Developmentally appropriate guidelines for technology augmented pre-schooler toys

Kim To Tse investigated the concerns in creating developmentally appropriate technology augmented pre-schooler toys. He found that parents and child development specialists care for pre-schoolers from different angles. His research outcomes advocate and support the vision of healthy implementation of technology in early childhood while sustaining the toy industry

Gesture Object Interfaces to enable a world of multiple projections

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. [209]-226).Tangible Media as an area has not explored how the tangible handle is more than a marker or place-holder for digital data. Tangible Media can do more. It has the power to materialize and redefine our conception of space and content during the creative process. It can vary from an abstract token that represents a movie to an anthropomorphic plush that reflects the behavior of a sibling during play. My work begins by extending tangible concepts of representation and token-based interactions into movie editing and play scenarios. Through several design iterations and research studies, I establish tangible technologies to drive visual and oral perspectives along with finalized creative works, all during a child's play and exploration. I define the framework, Gesture Object Interfaces, expanding on the fields of Tangible User Interaction and Gesture Recognition. Gesture is a mechanism that can reinforce or create the anthropomorphism of an object. It can give the object life. A Gesture Object is an object in hand while doing anthropomorphized gestures. Gesture Object Interfaces engender new visual and narrative perspectives as part of automatic film assembly during children's play. I generated a suite of automatic film assembly tools accessible to diverse users. The tools that I designed allow for capture, editing and performing to be completely indistinguishable from one another. Gestures integrated with objects become a coherent interface on top of natural play. I built a distributed, modular camera environment and gesture interaction to control that environment. The goal of these new technologies is to motivate children to take new visual and narrative perspectives. In this dissertation I present four tangible platforms that I created as alternatives to the usual fragmented and sequential capturing, editing and performing of narratives available to users of current storytelling tools. I developed Play it by Eye, Frame it by hand, a new generation of narrative tools that shift the frame of reference from the eye to the hand, from the viewpoint (where the eye is) to the standpoint (where the hand is). In Play it by Eye, Frame it by Hand environments, children discover atypical perspectives through the lens of everyday objects. When using Picture This!, children imagine how an object would appear relative to the viewpoint of the toy. They iterate between trying and correcting in a world of multiple perspectives. The results are entirely new genres of child-created films, where children finally capture the cherished visual idioms of action and drama. I report my design process over the course of four tangible research projects that I evaluate during qualitative observations with over one hundred 4- to 14-year-old users. Based on these research findings, I propose a class of moviemaking tools that transform the way users interpret the world visually, and through storytelling.by Catherine Nicole Vaucelle.Ph.D

Performative Authoring: Nurturing Children’s Creativity and Creative Self-Efficacy through Digitally-Augmented Enactment-Based Storytelling

Psychological research, especially by Paul Torrance, has shown that the child’s engagement in creative activities tends to drop precipitously at around the 3rd- to 4th-grade period (8 to 11 years old). This phenomenon, called the ‘Fourth-Grade Slump’, occurs possibly because of an increase in social awareness and critical self-evaluation of competence in the child during this period. Increasing awareness of the complexity of the world’s problems, new paradigms of design focusing on the user, and advances in technology has led to rapid developments in the design and development of tools to support children’s creativity. Research in creativity support tools has generally focused on augmenting creative performance within specific tasks, using strategies such as facilitating access to information, or exposing the user to a space of possible combinations. Much less studied however, is how tools may help to develop positive attitudes towards creativity in individuals. This is important, especially in systems designed for children where the focus on the development of the person, during critical periods of growth such as the period of the Fourth-Grade Slump, may be said to be of equivalent or greater importance than the support of process or the generation of product. In the domain of storytelling or narrative construction, work in child development, educational pedagogy, social psychology, and performance studies have looked at how to tap into the power of children’s imagination during pretend play to nurture their storytelling abilities and their sense of self-efficacy or confidence. These interventions typically take the form of drama workshops or classroom roleplaying exercises. While results appear to provide good evidence that drama interventions and theater-based methods have some positive effects on children’s development of narratives, studies have shown mixed results in terms of the effects on children’s self-efficacy. I refer here to self-efficacy in the sense of a child’s perception of her creative abilities, in other words, her belief that she can produce creative outcomes. This creativity-oriented sense of self-efficacy has been called ‘creative self-efficacy’. This dissertation investigates how pretend play can be harnessed into the design of an interface to support children’s creativity in storytelling and their sense of creative self-efficacy. This overarching question was explored through four phases of research: Exploration, Design, Evaluation, and Integration. The Exploration phase consisted of two studies: a) a set of interviews with elementary school teachers, and b) an experimental study of how the interface or medium may affect children’s creative storytelling process; The Design phase consisted of two experimental studies, and design and development: a) the first study investigated how the physicality of props may support children’s enactment-based storytelling, and b) the second study explored the influence of the presentation of digital contextual/environmental cues on children’s enactment-based storytelling, c) design and development consisted of an exercise using the NEVO methodology to embody design knowledge gained from the Design phase into a concrete usable system, called DiME; The Evaluation phase consisted of two studies: a) the first was a pilot study that tested the usability of DiME and protocol of use with children, and b) the second was an experimental study across two school districts with different profiles investigating the effects of digitally-augmented enactment-based storytelling using DiME, on children’s creativity, story writing and creative self-efficacy; The Integration phase of the research consisted of a workshop with elementary school teachers, which initiated an exploration into how such a story authoring approach may be used in an elementary school curriculum and setting. The body of work that this dissertation presents elucidates (i) a physical enactment-based method for the authoring of stories by children, and (ii) how a digitally-augmented space may move beyond simple drama methods to positively influence the child’s creativity and imagination during storytelling, as well as her self-belief and motivation to engage in creation. The digitally-augmented enactment-based storytelling environment, that I term performative authoring, allows the child to collaboratively create a story through pretend play with a partner, while her enactments are reflected in real-time in the form of animated cartoon characters and objects on a large screen display through the use of motion tracking technologies. I have found that performative authoring has positive effects not only on the child’s creative self-efficacy, especially for the less extraverted children, but also on the richness of the child’s retelling or written narrative of her story. The significance of the results of the studies is with respect to the various domains and subareas represented (child-computer interaction, interactive storytelling, education and educational psychology, creativity and cognition). There is great potential to extend the concept of exploiting digitally-augmented enactment to support and scaffold higher-level cognition, beyond physical enactment. Extensions of this work include making use of more epistemic forms of enactment, instead of full-blown enactment, to support children’s creative story brainstorming, or to make use of digitally-augmented enactment to support other forms of higher thought apart from creativity and imagination. In the domain of storytelling or narrative construction, work in child development, educational pedagogy, social psychology, and performance studies have looked at how to tap into the power of children’s imagination during pretend play to nurture their storytelling abilities and their sense of self-efficacy or confidence. These interventions typically take the form of drama workshops or classroom roleplaying exercises. While results appear to provide good evidence that drama interventions and theater-based methods have some positive effects on children’s development of narratives, studies have shown mixed results in terms of the effects on children’s self-efficacy. I refer here to self-efficacy in the sense of a child’s perception of her creative abilities, in other words, her belief that she can produce creative outcomes. This creativity-oriented sense of self-efficacy has been called ‘creative self-efficacy’ (Beghetto, 2006, 2007). This dissertation investigates how pretend play can be harnessed into the design of an interface to support children’s creativity in storytelling and their sense of creative self-efficacy. This overarching question was explored through four phases of research: I. Exploration, II. Design, III. Evaluation, and IV. Integration. Phase 1 Exploration consisted of two studies: 1A) a set of interviews with elementary school teachers, and 1B) an experimental study of how the interface or medium may affect children’s creative storytelling process; Phase 2 Design consisted of two experimental studies, and design and development: 2A) the first study investigates how the physicality of props may support children’s enactment-based storytelling, and 2B) the second study explores the influence of the presentation of digital contextual/environmental cues on children’s enactment-based storytelling, 2C) design and development consisted of an exercise using the NEVO methodology to embody design knowledge gained from Phase 2 into a concrete usable system, called DiME; Phase 3 Evaluation consisted of two studies: 3A) the first was a pilot study that tested the usability of DiME and protocol of use with children, and 3B) the second was an experimental study across two school districts with different profiles investigating the effects of digitally-augmented enactment-based storytelling using DiME, on children’s creativity, story writing and creative self-efficacy; and Phase 4 Integration consisted of a workshop with elementary school teachers, which initiated an exploration into how such a story authoring approach may be used in an elementary school curriculum and setting. The body of work that this dissertation presents elucidates (i) a physical enactment-based method for the authoring of stories by children, and (ii) how a digitally-augmented space may move beyond simple drama methods to positively influence the child’s creativity and imagination during storytelling, as well as her self-belief and motivation to engage in creation. The digitally-augmented enactment-based storytelling environment, termed performative authoring in this document, allows the child to collaboratively create a story through pretend play with a partner, while her enactments are reflected in real-time in the form of animated cartoon characters and objects on a large screen display through the use of motion tracking technologies. I have found that performative authoring has positive effects not only on the child’s creative self- efficacy, especially for the less extraverted children, but also on the richness of the child’s retelling or written narrative of her story. This dissertation concludes by discussing the significance of the results of our studies with respect to the various domains and subareas represented (child-computer interaction, interactive storytelling, education and educational psychology, creativity and cognition) and extends the concept of exploiting digitally-augmented enactment to support and scaffold higher-level cognition, beyond physical enactment. Extensions of this work include making use of more epistemic forms of enactment, instead of full-blown enactment, to support children’s creative story brainstorming, or to make use of digitally-augmented enactment to support other forms of higher thought apart from creativity and imagination

Using voice assistant skills in family life

Voice assistants are increasingly prevalent in family life, being used, for example, for listening to music, finding out information, asking jokes and playing games together. However, little research shows how such technology influences dynamic family interactions in the home over time. An in-the-wild study was conducted in six family homes over three weeks. An Alexa, with a number of skills, was set up in each home for the families to use. The findings showed differences in use over time. To begin, family cohesion behavior and family rituals were most prevalent. At the end of the study, the skills were found to motivate distinct family interaction patterns: including more collaboration to manage Alexa and scaffolding of children’s interactions with Alexa, given developmental differences in users’ grasp of Alexa’s capabilities and limitations. We discuss how voice assistants support different interaction patterns and potentially, offer different learning opportunities

Digital Technology Use in Western Australian Early Years Centres: The Role of Directors, Educators And Parents in Guiding Young Children’s Engagement with Digital Technologies

This study investigated the digital technologies being used by, with and for young children across four diverse Western Australian early years centres. Results found evidence of the centres using digital technologies at an operational level, and for individual children. The recommendation is that children be allowed to exercise greater agency when interacting with digital technologies, and that centres develop context specific, clear, and useable policies to guide digital technology use in centres and with children

Interaction design strategies for open-ended play

Open-ended play is initiated by the child where he/she is in full control of the entire play experience, without imposed rules or external structure. This play experience is rewarding, engaging and desirable for children. It is also valued by parents, educators, and psychologists as it aids healthy development of the child, both cognitively and physically. Despite its proven value, children have been initiating open-ended play less often while their use of digital media devices has become more common. There is an opportunity to encourage open-ended play through interaction design. However, designing for open-ended play is difficult due to its complexity and ever-changing nature. This thesis explores how children between the ages of 5-12 engage in open-ended play (undefined, unstructured, free play) and how they use digital devices such as tablets or smartphones in their play experiences. It outlines a process children go through when engaging in open-ended play, identifies patterns in open-ended play, and proposes four strategies for designing physical and digital interactions to encourage open-ended play experiences. These strategies are a means for designers to facilitate open-ended play in the development of products, services and systems for children. They can also be used by educators in creating curricula to help the development of self-regulation in young children. Parents can also use these strategies as a means to encourage and participate in their children\u27s open-ended play experiences

Influence of technology on social interaction and play in autistic children

The social and communication differences associated with autism can make engaging in social play difficult for autistic children. However, it has been suggested that digital technologies could motivate or inspire autistic children to communicate with other people and engage in collaborative play. This conflicts with the increasing concerns from parents and practitioners around the impact of technologies on social interaction in children and young people, which could be exacerbated in autistic children due to the aforementioned difficulties in social interaction. This thesis includes five studies which aim to explore whether and how technology can provide opportunities for autistic children to engage in social play with peers. Chapter 1 outlines the context and rationale for exploring the influence of technology on social play and interaction in autistic children. In neurotypical children, technology is likely to have small or negligible effects on social development. A number of studies have shown that features of technology, such as the interface and the software design, can encourage social interaction. Autism is associated with social differences and difficulties in social interaction, and a number of technologies have been designed to teach or mediate social interaction in autistic children, with relative success. A further number of studies have suggested that autistic children are more likely to engage in social play and interaction when using digital technologies. Chapter 2 provides a brief overview of key issues in autism research and justifies some of the research methodologies chosen in the remainder of the thesis. Chapter 3 explored how educational practitioners used technology in classrooms with autistic students. In an online survey, practitioners said that they more frequently used technology to teach social skills to autistic students, rather than to facilitate peer interactions. Respondents also said that technologies such as smart boards, tablets, and computers were used more widely than more recently developed technologies, such as tangibles and robotics. These results were followed up by focus groups, where practitioners highlighted that different features of interfaces made children more aware of social partners and could sometimes encourage or inhibit interactions depending on children’s social interaction style and technological preferences. According to practitioners, children who were interested in technology would be more likely to socially benefit from it, than others who were less interested in technology. Chapters 4 and 5 reported on a design-based research study, in collaboration with educational practitioners, to explore the influence of different technologies and classroom environments on children’s social interactions and play. The main finding was that children interacted differently both with technologies and with other people, and that different apps and technological interfaces produced unique patterns of social interactions. Children engaged in more social play with peers while using the iPad and Code-A-Pillar technologies, and more social play with adults while using Osmo. Novelty appeared to have the strongest environmental influence on social interactions in digital environments, even more than creating collaborative spaces and having practitioners directing children’s social play. Chapters 6 and 7 compared social play and joint engagement in pairs of children while they played with digital and non-digital toys and explored the effect of enforced collaboration. The results showed that children engaged in more social play and joint engagement when using digital toys. Enforcing collaboration led to more interactive play and joint engagement in both digital and non-digital conditions. This suggests that technology itself can strongly mediate social interaction in autistic children, perhaps more than the children’s own interests and social interaction styles. Together, the studies within this thesis highlight that there are many ways in which autistic children engage with other people while using digital technologies, and many opportunities to foster these interactions in classroom settings. In conclusion, as summarised in chapter 8, technologies do influence social interaction in autistic children, but so do children’s social interaction styles and preferences, the wider classroom environment including adult roles, and so do particular technological interfaces and software. In terms of how technology mediates interaction, it can provide a socially inclusive space where children can jointly engage with others on devices and activities which interest them, provide an engaging environment where others can scaffold interaction (i.e. practitioners), or the technology itself can mediate child-led interactions through children’s interests

A Player’s Sense of Place: Computer Games as Anatopistic Medium

This project works to understand how open-world computer games help generate a sense of place from the player. Since their development over a half century ago, computer games have primarily been discussed in terms of space. Yet the way we think about space today is much different than how those scientists calculated space as a construction of time, mass, and location. But as computer games have evolved, the language has failed to accommodate the more nuanced qualities of game spaces. This project aims at articulating the nuances of place through phenomenological methods to objectively analyze the player experience as performed through various behaviors. Using a conceptual model that partially illustrates sense of place, I demonstrate how players create out of place—or anatopistic—places through play. After a historical survey of play as it is manifested through interaction with miniaturized environments, I turn to computer games as they have helped embody their creators’ sense of place. The third and fourth chapters offer a pair of case studies that reflect upon the experiences of the individual player and player groups. First, I compare virtual photography with tourism to reveal an array of sensibilities suggestive of the pursuit of place. This is followed with a look at Niantic’s Pokémon Go and how player groups use the game to act out ritualistic forms of play. Positioning the player as a “ludopilgrim,” I demonstrate how players perform individual or intersubjectively meaningful places as a form of transgressive placemaking

Virtual Versus Tangible Math Manipulatives: A Quasi-Experimental Study Comparing the Impact of Different Types on Mathematical Understanding

The purpose of this quantitative, quasi-experimental nonequivalent control group design study was to measure the effects of both types of manipulatives on student mathematical understanding of 1st and 4th grade, Title I students. This data is needed for teachers to make informed decisions regarding their instructional choices. 270 participants were separated into three groups based on which type of manipulative their classroom teacher used during instruction: physical, virtual, or both. After 10 weeks of instruction with these manipulatives, student achievement was calculated for each student utilizing the Universal Screeners for Number Sense, and the groups within each grade level band were compared using an analysis of covariance test while controlling for pre-test scores. Both grade levels resulted in statistically significant differences between treatment groups. Physical manipulatives were found to be most impactful for both grade levels, followed by mixed manipulatives, with students using virtual manipulative performing at the lowest levels in both grade levels. It is recommended that future studies consider researching the impact of physical manipulatives first and then virtual manipulatives, repeating this study with a different instrument and/or a longer study period, providing coaching support as part of the study, or researching the impact of an innovative technological tool, such as augmented reality