst 10 minutes we read Bee Within (attached in the +

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 @@ -2466,7 +2464,7 @@ 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.

-

During the fi rst part, I couldn’t observe as I was busy reading but +

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 @@ -2474,7 +2472,7 @@ 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 fi rst but they did keep up +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.

@@ -2487,7 +2485,7 @@ was performing.

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 infl uenced by how it is in the story we read. Next +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.

@@ -2510,17 +2508,17 @@ attempted in using objects from the room which is a huge diff erence 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.

The next workshop was to discover how improv would work without -reading the story fi rst. This workshop was fruitful because it helped -me realize how much information or guidance I have to off er 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 +reading the story first. This workshop was fruitful because it helped me +realize how much information or guidance I have to off er 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 fi rst and they -followed easily. They were not under the infl uence of the story so the -performances were diff erent but they still got infl uenced by each +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 diff erent 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 @@ -2536,7 +2534,7 @@ 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 affi rmation to not animate the tree with movement but more with +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 @@ -2555,7 +2553,7 @@ 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 fi rst. Then quite impressively, they made +turns and were hesitant at first. Then quite impressively, they made their own system where they took turns to make eff ects for each sentence.

Then I made four groups of three. 3 kids as actors and 3 kids as @@ -2596,9 +2594,9 @@ 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 diff erence 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 fi nish 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 diff erence. This makes it a +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 diff erence. This makes it a playable narrative, diff erent from a book.

This prototype is a good start to see how far I can get with the interactive elements and side stories without confusing or discouraging diff --git a/specialissue19/index.html b/specialissue19/index.html index 1826584..a2991d7 100644 --- a/specialissue19/index.html +++ b/specialissue19/index.html @@ -10,14 +10,15 @@

-

Garden Leeszaal: Special -Issue XIX

+

Garden Leeszaal

+

Special Issue XIX

Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, annotating, organising and structuring. A book could be bound at the @@ -49,31 +50,85 @@ and an archive. We asked everyone to think of the library as a garden. For us, being a gardener means caring; caring for the people and books that form this space.

During the collective moment in Leeszaal people started diving into -recycle bins, grab books, tear pages apart, drawing, pen plotting, -weaving words together, cutting words, removing words, overwriting, -printing, scanning. It was magical having an object in the end. A whole -book made by all of us in that evening. Stations, machines, a cloud of -cards, a sleeve that warms up THE BOOK.

-

- - Book recycle bins description -inside page of the final book Photo of the book - cover and sleeve - map of leeszaal also can be there

+recycle bins, grabbing books, tearing pages apart, drawing, pen +plotting, weaving words together, cutting words, removing words, +overwriting, printing, and scanning. It was magical having an object in +the end. A whole book was made by all of us that evening. Stations, +machines, a cloud of cards, a sleeve that warms up THE BOOK.

+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
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+ + +
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+ + +
+
+Bin of discarded books from Leeszal. + +
+
+ + +
\ No newline at end of file diff --git a/specialissue20/index.html b/specialissue20/index.html index ee44a8e..d0405b1 100644 --- a/specialissue20/index.html +++ b/specialissue20/index.html @@ -10,13 +10,15 @@ -

Console: Special Issue XX

+

Console

+

Special Issue XX

Console is an oracle; an emotional first aid kit that helps you help yourself. Console invites you to open the box and discover ways of healing. Console provides shelter for your dreams, memories and worries. @@ -24,7 +26,7 @@ Face the past and encounter your fortune. Console gives you a new vantage point; a set of rituals and practices that help you cope and care. Console asks everyday questions that give magical answers.

Special Issue XX was co-published by xpub and Page Not Found, Den -Haag. With guest editors Lídia Pereira ♈︎and Artemis Gryllaki ♐ we +Haag. With guest editors Lídia Pereira ♈︎ and Artemis Gryllaki ♐ we unraveled games and rituals, mapping the common characteristics and the differences between games and rituals in relation to ideology and counter-hegemony. We practiced, performed and annotated rituals, @@ -38,25 +40,76 @@ the role of ideology and social reproduction. We reinterpreted bits of the world and created stories from it (modding, fiction, narrative) focusing on community, interaction, relationships, grief and healing.

-

- +Holographic Oracle Deck +

+ +
+Reading with the Oracolotto cards. + +
+
+Worry Dolls + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+ + +
+
+SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property. - -

-

Holographic Oracle Deck

-

Worry Doll

+ +
+
+ + +
+
+Modified tetris fantasies + +
\ No newline at end of file diff --git a/specialissue21/index.html b/specialissue21/index.html index 4a4511a..6265e69 100644 --- a/specialissue21/index.html +++ b/specialissue21/index.html @@ -10,15 +10,15 @@ -

z— title: tty special issue 21 author: Stephen

-
-

TTY: Special Issue 21

+

TTY

+

Special Issue 21

why shd it only make use of the tips of the fingers as contact points of flowing multi directional creativity. If I invented a word placing machine, an “expression-scriber,” if you will, then I would have a kind @@ -79,31 +79,94 @@ otherwise technical progress and computational genealogies.

editor Martino Morandi, and contributors Andrea di Serego Alighieri, Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and Zoumana Meïté.

-

+An inscription performance using the TeleType Model 33 and a 40m stairwell. -An inscription performance using the +TeleType Model 33 and a 40m stairwell. + +

+punchtape read-writer of Teletype Machine + +
+
+A reading and writing of poetry using pedestrians and vinyl quotes. - -It would have been better to fuck. -maybe an image at the telecom museum -A reading and writing of poetry using +pedestrians and vinyl quotes. +
+
+ + +
+
+Wiki strike screenshot: embedding hidden comments in a wiki to highlight the invisible labour, to provide comprehensive details about our intentions and the underlying ideas while maintaining the wiki’s regular functionality. -Wiki strike screenshot: embedding hidden +comments in a wiki to highlight the invisible labour, to provide +comprehensive details about our intentions and the underlying ideas +while maintaining the wiki’s regular functionality. +
+
+Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles. -Hey Babe arduino based telephone +experience. Callers can listen to love stories, excerpts from +conversations at the Houweling Telecom Museum, Rotterdam, parts from the +documentary The Phantom of the Operator and a collective reading +experience on binary systems, time, worms and pebbles. +
+
+I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”. Someone holding it in the street? -

-

-I’ve fallen in love with you and I have +no idea what to do about it. Phone cards inviting participation in “Hey +Babe”. Someone holding it in the street? +

+
+ + +
+
+ + +
+
+Hexalogue booklet. A conversation for six voices is encoded and documented in a script. - The brick.

-

Ada’s switchboard wiki edit inscriptions

+ +
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+ + +
\ No newline at end of file diff --git a/specialissuesintro/index.html b/specialissuesintro/index.html index d1c1cc4..0abd67d 100644 --- a/specialissuesintro/index.html +++ b/specialissuesintro/index.html @@ -10,13 +10,15 @@ -

Special Issues are publications thrice released by first-year XPUB +

Special Issues

+

Special Issues are publications thrice released by first-year XPUB Master’s students. Each edition focuses on a specific theme or issue. The themes tie to external events and collaborations. Students and staff work together to explore these themes, rethinking what a publication can @@ -24,31 +26,32 @@ be. Each edition culminates in a celebratory release party.The structure, tools, and workflows are reset every trimester. This reset allows roles to rotate among participants and fosters an adapting learning environment. It provides a space to experiment beyond -traditional collaborative methods. Our inaugural Special Issue was -number 19, in collaboration with Simon Browne. Garden Leeszaal was a -snapshot of Leeszaal Library through the metaphor of gardening. During -the release, we invited participants to engage with the library’s -discarded books. We pruned, gleaned, and grafted the books using pens, -pen-plotters, scissors, and glue. Then we harvested a book of our -collective work. Garden Leeszaal was an open dialogue. It was a tool for -collective writing, a group-made collage, and an archive. For us, being -a gardener meant caring for the people and books that formed the -library. The following Special Issue was number 20, assisted by Lìdia -Pereira and Artemis Gryllaki. Console was 20 hand-made wooden boxes. It -was an oracle and an emotional first aid kit to help you help yourself. -It invites you to delve into its contents to discover healing methods. +traditional collaborative methods.

+

Our inaugural Special Issue was number 19, in collaboration with +Simon Browne. Garden Leeszaal was a snapshot of Leeszaal Library through +the metaphor of gardening. During the release, we invited participants +to engage with the library’s discarded books. We pruned, gleaned, and +grafted the books using pens, pen-plotters, scissors, and glue. Then we +harvested a book of our collective work. Garden Leeszaal was an open +dialogue. It was a tool for collective writing, a group-made collage, +and an archive. For us, being a gardener meant caring for the people and +books that formed the library.

+

The following Special Issue was number 20, assisted by Lìdia Pereira +and Artemis Gryllaki. Console was 20 hand-made wooden boxes. It was an +oracle and an emotional first aid kit to help you help yourself. It +invites you to delve into its contents to discover healing methods. Console offers refuge for dreams, memories, and worries. It guides you to face the past. You will then meet your fortune and gain a new view through rituals and practices. It prompts everyday questions with -magical answers, asking: Are you ready to play? Our last special issue -was number 21. TTY was guided by kubernētēs Martino Morandi and weekly -guest collaborators. We started with a Model 33 Teletype machine, the -bridge between typewriters and computer interfaces. Through guest -contributions, we explored the intersection of historical and -contemporary computing. The Special Issue evolved into an ever-changing -“Exquisite Corpse Network” chasing weekly publications. Along the way, -we created gestures, concrete vinyl poetry, phone stories, and much -more.

+magical answers, asking: Are you ready to play?

+

Our last special issue was number 21. TTY was guided by kubernētēs +Martino Morandi and weekly guest collaborators. We started with a Model +33 Teletype machine, the bridge between typewriters and computer +interfaces. Through guest contributions, we explored the intersection of +historical and contemporary computing. The Special Issue evolved into an +ever-changing “Exquisite Corpse Network” chasing weekly publications. +Along the way, we created gestures, concrete vinyl poetry, phone +stories, and much more.

\ No newline at end of file diff --git a/stephen/index.html b/stephen/index.html index 0d74fde..897ba7c 100644 --- a/stephen/index.html +++ b/stephen/index.html @@ -10,10 +10,11 @@

⊞

@@ -36,51 +37,49 @@ of a belief system involving order, structure, and rationality and I want to break it. Removing the label is part of loosening the object, making it avilable to transition (Berlant, 2022).

-The Cadaster of Orange, unknown ⊞er, c. 100 CE. +The Cadaster of Orange, unknown ⊞er, c. 100 CE.
-Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981. +Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
-Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200.
-Cartesian Geometry, Rene Descartes, 1637.
-Homage to the Square, Josef Albers, 1954.
-Counter Composition VI, Theo Van Doesburg, 1925.
-The Po Valley, The Roman Empire, 268 BCE. +The Po Valley, The Roman Empire, 268 BCE.
- +Monogram, Piet Zwart, c. 1968.
@@ -969,20 +968,6 @@ Goblet, Sixteen Essays on Typography, London: The Sylvan Press.

Weber, M., (1905) “The Protestant Ethic and the Spirit of Capitalism”, Archiv für Sozialwissenschaften 20, no. 1 (1904), pp. 1–54; 21, no. 1 (1905), pp. 1–110.

-

Colophon

-

Written manically and edited in vexation in Etherpad. Composed -excitedly using paged.js. Typeset confidently in Work Sans by Wei Huang. -Digitally printed nervously at Willem de Kooning Academy Rotterdam on -Schoellershammer 75gsm and Clairefontaine Maya 270gsm.

-

Copyright held reluctantly by Stephen Kerr, 2024 under the SIXX -Licence, a free, copyleft license for rituals, games, books and -consolations in any medium, both software and hardware. For the purposes -of this paper, licensing is understood as a responsibility towards an -audience, towards each other and towards other people who might want to -contribute to, use or amplify any work. The precise terms can be found -at issue.xpub.nl/20/license

-

If you like this colophon you should really read the rest of the -thesis, its written specifically for you.

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