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<h1><a href="../index.html" class="title">vulnerable <br>interfaces</a></h1>
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<div class="gummies">
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<a href="../ada/index.html"><img src="../img/purple.png" class="img2"></a>
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<div class="caption">ada</div>
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<div class="gummy">
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<a href="../aglaia/index.html"><img src="../img/green.png" class="img2"></a>
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<div class="caption">aglaia</div>
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<div class="gummy">
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<a href="../irmak/index.html"><img src="../img/yellow.png" class="img2"></a>
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<div class="caption">irmak</div>
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<div class="gummy">
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<a href="../stephen/index.html"><img src="../img/red.png" class="img2"></a>
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<div class="caption">stephen</div>
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<div id="content"><h1 id="fair-leads">Fair Leads</h1>
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<h3 id= "fair-leads-or-fair-winds-is-a-saying-sailors-and-knotters-use-to-greet-each-other.-it-comes-from-the-working-end-of-a-string-that-will-soon-be-forming-a-knot.">
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Fair leads or Fair winds is a saying sailors and knotters use to greet each
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other. It comes from the working end of a string that will soon be
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forming a knot.</h3>
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<hr />
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<p>I would like to clarify and introduce some terms for you in order to
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read this text in the desired way. For a while, we will stay in the
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bight of this journey as we move into forming loops, theories and ideas
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on how interactive picture books can be used to foster curiosity for
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reading and creativity for children. I am building a web platform called
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Wink that aims to contain a children’s story I wrote and am making into
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an interactive experience, in relation to my research. <img
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src="../irmak/unnamed.png" class="image-80" alt="“Knotatomy”" /> Through
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this bight of the thesis, I feel the necessity to clarify my intention
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of using knots as a “thinking and writing object” throughout my research
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journey. Although knots are physical objects and technically crucial in
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many fields of labor and life, they are also objects of thought and are
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open for wide minds’ appreciation. Throughout history, knots have been
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used to connect, stop, secure, bind, protect, decorate, record data,
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punish, contain, fly and many other purposes. So if the invention of
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flying -which required a wing that was supported using certain types of
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knots was initiated with the knowledge of how to use strings to make
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things, why wouldn’t a research paper make use of this wonderful art as
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an inspiration for writing and interactive reading?</p>
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<h2 id="knots-as-objects-to-think-with">KNOTS AS OBJECTS TO THINK
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WITH</h2>
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<p>There is a delicate complexity of thinking of and with knots, which
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ignites layers of simultaneous connections to one’s specific experience;
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where one person may associate the knots with struggles they face,
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another may think of connecting or thriving times. In a workshop in
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Rotterdam, I asked participants to write three words that comes to mind
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when they think of knots. There were some words in common like strong,
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chaotic, confusing and anxious. On the other hand, there were variations
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of connection, binding, bridge and support. Keeping these answers in
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mind or by coming up with your words on knots and embodying them in the
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practice of reading would make a difference in how you understand the
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same text.</p>
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<figure>
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<img src="../irmak/knot1.jpeg" class="image-95"
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alt="“Knot words from Leeszaal West.”" />
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<figcaption aria-hidden="true">“Knot words from Leeszaal
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West.”</figcaption>
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</figure>
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<figure>
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<img src="../irmak/knot2.jpeg" class="image-95"
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alt="“Knot words from Leeszaal West.”" />
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<figcaption aria-hidden="true">“Knot words from Leeszaal
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West.”</figcaption>
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</figure>
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<p>Seeing how these words, interpretations of a physical object were so
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different to each other was transcendental. In this thesis, I am excited
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to share my understanding of knots with you. My three words for knots
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are resistance, imagination and infinity. Keeping these in mind, I
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experimented with certain reading modes as you will see later on.</p>
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Knots are known to be used 15 to 17 thousand years ago for multiple
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purposes. These purposes were often opposing each other. For example, it
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could be used to let something loose or to restrain it; for pleasure or
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pain; for going high above or down below… I believe this diversity of
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uses can also be seen in how people approach knots as an idea or a
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metaphor. One can think it represents chaos where someone else might see
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it as a helpful mark. Essentially, this diversity is what got me
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interested in knots years ago and since then, I have found ways to
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implement this “loop of thought” in my daily life and research methods.
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<section class="loops">
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<p>There are two main reasons to why I chose to write this essay in a
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“knotted” format. One is that I would like to share my process and
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progress of research on this project and this involves “thinking with an
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object”, in this case types of knots. In Evocative Objects, Sherry
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Turkle, who is a sociologist and the founder of MIT initiative of
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technology and self, refers to the object in the exercise of thinking as
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emotional and intellectual companions that anchor memory, sustain
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relationships and provoke new ideas. I completely agree with this
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statement through personal experience. The second reason is that I see
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this as an opportunity to experiment if I can use knots as an
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interactive (which is not in knots’ nature since they are mainly
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practiced in solo) and playful element in writing. This is also why I
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would like to take a moment to mention what happens to the interplay of
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processes in which we call thought when we think with knots in
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specific.</p>
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<p>For Turkle and Seymour Papert, who is a mathematician, computer
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scientist and educator that did remarkable research on constructivism,
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being able to make a reading experience tangible, or even physically
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representable makes the process of thought more concrete. Concrete
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thinking in this sense is a way of thinking that I adapted to in the
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past years, where you think with the object and imagine it vividly
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during the process and address meanings to it as you read or write
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along. This way it’s easier to compartmentalize or attribute certain
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parts of a text to an imagined or real physical item which makes the
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mind at ease with complex chains of thought.</p>
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<p>Imagine you are reading a story… What if you think of the string
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itself as the journey and the slip knot (which is a type of stopper
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knot) as a representation of an antagonist because of its specific use
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in hunting, would this change your approach to reading this story? I
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believe so…</p>
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<p><sup><span
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class="margin-note"><img src="../irmak/slipknot.png">Slipknot is widely
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used for catching small animals like rabbits and snares. It is also
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commonly used to tie packages.</span></sup>What if instead of a slip
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knot a bowline was on the string, would that represent something else in
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the story because of its usage in practice. A Bowline is commonly used
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to form a fixed loop at the end of a string; it’s strong but easy to
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tie, untie. Due to these qualities, we can imagine the bowline<sup><span
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class="margin-note"><img src="../irmak/bowline.png">Bowline is known to
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be used since 1627. Some believe it was used in Ancient Egypt because a
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knot resembling it was discovered in the tomb of pharaoh Cheops. Even
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after it’s used and very tight, bowline is still easy to untie, which
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makes it commonly used.</span></sup> to represent the conclusion in a
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story. What if we have a Square Knot, how would that change the course
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of a narrative? Square knot is used to bundle objects and make the two
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ends of the same string connect. From just this, we can use it to
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represent the connection between the beginning and end of a story. My
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point is, there are limitless implementations on how to use knots in
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literature because of their versatile purposes and the narrative
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vocabulary they create. Topologists are still trying to identify
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seemingly infinite numbers of combinations which we simply call “knots”
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and I see this as an inspiration to keep writing.</p>
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<p>One example of the wondrous versatility and potential of knots is how
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they are used to archive and encrypt information. Incan people from the
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Andes region recorded information on Quipus, dating back to 700 CE
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Quipus are textile devices consisting of several rows of cotton and/or
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camelid string that would be knotted in a specific way to record, store
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and transmit information ranging from accounting and census data to
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communicate complex mathematical and narrative information (Medrano,
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Urton, 2018). Another example is the Yakima Time Ball, which was used by
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North-American Yakama people to show life events and family
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affairs.<sup><span
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class="margin-note"><img src="../irmak/square.png">Square knot is one of
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the oldest knots. Romans knew it as Hercules knot. A roman scholar
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claimed that it speeds up healing when used to secure a bandage. It is
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often used to tie belts and shoe laces.</span></sup></p>
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<p>This is why I humbly decided to document my research process with a
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Quipu of my own. I am trying to symbolize the twists, decisions and
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practices throughout this year with knots of my choosing. I was inspired
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by Nayeli Vega’s question, “What can a knot become and what can become a
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knot?”</p>
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<h2 id="weaving-into-the-text">WEAVING INTO THE TEXT</h2>
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<p>This thesis expects participation from its reader. You have the
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<sup><span class="margin-note"><img src="../irmak/broken.png">Broken
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knots are knots that aren’t tied well, done with a wrong material or was
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under more pressure than it could take.</span></sup>option to have a
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mode of reading, where you will be guided by strings to This thesis
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expects participation from its reader. You have the option to have a
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mode of reading, where you will be guided by strings to start reading
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from a certain section according to the type of reader you are and read
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the loops one by one until the end, weaving through the text. To
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determine the string or mode of reading, there are some simple questions
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to answer. <sup><span
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class="margin-note"><img src="../irmak/unnamed-1.png">Bends are joining
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knots. They attach two strings together. The bend above is a sheet bend
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and it works well when koining two different strings and can take
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stress.</span></sup></p>
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<p>The three modes of reading are combine, slide, build. After you
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discover the starting point with the yes or no map in the upcoming
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pages, you will continue the reading journey through the strings of
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different colors that will get you through the text. This way, the
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linear text will become in a way, non-linear by your personal
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experience.</p>
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<p>Bear in mind that you can choose to read this thesis from beginning
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to end as a single string too if you wish so.</p>
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<p>Combine mode of reading is for readers who are more interested in the
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journey and the connections between process and result. Slide mode of
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reading is for more laid back readers who aren’t looking to connect
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ideas but are more focused on the motivation and purpose of the project.
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Build readers are detail oriented and academic readers who would prefer
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a “traditional” lead to reading. <sup><span
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class="margin-note"><img src="../irmak/hitch.png">Hitches are used to
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tie strings to a standing solid object.</span></sup> Alongside the
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different strings to follow the text, there will be little drawings in
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the margins as seen above, which will have different representations
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like in a Quipu. Certain knots represent the experiences that raise
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interesting opportunities for research and distinct events I went
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through while making the project and underneath the drawing you can find
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the relation to the knot itself explained. For example if I couldn’t
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manage to do something I planned to do, this will be represented with a
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broken knot. Bend knots which are used to connect two strings, will be
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representing the relation between theories and my own
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experiences/motivations. Hitches which are knots that are formed around
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a solid object, such as a spar, post, or ring will be representing the
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evidence or data I have collected on the subject. We move on now with
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the working end and make some loops!</p>
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<h2 id="how-to-choose-your-string">HOW TO CHOOSE YOUR STRING</h2>
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This map will reveal your mode of reading. The order of reading will be
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indicated with a loop sign Please hold a string in your hand as you read
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the text and make knots or loops as you weave through the reading as an
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exercise for concrete thinking. See you at the standing end! and a
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number on top of the sign with a color. This is the numeric order you
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should follow to read the thesis, if you choose to read with a mode.
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Every reader starts from 1 and continues until 12, with a consecutive
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numeric order, according to their color/mode.
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</section>
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<figure>
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<img src="../irmak/map.png" alt="“”" />
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<figcaption aria-hidden="true">“”</figcaption>
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</figure>
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<section class="loops">
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<p><sup><span class="margin-note loop-note">1 1
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1<img src="../irmak/loop.png"></span></sup></p>
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<h2 id="working-end">Working End</h2>
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<h3 id="loop-1">Loop 1</h3>
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<h3 id="why-am-i-doing-this">Why am I doing this?</h3>
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<p>My desire to write a children’s book about grief and memory ignited
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when I was studying in college and doing an internship in a publishing
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house in Ankara. I was struggling to process a loss I experienced at the
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time and to find something to cling to on a daily basis. Then one day I
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started hearing a buzzing sound in my bedroom at my family’s house. I
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searched everywhere but couldn’t find the source for this noise. I asked
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my father and he started searching too. A couple of days passed and the
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buzzing was still there.</p>
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<p>One day I found a bee on the floor in my bedroom and realized that
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the bees nested on the roof and were coming inside my room through a gap
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in the lamp. I was terrified because I have an allergy to bees and
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thought they might sting me in my sleep. This moment was when I realized
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I was so determined to find this buzzing sound for some time that I
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forgot about dealing with the loss I was experiencing. This made me feel
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very guilty and I remember thinking I betrayed the person I lost.</p>
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<p>As funny as it may appear, I felt like I was sabotaged by these bees
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that I thought were here to hurt me but in the end they made me
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understand that its ok to let things go and every being does what it has
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to do to find its way of survival. The little habitat that they chose to
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create in my room seemed like a calling or a sign that I can aff ect
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another living being significantly without being aware of it. This goes
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for everything, no matter if some people leave us in this world, they
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have living matter in us that keeps pulsing. So then I started
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researching bees and their ecosystems. I read Alan Watts, Alan Lightman,
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Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver Sacks, Joanna
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Macy, Rilke, Montaigne and theories on order in chaos, correlative
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vision, harmony of contained conflicts and the mortality paradox. I
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wrote a lot and erased a lot and fairly figured out the wisdom of not
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knowing things.</p>
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<p>Years passed and I wrote and deleted and rewrote the story that I am
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working on to make interactive today so many times and was waiting on it
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because it always felt incomplete. In a way it will always be incomplete
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because of the natural ambiguity the topic carries. Years later, grief
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was back in my life with the loss of my grandfather. So therefore, the
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story I wrote and abandoned changed again as I attempted to rewrite it
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as a diff erent version of myself with a diff erent understanding of
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death. And this went on… The story remained hidden and I forgot why it
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ever existed in the first place. <sup><span
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class="margin-note"><img src="../irmak/broken.png">I wrote and deleted
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and rewrote the story 3 times already.</span></sup> Last year when two
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earthquakes hit Syria and Turkey, I was drowned like everyone I know, by
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a collective trauma and grief. Then this horrible feeling flared up by
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neglect and desperation. It was and still is impossible to mourn so many
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strangers at the same time. I lost two dear friends, I was furious, away
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from home, mostly alone and remembered vividly my failed attempt to
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understand or place grief in one of the piles in my mind.</p>
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<p>Previous months, I was working on this story (yes, again) but didn’t
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know how to tackle the text because it was so diff erent to what I was
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experiencing now, when compared to the last time I rewrote it. A tutor
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asked me why I wrote this story in the first place and I couldn’t
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remember. I kept tracing back to 2016 and step by step, remembered why,
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as told above. The consciousness that this story is actually a personal
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history of how I went through grief in diff erent stages of my life,
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made me realise that it doesn’t have to be or even can be a perfect
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story.</p>
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<p>In the end with the experience I had with loss, I believe the story
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turned out to be an ode to remembering or might I say an ode to not
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being able to forget or an ode to the fear of forgetting. <sup><span
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class="margin-note loop-note">11 7
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4<img src="../irmak/loop.png"></span></sup></p>
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<h3 id="loop-2">Loop 2</h3>
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<p>The effect of storytelling knowledge on kids’ development and
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creativity. What can we learn from open ended and multiple ending
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stories?</p>
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<p>ability to form basic stories or to express their emotions through
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fictional characters or events. Children are not born with a wide
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vocabulary of emotions and expressions. They learn how to read, mimic
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and express their feelings over time. The more children read, write and
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are exposed to social environments, the more they widen their sense and
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ability of expressing themselves. The language gained as kids comes in
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many forms and storytelling plays a crucial role in this development.
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The exposure to stories prepares the kids to the era of reading and
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writing. Children come to understand and value feelings through
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conversation (Dettore, 2002). When children are offered to read or share
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stories, they also learn to understand people around them better and
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gain emotional literacy.</p>
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<p>Storytelling has been a means of communicating with others for many
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centuries. It is not only a way to discuss important events, but also a
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way to entertain one another (Lawrence & Paige, 2013). Stories have
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been told orally, in writing or with drawings for thousands of years and
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some of these stories are still alive. This is because language is a
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living thing that travels through time and still remains brand new. When
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necessary, it just adapts form, evolves and blends in with the changing
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world. Children comprehend the idea that they have a story to tell by
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hearing other stories and this ignites the imagination. We tend to
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forget many things but almost everyone remembers one small story they
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heard or read when they were a kid, this moment we remember is the
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moment a certain story sparked for us.</p>
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<p>Nowadays storytelling takes many forms. For example, some readers’
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story might even begin from here although it isn’t the beginning.
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Interactivity is one of the storytelling forms that can signifi- cantly
|
|
|
improve children’s creativity. This is mainly because children as
|
|
|
readers or listeners get to contribute and aff ect the story. This of
|
|
|
course requires and improves creative and active thinking. Getting the
|
|
|
chance to choose a path for a fictional character gives the child the
|
|
|
freedom and confi dence of constructing a world, a character or an
|
|
|
adventure. Although this is essentially “writing” as we know it,
|
|
|
children think of this as a game, yet to discover they are actually
|
|
|
becoming writers. What kind of reward can we expect from active
|
|
|
participation in a story? Narrative pleasure can be generally described
|
|
|
in terms of immersions (spatial, temporal, emotional, epistemic) in a
|
|
|
fictional world (Ryan, 2009). When we are set to create or co-create a
|
|
|
world, the narrative has effects on us such as curiosity, suspense and
|
|
|
surprise. At this point, we start creatively producing ideas to keep
|
|
|
these three emotions. <sup><span
|
|
|
class="margin-note"><img src="../irmak/unnamed-1.png">Multiliteracy
|
|
|
theory helped me ground my passion of using multimedia for children’s
|
|
|
literature.</span></sup> Interactive storytelling reminds everyone but
|
|
|
especially children that there are limitless endings to a story that is
|
|
|
solely up to the maker’s creation. Learning to think this way instead of
|
|
|
knowing or assuming an end to a story, I think influences the children’s
|
|
|
decision making abilities and sense of responsibility towards their
|
|
|
creations. It is basically the same in theatre where if an actor chooses
|
|
|
to create an imaginary suitcase on stage, they can’t simply leave this
|
|
|
object they created on stage and exit the scene because the audience
|
|
|
will wonder why the actor didn’t take the imaginary suitcase as they
|
|
|
left. In this case, when kids decide to choose a path or item or any
|
|
|
attribute for a character in a story, they feel responsible and curious
|
|
|
to see it through to the end or decide what to do with it. This
|
|
|
interactivity therefore creates a unique bond between the reader/writer
|
|
|
and the text.</p>
|
|
|
<p>There are many theories on how to approach interactive literature for
|
|
|
children. Multi-literacy theory and digital literacies are some of the
|
|
|
theories which I find relevant to my aim with Wink. Multiliteracy theory
|
|
|
in a nutshell is an education oriented framework that aims to expand
|
|
|
traditional reading and writing skills. This theory was developed by the
|
|
|
New London Group. They were a collective of scholars and educators who
|
|
|
addressed the changing nature of literacy in an increasingly globalized,
|
|
|
digital world. The theory explores multiple modes of communication
|
|
|
consisting The sense of storytelling settles for kids, starting from age
|
|
|
three. By this time, children have the of multimodal communication,
|
|
|
cultural and social contexts, critical inquiry, socio-cultural learning
|
|
|
theory and pedagogical implications. Multimodal communication focuses on
|
|
|
the variety of communication techniques. This was groundbreaking in the
|
|
|
90s because of its acknowledgment of a diverse range of literacies and
|
|
|
its departure from traditional approaches to literary texts. This theory
|
|
|
includes new media and communication studies such as visual, digital,
|
|
|
special and gestural literacies.</p>
|
|
|
<p>I kept this theory in mind as I chose the interactivity elements to
|
|
|
use in the picture book. I think the usage of multiple media such as
|
|
|
sound, image and games is a good way to start and diff erentiate from a
|
|
|
regular interactive e-book. The fact that this theory has an educational
|
|
|
perspective and is taking the rapidly changing qualities of literature
|
|
|
seriously, made me consider it as a guide in designing the
|
|
|
prototype.</p>
|
|
|
<p>Looking through the perspective of multiliteracies, questions come up
|
|
|
for me that lead to the rest of this thesis: What is an interactive
|
|
|
picture book? Is it a book? Is it a game? Is it an exercise?</p>
|
|
|
<p>What is it defined as? How can we design an interactive reading
|
|
|
environment without confusing children?</p>
|
|
|
<p><sup><span class="margin-note loop-note">8 9
|
|
|
5<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-3">Loop 3</h3>
|
|
|
<p>Differences and similarities between interactive e-books and
|
|
|
storytelling games.</p>
|
|
|
<p>Storytelling games and interactive e-books have many things in
|
|
|
common. To begin with, they both centralize the narrative to engage the
|
|
|
audience. While both of these formats are storytelling tools, e-books
|
|
|
tend to stay more in a linear narrative and format when compared to
|
|
|
storytelling games where the audience is commonly the main character.
|
|
|
Reading experiences are also a way to be in the shoes of the narrator or
|
|
|
the character but in a storytelling game, you embody the mission and the
|
|
|
experience overrules the story most of the time. In the specific example
|
|
|
of a child, storytelling games are complicated and puzzle driven where
|
|
|
the player has missions to complete. Whereas in an interactive e-book,
|
|
|
the missions are solely based on the interactive elements implemented in
|
|
|
the text and images.</p>
|
|
|
<p>Another difference is that the visual world in an interactive e-book
|
|
|
is less cinematic and has limited movement. The imagery plays a massive
|
|
|
role in a storytelling game where the world created is offered to the
|
|
|
player. In an interactive e-book, the text itself is designed to be
|
|
|
playful and ready for readers to discover.</p>
|
|
|
<p>The main difference in my opinion that separates these two methods of
|
|
|
storytelling is the reward. In a game, we expect to be rewarded by a
|
|
|
victory, passing a level or unlocking something throughout the
|
|
|
experience. In an interactive e-book, we work with the story and in
|
|
|
return we expect a good experience and there is no reward other than
|
|
|
that. But, the whole design of interactivity involves aspects of a game
|
|
|
where the reader –not the player- is captured by surprise effects or
|
|
|
elements that come up on the pages. This ignites curiosity but not
|
|
|
ambition, which is a good start to foster the love for reading.
|
|
|
<sup><span class="margin-note loop-note">5 4
|
|
|
11<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-4">Loop 4</h3>
|
|
|
<p>Ways of using interactivity in digital platforms</p>
|
|
|
<p>CASA theory, also known as the Cognitive-Aff ective-Social Theory of
|
|
|
Learning and Development, is a framework used in educational psychology
|
|
|
to understand how learning occurs within the context of cognitive, aff
|
|
|
ective, and social factors. Research on cognitive learning with keeping
|
|
|
in mind the limited attention span and memory factors. For children in
|
|
|
specific, I think these are very important factors to keep in mind when
|
|
|
trying to design an interactive experience. This is because children get
|
|
|
bored very easily and can be disengaged because of failure of
|
|
|
solving/understanding something in a story. This is something I kept in
|
|
|
mind as I wrote for children and chose the interactive elements in the
|
|
|
story. <sup><span
|
|
|
class="margin-note"><img src="../irmak/unnamed-1.png">CASA framework
|
|
|
helped me understand the key elements in designing for
|
|
|
children.</span></sup></p>
|
|
|
<p>Finding the balance between making the interactive element surprising
|
|
|
and making it easy to interact with is the key to designing for kids in
|
|
|
this scenario. We don’t want to make them struggle and use the limited
|
|
|
attention span in a non-engaging way but we want to keep the reading
|
|
|
interesting enough so they want to continue.</p>
|
|
|
<p>Digging deeper into how to do this, I found Children Computer
|
|
|
Interaction (CCI) study very useful. This study examines how children of
|
|
|
different ages and developmental stages interact with digital devices
|
|
|
and how these interactions can support their growth. This made me think
|
|
|
about digital gestures; how they change through generations and how to
|
|
|
use these to design a platform where children can navigate easily and
|
|
|
freely. CCI suggests that when introducing a new media to children its
|
|
|
better to start easy and clear when they try it. Through this I think
|
|
|
the best easy interaction is the tap or click for children. It is easy
|
|
|
to do, instinctive and common. So I decided to base the interactive
|
|
|
elements on click animations. <sup><span
|
|
|
class="margin-note"><img src="../irmak/unnamed-1.png">CCI was a theory
|
|
|
that helped me decide on the interactive elements.</span></sup> There
|
|
|
are multiple ways to use digital gestures in storytelling to make the
|
|
|
experience more intriguing. These are usually elements such as sound,
|
|
|
animations, voice-overs that are ignited with a click or tap by the
|
|
|
reader. For children younger than 5, its usually just tapping over the
|
|
|
page and experiencing an action-reaction. For older kids between the
|
|
|
ages 6-8, I made some workshops to figure out which types of interactive
|
|
|
elements are most useful in engaging them in the reading process.</p>
|
|
|
<p>It is true that sound and animations are very inclusive and it is
|
|
|
engaging for kids to find out which part of a page is interactive by
|
|
|
clicking on images. Another thing I found out is that kids enjoy being a
|
|
|
part of the story. For the prototype of Bee Within (the story I am using
|
|
|
to test interactivity also can be read in the appendix) I will focus on
|
|
|
color, sound and click based animations according to the results of my
|
|
|
research. <sup><span class="margin-note loop-note">4 3
|
|
|
2<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-5">Loop 5</h3>
|
|
|
<p>What is the target age group for the designated prototype and
|
|
|
why?</p>
|
|
|
<p>It is tricky when it comes to choosing the right age spectrum for
|
|
|
children’s interactive literature. Children between the ages 3-5,
|
|
|
referred to as preschoolers have more developed social skills and day by
|
|
|
day increasing interest in play. They can take on roles in imaginative
|
|
|
play scenarios. They can also share and take turns more, listen and
|
|
|
think about rules of a game. They can form friendships and connections
|
|
|
easily.</p>
|
|
|
<p><sup><span class="margin-note"><img src="../irmak/hitch.png">This
|
|
|
data about school age children was a starting point to choose the age
|
|
|
group to have the workshops with.</span></sup></p>
|
|
|
<p>School age children are between the ages 6-12, which is Wink’s chosen
|
|
|
age group is a little different. These kids can form more rooted
|
|
|
friendships and engage in more complex narratives. They learn to
|
|
|
negotiate and compromise around this time as well. This age group is
|
|
|
desired for Wink because kids this age are open to creative problem
|
|
|
solving, connecting events and comprehending slightly more complex
|
|
|
narratives. Moreover, this age group would benefit the most from the
|
|
|
interactive stories and the reading process because of the developmental
|
|
|
phase they are in.</p>
|
|
|
<p>The average amount of time children between these ages use on a daily
|
|
|
basis is depending on their parents and circumstances. But to be fair,
|
|
|
it is often not less than 2 hours. If a child isn’t very interested in
|
|
|
spending these hours reading a book, why not ask them: “Would you like
|
|
|
to be a part of a story?”</p>
|
|
|
<p>Today, kids from age 3 can use digital gestures successfully and
|
|
|
experience these as simple as flipping the page of a book. This is why
|
|
|
it is fairly easy to create an interactive picture book which kids can
|
|
|
navigate themselves and be able to browse through with or without their
|
|
|
parents. But for Wink, I chose to design for older kids because I want
|
|
|
to experiment on multi-leveled narratives and I want to avoid the risk
|
|
|
of confusing children. <sup><span class="margin-note loop-note">3 10
|
|
|
7<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-6">Loop 6</h3>
|
|
|
<p>Limits of interactivity in narratives for children and why do we have
|
|
|
less modes of reading and writing for children?</p>
|
|
|
<p>Although there are many upsides of creating digital environments for
|
|
|
children due to their advanced skills in technology from early ages,
|
|
|
there are also risks involved in this where the kid can be overwhelmed
|
|
|
and confused due to the autonomy they receive. Reading a story is
|
|
|
supposed to be effortless and a good free time activity but with
|
|
|
interactive picture books, it is slightly more than that and more
|
|
|
complicated as an experience. <sup><span
|
|
|
class="margin-note"><img src="../irmak/elbow.png">This is the elbow of
|
|
|
our strings. Elbows are created when an additional twist is added to a
|
|
|
loop. In this case, it represents the counter argument in the
|
|
|
string.</span></sup></p>
|
|
|
<p>First of all, with the story at hand, called Bee Within, there are
|
|
|
two other stories in one. Although the main story is about a little
|
|
|
girl’s journey, kids get the chance to hear the Queen Bee’s story and
|
|
|
the tree’s story as well. This is not a must but if they interact with
|
|
|
certain pictures on the page, they will be led to the bee’s perspective
|
|
|
or the trees. This is where the storyline can get a little bit
|
|
|
complicated for younger kids. The child reader at this point should be
|
|
|
able to follow the main storyline after visiting the side quests or
|
|
|
stories presented in the interactive book. To create this balance I
|
|
|
tried to limit the interactive elements I used in the main story. I
|
|
|
tried to keep the picture animations limited and focused more on the
|
|
|
storylines.</p>
|
|
|
<p>Another aspect I am concerned about after the workshop I did with the
|
|
|
kids, is the risk of confusion due to an undefined and multimodal design
|
|
|
for a “book”. Kids tend to be confused when they can’t define things or
|
|
|
are asked to improvise without knowing the purpose.They know what a book
|
|
|
is and that it is similar to what they encounter on the screen. But the
|
|
|
method of reading and interacting with Bee Within is different than what
|
|
|
they are used to. This concerns me because they might prefer to just
|
|
|
read a book or play a game instead of discovering a new thing, which
|
|
|
they are exposed to daily because they are always in a process of active
|
|
|
learning. So one more thing to learn might come as exhausting.
|
|
|
Therefore, in designing, I want to make interactions as clear as
|
|
|
possible for them. <sup><span class="margin-note loop-note">9 11
|
|
|
8<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-7">Loop 7</h3>
|
|
|
<p>Interactive reading and writing examples and surveys done with
|
|
|
kids.</p>
|
|
|
<p>As an improvisation theater enthusiast myself, I tried to engage the
|
|
|
kids with the story through some exercises and games during the
|
|
|
workshops. My aim was to see how involved they want to be in
|
|
|
storytelling. Improvisation has a certain way of storytelling and
|
|
|
interaction where there are either too many options or none. You need to
|
|
|
have good empathy and harmony with the person you are acting with and
|
|
|
you are designated to be creative in your own way. I tried to use
|
|
|
several improv games and warmups to involve the kids in the story more
|
|
|
and see how they see certain characters from the picture book.</p>
|
|
|
<p>My first attempt was to make a survey at the end of workshops with
|
|
|
kids to whether they liked it or not, but when I researched further,
|
|
|
surveying with kids has very different methods and complications.
|
|
|
<sup><span class="margin-note"><img src="../irmak/broken.png">There is a
|
|
|
broken knot here because I ended up not doing a survey with children at
|
|
|
the workshops.</span></sup> Most kids either really like or really
|
|
|
dislike things. Finding the in between emotions with a survey, ends up
|
|
|
being vague. Most surveys done with kids use emoticons as representation
|
|
|
of a good or bad or average time. Instead, I chose to observe the
|
|
|
environment and understand how much empathy kids can offer in an
|
|
|
interactive reading or playing environment. <sup><span
|
|
|
class="margin-note loop-note">6 2
|
|
|
6<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-8">Loop 8</h3>
|
|
|
<p>What does the joy of destruction and the awe effect have to do with
|
|
|
interactivity? Indeed, why did we ever start playing games? The most
|
|
|
important aspect of a game for me is that it surprises you and leaves
|
|
|
you in awe towards something you weren’t expecting happened. I feel like
|
|
|
every reaction I give when I’m surprised, is a mirror of what I felt
|
|
|
when I was playing freeze and had to stop moving at any given time or
|
|
|
when I found the last friend hiding somewhere in hide and seek. This
|
|
|
feeling of appreciation and unexpectedness is why most people remember
|
|
|
certain games, movies from their childhoods very vividly. Its an
|
|
|
introduction to a feeling we experience maybe for the first time because
|
|
|
we don’t necessarily learn from books how and when to feel surprised,
|
|
|
that is why it’s a surprise; we live it, experience it and it leaves and
|
|
|
impression with us.</p>
|
|
|
<p>In my opinion, what drives everyone as a common denominator is
|
|
|
amazement; because it takes us to our childhoods or distant memories
|
|
|
where we first felt that feeling of awe. This is the main purpose behind
|
|
|
any kind of interactive design and I think books can be an amazing
|
|
|
medium to experiment this with. Specifically because this ancient device
|
|
|
can take us to numerous worlds. For me as a millennial, books give me
|
|
|
enough amazement as it is. But as I worked in publishing through the
|
|
|
years and observed, I think kids today need something more to ignite
|
|
|
their interest. There are so many factors in a picture book such as the
|
|
|
image, the text and sound which can be played with to create an
|
|
|
experience that is more surprising. This is the main purpose behind my
|
|
|
research and protoype. Today’s world being visually stimulating and
|
|
|
serving very short attention spans with social media, it is a tough task
|
|
|
to insert a story or reading experience that requires full attention and
|
|
|
patience. There are examples of Tiktok stories, Instagram reels, audio
|
|
|
books and games that try to tell stories worth listening with attention.
|
|
|
Wink is also an attempt to do this and I believe the key is to make an
|
|
|
already engaging story enriched with interactive elements that appear to
|
|
|
you through a click if you choose to. I think this is also the key to
|
|
|
nourishing a new way of storytelling. <sup><span
|
|
|
class="margin-note loop-note">7 5
|
|
|
3<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-9">Loop 9</h3>
|
|
|
<p>Interactivity in reading and writing in history. What changed?</p>
|
|
|
<p>Interactivity has always been an experimental area in literature from
|
|
|
inscriptions to narrative games then to playable stories and artificial
|
|
|
intelligence. I will expand some of these examples from the rich history
|
|
|
of interactive fiction. When I dig a little bit into the media
|
|
|
archaeology there are three still relevant aspects that strike me and
|
|
|
change/improve my approach to Wink. The first is the need to connect
|
|
|
that remains untouched through centuries of human communication, the
|
|
|
second is how there were multiple projects concerning interactive media
|
|
|
especially for kids that later turned into narrative games or remained
|
|
|
as prototypes and lastly how the integration of media and literature has
|
|
|
been such a grand topic even before information and technology era. Some
|
|
|
examples to this is music, masks, puppets, props used in
|
|
|
storytelling.</p>
|
|
|
<p>Ancient texts with annotations such as The Odyssey, The Mahabharata
|
|
|
are maybe the earliest written interactive experiences in a historical
|
|
|
context. They are published with notes and explanations, clarifications
|
|
|
which make the text inhabit different opinions and approaches in an
|
|
|
engaging way where the reader can choose to hop on and off from the
|
|
|
annotation and margin texts.</p>
|
|
|
<p>From the 70s to the present there have been many examples but I will
|
|
|
be focusing on a few here. One of them is, Choose your own adventure
|
|
|
books which allowed the reader to participate in the plot. These still
|
|
|
exist as picture books where you are directed to certain pages according
|
|
|
to the choices you make throughout the story. Along with this were also
|
|
|
board games and cards that required interactive inputs. Some examples to
|
|
|
this is exploding kittens or cards against humanity where the player has
|
|
|
the autonomy to be creative and fill in the blanks to win the game.
|
|
|
Simultaneously, text-based adventure games such as Zork and Adventure
|
|
|
were popular. Early days of computing offered a wide space for exploring
|
|
|
virtual worlds. In the early 80s, hypertext fiction contributed to
|
|
|
electronic literature. Hyperlinks were used as a tool to navigate a text
|
|
|
and choose paths of reading. This inspired me to write this thesis with
|
|
|
different modes of reading as well. After the 80’s, Interactive fiction
|
|
|
gained popularity as a genre of interacting with text based input.
|
|
|
Dynabook by Alan Kay was prototyped during this time as a promising
|
|
|
reading and writing device designed for children.</p>
|
|
|
<p>The 21st century offers a combination of text and illustrations in
|
|
|
augmented reality books that have animations, sound and external
|
|
|
interactions. These are followed by digital storytelling platforms like
|
|
|
Wattpad and Storybird and interactive e-book apps such as Pibocco, Bookr
|
|
|
and Tiny Minies. Most of these apps are dedicated to education however
|
|
|
and not solely to creativity. Their aim is to use creative elements to
|
|
|
foster education for kids.</p>
|
|
|
<p>With Wink, I want to use a mainly educational tool (a book) to foster
|
|
|
creativity and expression. So I believe it is the opposite purpose as to
|
|
|
these examples in certain ways. I am trying to combine the delicacy of a
|
|
|
narrative where you can only be a reader and the excitement of
|
|
|
autonomous writing and experiencing.</p>
|
|
|
<p>This is because I think the understanding and usage of media changed
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in the last years. Some tools that created the awe effect for users
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faded and left their place to more compact designs. Although audio books
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were very welcome at some point, younger users nowadays prefer book
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summary apps or podcasts to them. Of course they are still used and not
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outdated but there is certainly a visible change to where media is
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heading. <sup><span class="margin-note loop-note">10 8
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10<img src="../irmak/loop.png"></span></sup></p>
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<h3 id="loop-10">Loop 10</h3>
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<p>Experimentation of creative exercises to be used in WINK. Exercises
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of storytelling with words, images, drawing, sound and gestures.</p>
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<p>Before I completed the prototype of Wink, I reached out to an
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international school in Rotterdam to make a 20 minute workshop with kids
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between ages 6-8. The aim here was to grasp the interactive elements in
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the picture book to implement in the digital framework. I wanted to see
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which parts of the story the children found exiting and which ones are
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not so thrilling for them. It also helped me draw the pictures for the
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book accordingly and edit the text with their reactions in mind. Due to
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a privacy agreement, I couldn’t record or use any data from the workshop
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but I made some helpful observations from my time there. <sup><span
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class="margin-note"><img src="../irmak/hitch.png">This loop is all about
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the observations I made during the workshops and the decisions I made,
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according to the results.</span></sup></p>
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<p>The first workshop I planned consisted of two main parts that made up
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20 minutes. The first 10 minutes we read Bee Within (attached in the
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appendix) together in a circle and the last 10 minutes we played little
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improvisation games, focused on the three main characters in the story
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(the bee, the kid and the tree). I made three groups and gave these
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groups the three characters. I asked them to embody a character
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throughout the workshop and be loyal to it. Each group of three had 1
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minute on the stage to silently improvise their characters. They were to
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use one sentence if they wanted to speak.</p>
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<p>During the first part, I couldn’t observe as I was busy reading but
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their teacher kindly took notes during this time, regarding the
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children’ reactions to parts of the story. I inserted the bees and trees
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narrative to the reading by tossing the paper I had in my hand and
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picking up a new one as I kept reading the bees and trees story. This
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was crucial because I wanted to see if this multiple stories in one
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concept would be confusing for kids. The teacher told me that they were
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excited about my gesture of juggling papers as I seemingly read one
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story. They were intrigued and confused at first but they did keep up
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with the storyline and understood all. Her notes basically said they
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were very focused and less interested in the kids journey. They really
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liked the bee and were a bit confused with the tree.</p>
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<p>There were 12 international kids and 3 of them didn’t want to join
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the workshop, they wanted to observe. I told them that they could paint
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and draw what they see. The drawings they made were of their classmates
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acting as trees or bees. They drew their classmate with a stinger and
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the other was of a classmate as a tree with his hands wide open as he
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was performing.</p>
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<p>What struck me most on the second part of the workshop was how these
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kids used the room so freely and in relation to their characters.
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Because we read the story before the improvisation games, some of their
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characters were influenced by how it is in the story we read. Next
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workshop, I am planning to not tell the story but to talk about it
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before and give context. This is because I want to see how their
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understanding changes without a limitation of a story.</p>
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|
<p>Bees in the classroom that day were all very active and they used
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chairs, tables and windows to position themselves in a higher
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perspective. Children who played the kid were usually standing closer to
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the trees and looked very calm. Trees were all very different. One of
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the kids used postits as leaves. Some of them didn’t have leaves because
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|
it is winter. Trees didn’t move at all and the bees were buzzing all
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|
around. “The kid” usually sat near the tree, on the tree (as in the
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other performers’ lap or hugged them).</p>
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|
<p>Overall only 2 groups used the option to say a sentence which were,
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|
<em>“I want to go on an adventure”</em><br />
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|
<em>“I don’t wanna leave Gray(the tree)”</em></p>
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|
<p>This was a good feedback for me because I realized they are very
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|
perceptive of actions and facial expressions rather than words. The
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|
workshop we did in the studio with XPUB 2 students was harder than the
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|
session with the kids because everyone felt so restricted to obligations
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|
and were not comfortable to let go of bodily control. No one actually
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|
attempted in using objects from the room which is a huge difference with
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|
the kids because they drew on their faces, used plastic bags as wings
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|
for the bee and made sounds with their mouths as trees.</p>
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|
<p>The next workshop was to discover how improv would work without
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|
reading the story first. This workshop was fruitful because it helped me
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|
realize how much information or guidance I have to offer for children in
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|
order for them to be comfortable to participate and interact without
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|
confusion. We made a circle and I summarized the story to the kids,
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|
acting in the middle of the circle. This broke the ice completely
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|
because I was a part of the workshop and they thought I was funny. For
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the next part, I divided the group in three and assigned a character to
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|
them. After this, I asked them to decide on an attitude, pop in the
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|
middle and tell or act out their character. I went first and they
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followed easily. They were not under the influence of the story so the
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|
performances were different but they still got influenced by each other,
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|
which in my opinion is inevitable. Some of the kids were buzzing/running
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|
around, the “kids” were walking around, acting like they are playing
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|
which I found very interesting. Some trees were small some were mighty
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|
and old. It was helpful to see the different attributions they gave to
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|
the characters.</p>
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|
<p>After the circle session, they separated in three groups: the kids,
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|
the bees and the trees. I asked each group to come up, walk around
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|
randomly, embodying the character they chose. Then as I rang the bell, I
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|
asked them to change the character. I asked them to be a busy, tired,
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|
injured, happy and scared bee one by one. They kept walking randomly and
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|
acted these feelings out. For the “kids”, I asked them to be angry, sad,
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|
scared, and curious. For the trees I asked them to be wise, mad, funny
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|
and happy. The results were amazing. They adapted very quickly to the
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|
|
changing of emotions which showed me that this age gap was good to work
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|
with. The trees stopped walking as I changed the emotions and this was
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|
|
an affirmation to not animate the tree with movement but more with
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|
changing of color and tiny animations. They mostly used arms and face
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|
|
expressions to show the emotions, some of them ducked or made sounds. As
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|
I said mad, one of the kids ran and put her red jacket on. This made me
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|
think about using color to show emotions for the tree. It was good to
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|
see that they weren’t scared or discouraged by negative emotions as
|
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|
well. We ended the workshop by drawing our characters. It was nice to
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|
|
see them own their imaginary characters enough to draw them with joy.
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|
<sup><span class="margin-note"><img src="../irmak/broken.png">There is a
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|
|
broken knot here because I changed my mind about adding motional
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|
elements to the tree character. Kids seemed to see the tree as
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|
|
stationary.</span></sup></p>
|
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|
<p>The last workshop was dedicated to discovering the sound aspect. The
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|
tree in the story speaks in verses so I chose one verse and
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|
read/performed it in a circle to begin with. Then I gave them some
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|
instruments: a drum, a bell, aluminum folio, a balloon and a bubble
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|
wrap. I asked for a few volunteers and they made sound effects as I read
|
|
|
the verse very slowly. This went good and I saw that they like to
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|
|
dramatize the sounds and make them funny or unexpected. They used the
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|
|
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
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|
|
kids do foley at the same time because they didn’t know how to take
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|
|
turns and were hesitant at first. Then quite impressively, they made
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|
|
their own system where they took turns to make effects for each
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|
|
sentence.</p>
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|
<p>Then I made four groups of three. 3 kids as actors and 3 kids as
|
|
|
foley actors. They buddied up and made short scenes where one group made
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|
|
sounds effects to the others acting on stage. This was the best part of
|
|
|
this workshop because they could lead the actors with the sounds they
|
|
|
made or vice versa. This I think is very important because it shows that
|
|
|
they like to be a part of or be effective to the story itself. They were
|
|
|
very creative in using the objects in the room and turning them into a
|
|
|
tool for sound. They enjoyed to foley the bee and the other characters
|
|
|
not so much. Which showed me that I should focus on the sound of the bee
|
|
|
in the prototype.</p>
|
|
|
<p>Overall, the workshops were very helpful for me to understand where
|
|
|
to focus on as I develop. I realized that some of the sound, color and
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|
|
movement animations I planned were too complicated and I decided to make
|
|
|
them more simplistic. I decided to animate the tree with only color
|
|
|
because I was effected by this one participant who took the red jacket
|
|
|
to represent the tree was mad. For the bee I decided to focus on sound
|
|
|
more. For the kid I decided to use more visual animations to make it
|
|
|
more interesting.</p>
|
|
|
<p>One other thing the workshops helped me with is the multiple stories
|
|
|
I am planning to tell in one narrative. The book I have has two side
|
|
|
quest/stories so it nice to see that kids weren’t confused with these
|
|
|
narratives. I decided to make the story of the tree as a click game
|
|
|
where the lines appear by clicking and the bee’s story through a text
|
|
|
based game. I wanted to use click game with the tree because it seemed
|
|
|
like they needed more stimulation to be interested in that story and I
|
|
|
though a ‘reveal the story’ click game could keep them interested. For
|
|
|
the bee, knowing they like the character, I wanted to make it more like
|
|
|
a game to give the kids a chance and autonomy to be a part of the story
|
|
|
itself. <sup><span class="margin-note loop-note">2 6
|
|
|
9<img src="../irmak/loop.png"></span></sup></p>
|
|
|
<h3 id="loop-11">Loop 11</h3>
|
|
|
<p>The differences of these exercises in WINK than the already existing
|
|
|
interactive e-book platforms The interactive e-book apps existing today,
|
|
|
made especially for children, are quite similar in both format and
|
|
|
purpose. If we take a look at Bookr, Piboco, and Kotobee, we can see
|
|
|
they seek a new way to tell a story but have one mode of reading. The
|
|
|
stories are linear and can be read once, without side quests. This is
|
|
|
the main difference with what I am trying to design. Wink acts as a tool
|
|
|
to play with and choose paths. The story isn’t linear in the traditional
|
|
|
way where you interact with the pictures and finish the book but there
|
|
|
are side stories to the main story that they can discover or choose not
|
|
|
to. I think this is a solid difference. This makes it a playable
|
|
|
narrative, different from a book.</p>
|
|
|
<p>This prototype is a good start to see how far I can get with the
|
|
|
interactive elements and side stories without confusing or discouraging
|
|
|
the children. There are many other aspects that can be implemented to
|
|
|
this design such as writing elements and drawing but for the meantime,
|
|
|
also in correspondence with the workshops, I choose to test the sound
|
|
|
and image along with one main and two small narratives.</p>
|
|
|
<p>For future prototypes, I envision space to draw and write as a
|
|
|
contribution to the story and maybe turning Wink into a hybrid format
|
|
|
with more autonomous features. For me, at this point, it’s valuable and
|
|
|
essential to see if my technique of combining narratives is working or
|
|
|
not.</p>
|
|
|
<h3 id="loop-12">Loop 12</h3>
|
|
|
<h2 id="standing-end">Standing End</h2>
|
|
|
<p><sup><span class="margin-note loop-note">12 12
|
|
|
12<img src="../irmak/loop.png"></span></sup> After many loops of
|
|
|
thought, we are here at the standing end of the thesis. There is room
|
|
|
for more loops and knots in the future to secure this string of thought
|
|
|
but for now, we have come to the dock and rest ashore.</p>
|
|
|
<p>Reading this thesis with a string, using concrete thinking as a
|
|
|
technique to go through a research and text was a helpful exercise for
|
|
|
me and helped me mark my thoughts and ideas. The overarching theme of
|
|
|
knots and experimental approach to modes of reading was valuable for me
|
|
|
to share and try as an enthusiastic young writer. I like that I asked
|
|
|
the reader to interact with the thesis and follow paths accordingly.</p>
|
|
|
<p>It was enlightening to see the results of working with kids and be
|
|
|
able to see from their point of view and alter everything according to
|
|
|
these encounters. Using CCI and Multiliteracy theory as a guide to
|
|
|
approach the design and prototype was helpful in understanding how to
|
|
|
approach and tackle the desire of making something for children.</p>
|
|
|
<p>Now from where I stand, I feel more rooted and have a clearer idea of
|
|
|
what works and doesn’t work. Some features that I think would work very
|
|
|
well like the choice of writing didn’t go as planned because multiple
|
|
|
narratives is already too much. I realized I underestimated the effect
|
|
|
of introducing a new media to children. This is why I decided to take it
|
|
|
step by step with the interactivity.</p>
|
|
|
<p>Taking a step to make Wink and using the story I wrote and feel is
|
|
|
important in my personal history as a prototype was a breakthrough. I
|
|
|
feel like my interest and desire to discover new ways of writing,
|
|
|
reading and experiencing literature is ongoing and it was a beautiful
|
|
|
journey so far. I am looking forward to making more knots on this long
|
|
|
and mysterious string at hand.</p>
|
|
|
</section>
|
|
|
<h2 id="bibliography">Bibliography</h2>
|
|
|
<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.</p>
|
|
|
<p>Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as
|
|
|
emotional archaeologists,” Childhood education, 78(5), pp. 278–281. doi:
|
|
|
10.1080/00094056.2002.10522741.</p>
|
|
|
<p>Ingold, T. (2015) The life of lines.London, England: Routledge.</p>
|
|
|
<p>Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew:
|
|
|
Teaching and learning through storytelling:What our ancestors knew:
|
|
|
Teaching and learning through storytelling,” New directions for adult
|
|
|
and continuing education, 2016(149), pp. 63–72. doi:
|
|
|
10.1002/ace.20177.</p>
|
|
|
<p>Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children,
|
|
|
computers, and powerful ideas. London, England: Basic Books.</p>
|
|
|
<p>Ryan, M.-L. (2009) “From narrative games to playable stories: Toward
|
|
|
a poetics of interactive narrative,” StoryWorlds A Journal of Narrative
|
|
|
Studies, 1(1), pp. 43–59. doi: 10.1353/stw.0.0003.</p>
|
|
|
<p>Smeets, D. and Bus, A. (2013) “Picture Storybooks Go Digital: Pros
|
|
|
and Cons,” in Quality Reading Instruction in the Age of Common Core
|
|
|
Standards. International Reading Association, pp. 176–189.</p>
|
|
|
<p>Strohecker, C. (ed.) (1978) Why knot? MIT.</p>
|
|
|
<p>The Effect of Multimodality in Increasing Motivation and
|
|
|
Collaboration among 4th CSE EFL Students (no date).</p>
|
|
|
<p>Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT
|
|
|
Press.</p>
|
|
|
<p>Urton, M. M. &. (2018) The khipu code: the knotty mystery of the
|
|
|
Inkas’ 3D records, aeon. Available at: https://
|
|
|
aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records.</p>
|
|
|
<p>Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole
|
|
|
Life. Available at: https://wholelife.hkw.de/
|
|
|
codes-in-knots-sensing-digital-memories/.</p>
|
|
|
<h2 id="acknowledgements">Acknowledgements</h2>
|
|
|
<p>Thank you Marloes de Valk, for your enlightening feedbacks and ideas.
|
|
|
Thank you Michael Murtaugh, Manetta Berends, Joseph Knierzinger, Leslie
|
|
|
Robbins and Steve Rushton for sharing your time and knowledge with me
|
|
|
throughout these years.</p>
|
|
|
<p>Thank you XPUB friends for funny, hectic and memorable moments we
|
|
|
made together.</p>
|
|
|
<p>Thanks to my family and especially Kemal, my brother, who supported
|
|
|
me in my studies and encouraged me to do better, always…</p>
|
|
|
<p><em>So long and thanks for all the fish!</em></p>
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|
<hr />
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