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.
<figure>
<imgsrc="../irmak/unnamed.png"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
<imgsrc="../irmak/unnamed.png"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
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?
@ -23,15 +23,15 @@ initiated with the knowledge of how to use strings to make things, why wouldn’
There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous connections to one’s specific experience; where one person may associate the knots with struggles they face, another may think of connecting or thriving times. In a workshop in Rotterdam, I asked participants to write three words that comes to mind when they think of knots. There were some words in common like strong, chaotic, confusing and anxious. On the other hand, there were variations of connection, binding, bridge and support. Keeping these answers in mind or by coming up with your words on knots and embodying them in the practice of reading would make
a difference in how you understand the same text.
<figure>
<imgsrc="../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
<imgsrc="../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
<br>
<figure>
<imgsrc="../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
<imgsrc="../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
Seeing how these words, interpretations of a physical object were so different to each other was transcendental. In this thesis, I am excited to share my understanding of knots with you. My three words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented
with certain reading modes as you will see later on.
@ -157,11 +157,11 @@ number on top of the sign with a color. This is the numeric order you
should follow to read the thesis, if you choose to read with a mode.
Every reader starts from 1 and continues until 12, with a consecutive numeric order, according to their color/mode.
<figure>
<imgsrc="../irmak/map.png"
alt="knot words from Leeszaal" />
<imgsrc="../irmak/map.png"
alt="knot words from Leeszaal" />
</figure>
<sectionclass="loops">
<divclass="loops">
## Working End
### Loop 1
### Why am I doing this?
@ -214,10 +214,7 @@ 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
@ -591,7 +591,7 @@ Joseph says about his ID card.</p>
I would like to clarify and introduce some terms for you in order to read this text in the desired way. For a while, we will stay in the bight of this journey as we move into forming loops, theories and ideas on how interactive picture books can be used to foster curiosity for reading and creativity for children. I am building a web platform called Wink that aims to contain a children’s story I wrote and am making into an interactive experience, in relation to my research.
There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous connections to one’s specific experience; where one person may associate the knots with struggles they face, another may think of connecting or thriving times. In a workshop in Rotterdam, I asked participants to write three words that comes to mind when they think of knots. There were some words in common like strong, chaotic, confusing and anxious. On the other hand, there were variations of connection, binding, bridge and support. Keeping these answers in mind or by coming up with your words on knots and embodying them in the practice of reading would make a difference in how you understand the same text.
<figure>
<imgsrc="../images/../images/../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">
knot words from Leeszaal
</figcaption>
@ -609,7 +609,7 @@ knot words from Leeszaal
<br>
<figure>
<imgsrc="../images/../images/../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">
knot words from Leeszaal
</figcaption>
@ -632,10 +632,10 @@ knot words from Leeszaal
This map will reveal your mode of reading. The order of reading will be indicated with a loop sign Please hold a string in your hand as you read the text and make knots or loops as you weave through the reading as an exercise for concrete thinking. See you at the standing end! and a number on top of the sign with a color. This is the numeric order you should follow to read the thesis, if you choose to read with a mode. Every reader starts from 1 and continues until 12, with a consecutive numeric order, according to their color/mode.
<figure>
<imgsrc="../images/../images/../irmak/map.png"
alt="knot words from Leeszaal" />
alt="knot words from Leeszaal" />
</figure>
<section class="loops">
<h2id="working-end">Working End</h2>
<sectionid="working-end"class="loops">
<h2>Working End</h2>
<h3id="loop-1">Loop 1</h3>
<h3id="why-am-i-doing-this">Why am I doing this?</h3>
<<<<<<<HEAD
@ -716,12 +716,20 @@ story.</p>
<p>In the end with the experience I had with loss, I believe the story
turned out to be an ode to remembering or might I say an ode to not
being able to forget or an ode to the fear of forgetting</p>
<p></span></sup> The effect of storytelling knowledge on kids’
development and creativity. What can we learn from open ended and
multiple ending stories?</p>
<p>ability to form basic stories or to express their emotions through
fictional characters or events. Children are not born with a wide
vocabulary of emotions and expressions. They learn how to read, mimic
@ -867,43 +875,12 @@ environment without confusing children?</p>
<p>For future prototypes, I envision space to draw and write as a contribution to the story and maybe turning Wink into a hybrid format with more autonomous features. For me, at this point, it’s valuable and essential to see if my technique of combining narratives is working or not.</p>
<h3id="loop-12">Loop 12</h3>
<h2id="standing-end">Standing End</h2>
<<<<<<<HEAD
<p>After many loops of thought, we are here at the standing end of the
thesis. There is room for more loops and knots in the future to secure
this string of thought but for now, we have come to the dock and rest
ashore.</p>
<p>Reading this thesis with a string, using concrete thinking as a
technique to go through a research and text was a helpful exercise for
me and helped me mark my thoughts and ideas. The overarching theme of
knots and experimental approach to modes of reading was valuable for me
to share and try as an enthusiastic young writer. I like that I asked
the reader to interact with the thesis and follow paths accordingly.</p>
<p>It was enlightening to see the results of working with kids and be
able to see from their point of view and alter everything according to
these encounters. Using CCI and Multiliteracy theory as a guide to
approach the design and prototype was helpful in understanding how to
approach and tackle the desire of making something for children.</p>
<p>Now from where I stand, I feel more rooted and have a clearer idea of
what works and doesn’t work. Some features that I think would work very
well like the choice of writing didn’t go as planned because multiple
narratives is already too much. I realized I underestimated the eff ect
of introducing a new media to children. This is why I decided to take it
step by step with the interactivity.</p>
<p>Taking a step to make Wink and using the story I wrote and feel is
important in my personal history as a prototype was a breakthrough. I
feel like my interest and desire to discover new ways of writing,
reading and experiencing literature is ongoing and it was a beautiful
journey so far. I am looking forward to making more knots on this long
and mysterious string at hand.</p>
</section>
=======
<p>After many loops of thought, we are here at the standing end of the thesis. There is room for more loops and knots in the future to secure this string of thought but for now, we have come to the dock and rest ashore.</p>
<p>Reading this thesis with a string, using concrete thinking as a technique to go through a research and text was a helpful exercise for me and helped me mark my thoughts and ideas. The overarching theme of knots and experimental approach to modes of reading was valuable for me to share and try as an enthusiastic young writer. I like that I asked the reader to interact with the thesis and follow paths accordingly.</p>
<p>It was enlightening to see the results of working with kids and be able to see from their point of view and alter everything according to these encounters. Using CCI and Multiliteracy theory as a guide to approach the design and prototype was helpful in understanding how to approach and tackle the desire of making something for children.</p>
<p>Now from where I stand, I feel more rooted and have a clearer idea of what works and doesn’t work. Some features that I think would work very well like the choice of writing didn’t go as planned because multiple narratives is already too much. I realized I underestimated the eff ect of introducing a new media to children. This is why I decided to take it step by step with the interactivity.</p>
<p>Taking a step to make Wink and using the story I wrote and feel is important in my personal history as a prototype was a breakthrough. I feel like my interest and desire to discover new ways of writing, reading and experiencing literature is ongoing and it was a beautiful journey so far. I am looking forward to making more knots on this long and mysterious string at hand.</p>
</div>
>>>>>>> 49009017e1dcafdae4082b644765506e82001e3d
<h2id="bibliography">Bibliography</h2>
<p>Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, new learning’, Pedagogies: An International Journal, 4(3), pp.164–195. doi:10.1080/15544800903076044. <br> Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as emotional archaeologists,” Childhood education, 78(5), pp.278–281. doi: 10.1080/00094056.2002.10522741. <br> Ingold, T. (2015) The life of lines.London, England: Routledge. <br> 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.<br/>
<br> Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children, computers, and powerful ideas. London, England: Basic Books. <br> 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. <br> 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. <br> Strohecker, C. (ed.) (1978) Why knot? MIT. <br> The Effect of Multimodality in Increasing Motivation and Collaboration among 4th CSE EFL Students (no date). <br> Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT Press. <br> 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. <br> Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole Life. Available at: https://wholelife.hkw.de/ codes-in-knots-sensing-digital-memories/.</p>