Auriemma, Rita

De Felice, Giuliano

Forlastro, Giovanni

Gena, Cristina

Mattutino, Claudio

Quiri, Elena

Santacesaria, Vito

English

Institutional Research Information System University of Turin

Swiping in the Wild: An Evaluation in the Wild of a StorytellingApp for ChildrenGiovanni ForlastroDepartment of Computer Science,University of TurinTorino, Italygianni.forlastro@gmail.comCristina GenaDepartment of Computer Science,University of TurinTorino, Italycristina.gena@unito.itClaudio MattutinoDepartment of Computer Science,University of TurinTorino, Italyclaudio.mattutino@unito.itElena QuiriArchaeologist, independentresearcherTorino, Italyelesquer@gmail.comRita AuriemmaDepartment of Cultural Heritage,University of SalentoLecce, Italyrita.auriemma@unisalento.itGiuliano De FeliceDepartment of Humanities. Literature,Cultural Heritage, Educ. Sciences,University of Foggia, ItalyFoggia, Italygiuliano.defelice@unifg.itVito SantacesariaSwipe Story srlBari, Italysantacesaria@ai2.itABSTRACTIn this paper we report the preliminary results of an evaluationin the wild of a storytelling app, the Lions of Time, presenting anarcheological story, based on the swipe story approach. A swipestory is a digital story that, with a simple and immediate gesture(namely the swipe) and a language based on drawings, images,words, games, sounds, movies and emotions, is able to start theyoung user to a new path of knowledge. We performed an evalua-tion in the wild the day the swipe story was launched at the 2017Turin International Book Fair. Preliminary results are encouraging,especially regarding the children engagement in the fruition of thestory and its related games.CCS CONCEPTS• Human-centered computing → Empirical studies in HCI;• Applied computing→ Arts and humanities;KEYWORDSStorytelling, swipe story, child-computer interactionACM Reference Format:Giovanni Forlastro, Cristina Gena, Claudio Mattutino, Elena Quiri, RitaAuriemma, Giuliano De Felice, and Vito Santacesaria. 2018. Swiping inthe Wild: An Evaluation in the Wild of a Storytelling App for Children.In Proceedings of 2nd Workshop on Advanced Visual Interfaces for CulturalHeritage (AVI-CH 2018). Vol. 2091. CEUR-WS.org, Article 6. http://ceur-ws.org/Vol-2091/paper6.pdf, 4 pages.AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy© 2018 Copyright held by the owner/author(s).1 INTRODUCTIONSince always, telling stories is a warm and friendly habit, butalso a powerful tool to communicate, inform and teach. It’s theeasiest and the most immediate way to transfer knowledge [12].According to story theorists like Bruner [3], stories provide aframework for making sense of events and their meaning [8]. ForPaolini and Di Blas [9], digital storytelling is emerging as the mostrelevant way to deliver content in the digital age. They define adigital story as a combination of visual communication (slideshows,videos or animations) with audio. They claim that today digitalstories are one of the best way for engaging users across severaldevices: from tablets to desktops, from smartphones to even phones,for audio only. Different narratives styles can be used and differentsituations can be envisioned, including immersive storytelling oraugmented-reality storytelling.According to Springer et al. [11] people process and retain in-formation in narrative structures and stories are fundamental forthe creation of meaning. For Springer et al. [11], the pedagogicaldimensions of storytelling could be summarized as follows: hu-manistic, cross-disciplinary, cross-cultural, multisensory, multimodal,constructivist, learning directed.The connections between digital storytelling and education havebeen also highlighted by Tyner [13]. According to Tyner, digitalstorytelling offers the advantages of an experiential approach tolearning while combining oral and alphabetic literacies with thoseintrinsic to the new multimedia.In cultural heritage access, storytelling has been applied to virtualtours in exhibitions [6], museums [11] and historical locations [4, 7],and also in the educational archeology field. Garzotto and Paolini[5] carried out a project with pupils combining several plugged andunplugged activities whose result was an interactive multimedia1AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy G. Forlastro et al.narrative providing multiple reading paths and delivered as WebSite, podcast and CD-ROM.On the side of pedagogical game-play, Ardito et al. [1] proposedgames to support young students learning history at an archaeo-logical site by making use of advantages provided by multimediatechnology. They implemented two games on a large multi-touchscreen, to support young students learning about archaeologicalparks during school visits. Students were encouraged to collaborateto solve the proposed challenges, but they can also play againsteach other.In this paper we report the preliminary results of an evaluationin the wild of a storytelling app (developed by three of the authorsof the current paper) presenting an archeological story, based on theswipe story approach. We performed an evaluation in the wild theday the swipe story The Lions of Time was firstly presented to thepublic, during the 2017 Turin International Book Fair. Preliminaryresults are encouraging especially regarding the children involve-ment in the fruition of the story and its related games. This paper isorganized as follows: Section 2 presents the swipe story approach,Section 3 introduce the app The Lions of Time and presents theevaluation in the wild, and Section 4 concludes the paper.2 BACKGROUNDA swipe story is a digital story that, with a simple and immediategesture (namely the swipe) and a immediate language based ondrawings, images, words, games, sounds, movies and emotions, isable to start the young user to a new path of living and stimulatingknowledge. It enables an innovative storytelling able to:• Welcome and initiate the user to a new path of knowledge,such as visiting a museum;• Make the path of knowledge alive and stimulating, makingthe user interact with the elements that surround her andincreasing her emotional involvement;• Enhance the user experience favoring the consolidation ofthe knowledge acquired through in-depth studies, educa-tional activities and games.Realizing a swipe story means constructing a main narrativearound a plot and developing it through a succession of events.Then the story develops with a series of scenes (frames) that makeup a sort of tape. The user can move from one scene to anotherwith the simple gesture of "swipe", which can trigger:• Transitions over time (e.g. seasons or eras that follow eachother on the same place);• Transitions of space, with the crossing of places in spatialcontinuity.To enrich the emotional dimension, transitions are characterizedby a parallax effect (3D-simulated) in which the different levels ofthe design are made to move at different speeds and give depth tothe scene.The creation of the story is based on visual sketches (the scenesare not 3D reconstruction but real drawings), which go forward astapes, and after that dialogues and audio come up. Digital story-telling is spread over several levels:Figure 1: Example of points of interests in the Lions of Time.• A level of narrative that allows the development of the emo-tional dimension, involving the user (by means of post-itand comics);• A level of deepening able to propose scientific contents ofgreater detail and articulation (cards, images, films), devel-oping the informative and playful dimension.The types of points of interest (see Figure 1) are continuouslyimproved with the activation of new user experiences. Currentlyin these points of interest are available:• In-depth information (multiple sheets can be browsed on thetwo dimensions of a matrix with text, images and audio);• Curiosity (two-sided sheet, question/answer type, sugges-tion/solution, etc.);• Animated movies and clips;• Games of association and correspondence.3 EXPERIMENTING IN THEWILD3.1 The story under evaluation"I Leoni del Tempo - Archeostorie del Friuli Venezia Giulia - The Lionsof Time - Archeo-stories of Friuli Venezia Giulia1" is a trans-mediaeditorial project promoted by ERPAC (Regional Institution for theCultural Heritage of the Autonomous Region of Friuli Venezia Giu-lia, Cataloging, Training and Research Service)2. The swipe story isrealized throughout a tablet and smartphone app, freely availablein Google Play and App store markets. This swipe story supportsan illustrated novel [2], and digital storytelling has been appliedwith the aim to bring the young audiences closer to the knowledgeof the cultural heritage of Friuli Venezia Giulia, the Italian regionsituated further to the North East. To make the regional patrimonyknown to young generations, a series of illustrated, animated andinteractive stories have been created, with which to follow theadventures of the Lions of Time (see Figures 1 and 2).The story takes the user to discover the archaeological sites ofFriuli Venezia Giulia, where the present is intertwined with the past,reality with imagination. Swipe after swipe, the user is walkingin space-time in the company of the three characters (Eleonora,Leonardo, and Ruggero) between reconstructions of places, cities(Pradis and Aquileia) and ancient monuments, on the light wings1http://www.swipe-story.com/app/ileonideltempo2http://www.ipac.regione.fvg.it/2Swiping in the wild AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italyof fantasy. The version of the swipe story under evaluation offersthe user two stories, with illustrations, audio, comics and games,dedicated to Pradis and Aquileia. But in the future versions, thethree characters will be in Cividale, Trieste, Udine, Zuglio and inother places in the Friuli Venezia Giulia region, which very rich inhistory, as all the Italian regions are.3.2 The evaluationDuring the 2017 Turin International Book Fair 3, Le Muse Archaeo-logical Association 4 organized a public event at the Fruili VeneziaGiulia stand, for presenting to the public the swipe story "The Lionsof Time".For collecting an initial and spontaneous feedback from realusers, we invited to the event a group of families having childrenin the 7-9 age range. The children who participated at the eventwere 12, 5 females and 7 males. 9 of them have extensively playedthe swipe story, and we have based our main observations on theirinteractions. For the trial, we had 7 Android-based tablets and 2Android-based smartphones.We left the children free to interact with the swipe-story, givingas little instructions as possible, telling them only that they werethere for the launch of a new app for children, and they would bethe first to try it. In this way, we could follow the evaluation in thewild approach, according to which empirical studies are carried outin situ and participants are free to use the evaluated applicationwithout constraints and for their own situated purposes, while theiractivities are logged unobtrusively [10]. In fact we were there in4 observing them, and one of us video-recorded the children andtheir interactions for further post hoc analysis.In general, we observed that, probably due to their young age,the children tended to listen and pay attention to the narrative voiceof the story, from one scene to another, and they run towards thegames at the end. Only 2 of them clicked on the question marks onthe screens and on the symbols, through which are opened furtherinformation about points of interest (Figure 1), providing morehistorical-pedagogical information. These last ones were realizedin very long texts that replace the animated and sound narrationwith a static caption, breaking somehow the narrative rhythm.Re-analyzing the video we noticed that the children have noproblem with the swipe-based progress of the story, also because ahand-shaped affordance suggested them how to go ahead. We havenoticed that 3 of them followed the story with limited interaction,while on the contrary, 3 others continually tapped on the screen tomove the story forward more quickly, and 2 others instead sweptcontinuously to proceed faster.It seemed that those children felt the need to interact more thanthey should with the story, but continuously touched to keep thetape going faster and get there first, not so much to read. Most ofthem spent a lot of time interacting with games at the end of thenarration (realized with the aim of developing knowledge or otherskills), spending a lot of time on the memory and the puzzle games,less with the game for discovering how a city was made in ancienttimes, which was perhaps even less easy, because the affordancesdid not suggest the right actions to be taken. They all seemed to3http://www.salonelibro.it/it/chi-siamo/storia/edizione-2017.html4http://www.lemusestudio.it/home.htmlFigure 2: A screenshot from the Lions of Time.be very engaged in this last part of interaction with the app. Onaverage, they spent 15/20 minutes (including 5/10 with the truestory) to interact with the app and then get fed up4 CONCLUSIONThis limited and initial evaluation in the wild showed how the mo-bile app has been specially developed in order to win the attentionof the little ones. The children, despite being very young, have nothad any problem in the immediate use of the story, a sign that thedigital natives are used to using new technologies not only to play,but also to communicate and above all to learn.In the short period of use they managed to quickly learn whatthe app showed, even if with important and culturally advancedcontents, without getting bored or learning difficulties.As future improvement, we should think of a series of imageswith comics and/or narrating voice also for the in-depth analysisprovided when clicking on question marks, in order to improve thelevel of the engagement proposed by the app.Another improvement could be that of expanding the quantityof games proposed at the end, also linking them to moments ofdidactical learning and deepening, and introducing gamificationmechanisms to increase the children involvement.As long-term goal of the project, the ambition is to bring theapplication of the swipe story methodology to every possible ap-plication context even beyond the management of resources andcultural heritage. The current challenge is to imagine the waysin which a better ability to narrate can create value for individu-als, businesses and society as a whole. In the future we want tocontinue to spread and enrich knowledge, bringing the narrativemethodology of the swipe story in the most diverse social contexts.ACKNOWLEDGMENTS"I Leoni del Tempo - Archeostorie del Friuli Venezia Giulia" is atrans-media editorial project promoted by ERPAC (Regional In-stitution for the Cultural Heritage of the Autonomous Region ofFriuli Venezia Giulia, Cataloging, Training and Research Service),edited by Rita Auriemma, Valeria Cipollone, Michelina Villotta,Paola Maggi, Renata Merlatti, Matteo Romandini. The publishingsystem supports illustrated novel, developed by Red Whale (Ka-tia Centomo and Evelina Poggi; text by Flavia Barelli; pictures byArianna Rea and Simone Paoloni) and published by FORUM 20173AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy G. Forlastro et al.Editrice Universitaria Udinese, and digital storytelling by SwipeStory s.r.l. (edd. Giuliano De Felice and Vito Santacesaria). Theevent at 2017 Turin International Book Fair was organised by LeMuse Archaeological Association.REFERENCES[1] C. Ardito, M. F. Costabile, and R. Lanzilotti. 2010. Gameplay on a MultitouchScreen to Foster LearningAboutHistorical Sites. In Proceedings of the InternationalConference on Advanced Visual Interfaces (AVI ’10). ACM, New York, NY, USA,75–78. https://doi.org/10.1145/1842993.1843006[2] Flavia Barelli. 2017. I leoni del tempo: Archeostorie del Friuli Venezia Giulia. ForumEdizioni, Udine, Italy.[3] Jerome Bruner. 1991. The Narrative Construction of Reality. Critical inquiry 18,1 (1991), 1–21. https://doi.org/10.1086/448619[4] Rossana Damiano, Cristina Gena, Vincenzo Lombardo, Fabrizio Nunnari, andAntonio Pizzo. 2008. A stroll with Carletto: adaptation in drama-based tourswith virtual characters. User Modeling and User-Adapted Interaction 18, 5 (01 Nov2008), 417–453. https://doi.org/10.1007/s11257-008-9053-1[5] F Garzotto and P Paolini. 2008. Bringing Cultural Heritage Into Primary SchoolClassrooms Through Web Technology: The “Milano Romana Tecnologica” Case-Study. In Museums and the Web 2008. Pittsburgh (PN, USA), 103–115.[6] Peter Hoffmann and Michael Herczeg. 2003. Distributed storytelling for narra-tive in spacious areas. In TIDSE, 1st International Conference on Technologies forInteractive Digital Storytelling and Entertainment (Hrsg.). Darmstadt, Vol. 24. 26.[7] Brad Johnson. 2005. Place-based storytelling tools: A new look at Monticello. InMuseums and the Web. 165–172. http://www.archimuse.com/mw2005/papers/johnsonB/johnsonB.html[8] Michael Mateas and Phoebe Sengers. 2003. Narrative Intelligence. J. BenjaminsPub.[9] Paolo Paolini and Nicoletta Di Blas. 2014. Storytelling for Cultural Her-itage. Springer International Publishing, Cham, 33–45. https://doi.org/10.1007/978-3-319-03798-1_4[10] Yvonne Rogers. 2011. Interaction Design Gone Wild: Striving for Wild Theory.interactions 18, 4 (July 2011), 58–62. https://doi.org/10.1145/1978822.1978834[11] Julie Springer, Sara Kajder, and Julia Borst Brazas. 2004. Digital storytelling atthe National Gallery of Art. In Proceedings of Museums and the Web.[12] Swipe Story. [n. d.]. http://www.swipe-story.com. ([n. d.]).[13] Kathleen Tyner. 2014. Literacy in a digital world: Teaching and learning in the ageof information. Routledge.4

Swiping in the wild: An evaluation in the wild of a storytelling app for children

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Swiping in the wild: An evaluation in the wild of a storytelling app for children

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