The codes were revised and expanded as more themes emerged. In each of the three cases that follow, we explore what the novice teachers say about their situated practice through their digital literacy stories.
The turning points in their understanding of literacy learning is noted, and their use of digital media with their own students is examined, focusing on a specific incident or project. She came to our program with experience teaching ESL students in Japan and volunteering in a literacy program with adults who did not complete high school. She also came with a passion for social justice and a keen ability to think critically that set her apart from many of her classmates.
Later, when asked about this image, Sarah explained, The tape that was across my mouth in the opening shot was linked to how passionate I am about freedom of Figure 1. It was this link to the personal elements of literacy in this assignment that enabled me to understand how personally I take literacy and how deeply it is embodied within me.
The creation of the digital story helped Sarah reflect on her own situated practice and critically analyze elements of oppression in her experience. In her short video min , Sarah used only nine images to convey her story.
The majority of the images seven of nine were her own photos, either selected from her collection or taken specifically for this story. Unlike many of her peers, Sarah did not include a soundtrack, other than her articulate narration. The seeming simplicity of her story belies the complex tale she told of trying to adjust to the language and culture in several different contexts—as an immigrant to Canada, as an ESL instructor in Japan, as a French-as-a-second-language student, and as a volunteer teacher of adult literacy.
She used images that complemented her narrative, of course; however, she also selected images that enhanced both the mood and the theme of her story.
For example, when talking about the frustration associated with trying to communicate with someone without the language skills necessary to articulate oneself, Sarah used a pulsating image full of neon Japanese signs and symbols see Figure 2.
It rekindled my desire to teach both my subjects Figure 4. She decided to have her students create visual essays based on the novel, The Lord of the Flies. Reading or writing a visual essay, a text that relies more heavily on images with minimal print text, entails new forms of semiotic processing of the combinations of the visual, audio, textual, gestural, and spatial Hughes, ; Jewitt, ; Kress, Many of my students said the visual essay was harder than they thought it would be, not because of the technology, but because the medium forced them to think about what they wanted to say before they could really start—it focused their attention and minds on the task at hand.
I also felt that the visual essay leveled the playing field for the ESL students in my class, as the emphasis on text was removed and other forms of literacy that, in some sense are more universal image, colour, sound , were able to play an equal part in the whole visual essay and their evaluation.
The fact that all of her students were successful in expressing their ideas through the visual essays was very important to Sarah, who concluded her interview by saying, Being able to turn perspective on its head and make people reconsider concepts and the way they view the world is, in my opinion, the power behind being literate and is something I hope to use as a practitioner as well as a teacher of critical literacy. As a future teacher, Sarah demonstrated that she was a multiliterate person who is encouraging her future students to also be multiliterate, critical, and culturally literate.
The performative potential of digital media, with its access to wider audiences, provides students with more opportunities to have their voices heard on a more level playing field. As an English and art student, she came to our program with considerable experience working with children and youths ranging in age from 3 to When she entered the program, Emily had been a certified skating coach for 5 years and had coached a junior level competitive coed cheerleading team.
An accomplished artist, working primarily in photography but also in painting and sculpture, Emily even had a group show last year at the Varley Art Gallery. I can read books and magazines.
I can read numbers and sheet music. I can read the stars in the sky and all those hidden messages in paint and plaster. And I can read cracks left on the ice. And I can read faces, some better than others. I can read images, and traffic and the world. The theme of her narrative was underscored by her classical piano soundtrack that plays cheerfully in the background. The notion of reading the world was also reinforced through the opening and closing images, as Emily framed her story with a photograph of a starry night sky.
Figure 5. The creation of the digital story was pivotal for Emily in terms of her understanding of literacy and, although she had a nascent understanding of multimodality, the assignment helped her to sharpen her awareness of what being literate means in the 21st century. She commented, I realized that literacy was not just about reading comprehension. It involves so much more. The inclusion of images forced me to think about the multiple modes of communication and consequently the multiplicity of literacy.
I started to see myself as a multilingual person. I strive to promote critical thinking and also to be well-versed in the many languages of our lives.
I feel that if they love the assignment, then they can engage more deeply in the subject matter. The first iteration of this project was done during her first practicum in October, in a grade 8 Toronto classroom.
Emily decided to focus on poetry because it is an immensely powerful genre for English language learners and does not require a lot of the second language in this case, English to produce powerfully expressive pieces. Also, students can move from their first language to English fairly easily with support from teachers and peers. She showed them an example she had created based on her own life and explained that they would be given more time the following week to work on their digital poems.
This promptness was remarkable to both Emily and her associate teacher because Brian, who was the only Chinese student in the class and new to the school, seemed rarely engaged in class. He was shy, reluctant to participate, especially in group situations, and only about 6 weeks into the school year. Cummins outlined three important components that must exist for English language learners to be successful literacy learners: literacy engagement, cognitive engagement, and identity investment.
Each of these components was present for Brian, who created a powerful and personal performance of self in a mode that begs to be shared with others. Brian took images from his world both video and still images and merged them in a sophisticated technological way to express himself.
Adding video was not a requirement for this assignment, and to get these video segments Brian had to capture the video clips from YouTube and then edit them on MovieMaker, removing the sound track in order to accommodate his own sound track. No one at school showed him how to do this; he figured it out on his own. He drew on his past and present and provided a glimpse into his out-of-school literacies, demonstrating the technological savvy that some students have.
He incorporated images from some of his favorite series, including Naruto and Bleach. Although initially it was an unintended result, Emily found that the adolescents in her classes were using the digital world to explore their identities. Emily argued that the digital poem assignment was transformational for Brian and many of the other students in her class. In addition to using video clips rather than still images, as Emily had used in her model, Brian incorporated a soundtrack in Japanese and some Japanese text, so he effectively created a dual language text.
This result was unexpected, as well, and something that Emily can incorporate into future assignments for her English language learners. I show them new things and they show me new things.
That is the way education should be. She entered our program with her bilingual certificate after 13 years of French immersion instruction.
Having been schooled in northern Saskatchewan, Hilary also learned Cree. Previously, Hilary had volunteered as a literacy coach for students struggling at the early literacy level. The story focused on what she learned primarily from her mother, as her father died in a plane crash when she was only 9 years old.
I decided to move back home … Until the end. Hilary used the combination of images, narration, and a musical soundtrack to tell her story effectively.
Unlike Sarah and Emily, who found it necessary to fill in some gaps in their stories by using images gleaned from other sources, primarily the Internet, Hilary used only personal images, which she scanned into the storytelling program. Figure 6.
Image from Hilary's video. Hilary went on to describe her successful completion of an undergraduate degree and concluded with a love story and her subsequent wedding.
A masterful storyteller, Hilary led viewers through her story without ever losing our interest. Like Sarah and Emily, Hilary found the creation of the digital literacy story to be a potent experience, not only in terms of her understanding of literacy, but also in terms of how intricately literacy was woven into her family stories. In her reflection on the assignment, Hilary wrote, Creating the digital literacy story helped me to redefine my understanding of literacy.
It amazed me to see all the connections literacy had to my own life and how engrained the facets of literacy were into my family life. Coming from a family of avid readers and writers I was able to see how connected we were through text—whether as a common pastime or as the major topic of discussion at a family gathering.
It made me think of my childhood in new ways and had me digging further into the boxes of photos, to search for other hidden stories that I had long forgotten. Adding elements like voice recording, music and images gets our creative juices going—this is no longer a project, but a work of art. We take great pride in our art and want others to appreciate it as well. Based on the reaction of my peers on viewing day it was obvious from their emotions that it had touched them in their own way too.
Hilary also pointed out in her reflection that creating this piece evoked a lot of discussion with her family and peers. The technology, then, both promoted collaboration through discussion with family and peers and became a collaborator itself. Using digital media such as Photo Story is a powerful teaching tool because it is captivating.
The monthly focus was kindness, and after many days of reading about kindness, role playing about kindness, and completing a variety of exercises about kindness, Hilary worked with her students to create a class digital story about kindness.
The students wrote a few sentences about a time they were shown kindness and then illustrated their experience and attached their sentence to the illustration. Hilary scanned all of their illustrations into Photo Story and added simple transitions between them. While the class was engaged in their work, she sat with each student to record their narration of the sentence. Although participation was optional, each student was eager to be involved. Not surprisingly, the students loved this experience, and Hilary found that it was an excellent way to have her students work through the editing process.
Many of them grinned and giggled as they read their sentence. But that demanded even more power than they already had, and the easiest place to gain it was from their rivals. Collatoral damage to the populace was not a consideration. Religious leaders roused the populace against them, and did their best to exterminate the Mages, who fought back understandably. This conflict, years ago, became known as the Magewar. This mix works the best of all three on the SB-Live, but still isn't right.
Final Version 49K. That nagged at me, and a year after I had finished work on the soundtrack, I remixed the second piece - again. Once the Mages were dealt with, the rulers of the Old Kingdom were left far from home, with an army on the march and nowhere to take it.
Several decided to take advantage of the situation to enlarge their Kingdoms into an Empire. It would last for two years. Again, this mix almost works on the SB-Live. But almost isn't quite good enough. While this version is better than the second, it's still not as good as the original.
Fumanor 3. The Fall 25K. In contrast to part 2, this chapter of the story came together with no trouble at all. The resulting damage was more than society could withstand. This was three calamities in succession, each the equal of the Black Death. Society fell. Musically, this mixes the danger that was faced from all sorts of wild creatures mutated by arrogant Mages and unleashed by Ignorant conquerors, with the sadness and bitterness and hardships that had to be endured.
So far as mankind knew, they were now alone and unprotected from the Chaos Powers This doesn't work on the SB-Live. Fumanor 4.
New Hope 20K. The melody of this piece gave me more trouble than I like to remember. The start of it worked fine, but the section from about 1'02" just didn't want to fit the timing. From the ashes of what remained, new hope emerged. One man, Baron Fumanor, rallied the remnants of the old noblity, and began restoring civilization.
What was lost could never be replaced, but a substitution was possible. From his mountainous Barony, he began to unite the populace into what would eventually become a New Kingdom. Many were strangers, far from home; often their homes no longer existed. The emerging society was surprisingly multicultural, astonishingly diverse, and socially progressive. Slowly, the people began to shift their perceptions of their situations, from a perspective of gloom and tragedy to one of opportunity.
And then it was discovered that not all the Gods had been lost in the cataclysm I deliberately wanted to use the same basic instrumentation as had been used Part 3 to show the other side of the coin, as people began to rebuild their shattered lives. This piece works almost as well on the SB-Live as it did on the Awe Let's imagine you want to edit the script 'mainmenu.
Create a folder in the game's mod folder with your mod's name. Add folder 'scripts' to it, and inside this add a copy of mainmenu. Then you can edit anything you wish in your mod's copy and have those changes applied by the mod system. However, this is only optimal if you want to work with the entire script or just make your old changes into a mod.
However, if each mod simply replaces the file, then they cannot coexist within the file. So the mod system provides tools for editing scripts with higher precision and efficiency. Find the code you want to change and identify the file-scoped definition that contains it. The definition will begin with a keyword 'class', 'func', 'signal', 'var', 'onready var', 'const', 'enum' as the first text on a line i. Copy the entire definition into your mod file with the same name and path as the file you want to edit.
Edit the contents of the copied definition to what you want it to be. The definition will be completely overwritten with the one provided by your file, and other parts of the file will be left untouched. Alternatively, if your mod provides a definition that does not match any already in the file, a new definition will be added to the end of the file. This is the cornerstone of the mod system: overwrite original file but only the parts you want to.
However, in some cases you might want to edit just part of a definition i. This will not overwrite whole definition with new code, but instead only add code at line X of a definition's contents. If X is 0, it will be added at the start; if x is -1, it will be added to the end. When added before the definition, it will ignore the contents of the provided definition and only remove the lines from X to Y in the original definition.
X is the first line, and Y is the last line. It can be helpful to leave a note explaining what you intend to remove. Keep in mind that any changes to the code can make it difficult for other mods to nearby code and may result in unexpected behavior.
The system will attempt to track the shifts in line numbers to maintain the intended line modifications, but it will not resolve conflicts between mods. As of version 0. The patch files will be applied before the mod files are applied. If original game files will be replaced by patch files, then backups will be created for those game files.
This means that patch files are fully reversible in the same way as mod files. You can use any files, images, and other data not included in the game, by giving them names or paths within the mod folder that do not match any existing game files. It is recommended that you place these within a custom named folder within the mod folder to avoid potentially modding a patch file from another mod. However, for it to be called from other scripts you will need a path.
For the path you should use globals. These tags primarily benefit the users by increasing the usefulness of the completion popup report after applying mods. This section is intended for those who want to know more technical details for writing mods. If your mod does not behave the way you expected, then this may help clarify why. Definitions are identified by using regular expressions, regexs for short, which use strings to define search patterns and report any text that matches the given patterns.
These patterns are composed of sub-pattern groups that each report the text that they matched. Every group is automatically assigned a numeric index starting at 0 and some groups are given names, but for this guide they will be given names for the part of the syntax that they match.
These groups are: entire match, leading comments, header, and body. The mod file and the original file both use the same regexs, which results in some odd modding syntax. Definitions are matched between the two files according to only the header groups, even a single difference will result in them not matching. There are two categories of changes a mod file can make: tagged and untagged.
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