Here at the Cooney Center, we often talk about the importance of multi-disciplinary collaboration, and I love it when talented people from different sectors of the industry get together and do something great.  Last week, brilliant app developer Andy Russell of Launchpad Toys joined forces with one of my favorite kids-tech writers, Dan Donahoo of WIRED’s GeekDad blog, on what I think is an extremely important initiative.  The pair has released the Children’s App Manifesto, which was unveiled via this article in the Huffington Post.  The objective of the manifesto is for everyone with a “stake in the game” in the educational app market to unite and embrace a more sustainable business model.

When I heard about this manifesto, my first thought was: Awesome!  My second thought was: What really is the intention of a manifesto? So I called Andy, who was kind enough to chat with me about his hopes and dreams for this important declaration.  He made it clear that the manifesto does not aim to be a policy, a seal of approval, or a formal set of rules.  The knowledgeable duo really just want to start a conversation, and perhaps shift some perceptions that are making it a difficult for innovative educational app developers to sustain themselves, never mind make a profit.

So, in the interest of doing just that, I’m not going to summarize the manifesto.  I suggest you take a moment and read it yourself; it is short, well-articulated and to the point.  And then, once you have read it, take the time to discuss it, share comments, and spread the word.  Here are a few talking points to get you started:

Where do you draw the line when selling apps to kids?

As we all know, there is a fine line between what is acceptable and what crosses the line in terms of selling to kids.  This line was difficult to navigate within age-old media, and is even more complex in this rapidly evolving market where new revenue models are constantly emerging.  I’ve written about my strong opposition to in-app purchases of virtual goods (think Smurfberries).  Andy and Dan draw the line at game-play consumables, which Andy defined as something that is purchased and then consumed (think coins in Tap Zoo).  And what about commercial branding?  As I know all too well from my days in the toy industry, it’s a slippery slope from a license to a label-slap.  Of all the important issues this manifesto raises, I hope that we keep talking about this one, because right now, we don’t even have consistent definitions around what these models mean, never mind what is OK.  Where do you draw the line?

What can we do about the App Gap?

At the Cooney Center, we are always balancing a tension around focusing on emerging technologies, when the truth is that the children most in need often don’t have access to those technologies.  Apps may be one of the most salient examples of that tension.  The recent Zero to Eight study by Common Sense Media is the first to document the “App Gap,” which found that almost half the families with incomes above $75,000 had downloaded apps specifically for their young children, whereas more than a third of low-income parents said they did not know what an app was.  As we are discussing business models, how can we think out of the box to enable apps to narrow rather than widen the digital divide?

What role should Apple play in enabling a “sustainable, fair, and merit-based” market?

Does Apple have a role here?  Some may say that Apple has created a free market, and that they have no further responsibility.  I actually think that they play an immensely important role.  For instance, they recently launched an app store volume purchase program that allows educational institutions to purchase iOS Apps and distribute the apps to their users.  This is just a first step in enabling a market that works for educators.  And what about helping parents?  Andy had some great suggestions, such as an allowance system for kids, and a toddler mode that he analogized to the iOS newsstand.  What, if anything, do you think Apple should do?

What constitutes “educational” in an App?

As the app market for children continues to explode, thousands of apps are claiming to teach children about everything from arithmetic to astronomy. However, there are currently no standards of educational value to help parents, children and educators discern if the products in the marketplace live up to their educational claims.  This has been a long-standing issue in the educational toy and game industry, and perhaps one that we can tackle from the get-go in apps.  What does it mean to be educational in the app market, and how can we help parents and educators differentiate the pedagogically sound from those that just claim to be?

Is there a role for formal policy? 

Concern about children’s ability to understand and evaluate advertising and commercialization has been the topic of much research, debate and policy-making for the past four decades, and acts such as The Children’s Television Act have been put in place to protect children from inappropriate commercialism.  Should this act be updated for a digital age?  I think that in the long term, apps will be both better for kids and better for business if we have good policies from the get-go, and perhaps some policy work could help protect apps from getting the same bad rap that mediums like video games have been battling for years.  What kind of policy could protect kids, parents, and developers without hindering creative development and innovation?

And my final question … how do we spread the word?

In my experience, the educational app community is made up of some of the most ethical, passionate, creative people I have ever worked with, and I have little doubt that this intimate developer community will get on board with this initiative.  But how do we go beyond preaching to the choir, and instead do exactly what the authors intend — start a conversation that includes not only independent developers, but also parents, educators, investors and large corporations?

Today at the Cooney Center, we are proud and excited to announce that the 2012 National STEM Video Game Challenge is officially open for entries. This nationwide competition invites game makers of every age to show their passion for both playing and making video games, while aiming to motivate children’s interests in Science, Technology, Engineering, and Math (STEM).

With four different categories and multiple streams to submit to, there’s something for almost everyone.  The Middle School and High School categories aim to motivate and engage students in STEM learning by challenging them to design and create their very own original video games. The Collegiate and Educator categories challenge emerging game developers to show us their skills by designing  video games for children in pre-K – grade 12 that teach STEM curricula in a new and innovative way.

With almost 200K in cash and prizes up for grabs, why wouldn’t you enter? For more information and to register, go to www.STEMchallenge.org.

View the press release.

Today at the Cooney Center, we are proud and excited to announce that the 2012 National STEM Video Game Challenge is officially open for entries. This nationwide competition invites game makers of every age to show their passion for both playing and making video games, while aiming to motivate children’s interests in Science, Technology, Engineering, and Math (STEM).

With four different categories and multiple streams to submit to, there’s something for almost everyone.  The Middle School and High School categories aim to motivate and engage students in STEM learning by challenging them to design and create their very own original video games. The Collegiate and Educator categories challenge emerging game developers to show us their skills by designing  video games for children in pre-K – grade 12 that teach STEM curricula in a new and innovative way.

With almost 200K in cash and prizes up for grabs, why wouldn’t you enter? For more information and to register, go to www.STEMchallenge.org.

View the press release.

Dan Caldwell was a finalist in the 2011 National STEM Video Game Challenge who inspired the creation of the Educator Prize.

Participating in the first National STEM Video Game Challenge has opened amazing doors for me, most importantly the opportunity to work full-time on my sciTunes Education Products Inc. curriculum.  I have also had the pleasure to meet with a number of incredible people who have shared great insights with me, and I hope to continue to build and develop these professional relationships. One of the things I love most about my life right now is that I am learning so much!

So what’s this “sciTunes” all about…
sciTunes was born out of an assignment I gave to a group of middle school students I taught a few years ago.  If you visit www.sciTunes.com you will see that I have created a complete curriculum that includes an audio CD with songs that teach students about the systems of the human body. This is where the name “sciTunes” came from. You will also find a number of HTML5 web games on the site. Both the music and games can be enjoyed for free at my website. What really makes this curriculum special is how it is all tied together by the sciTunes Human Body Student Activity Book.  The music, games, and activity book, together form a complete curriculum that engages students in the learning process through many different ways of learning.  After learning about the National STEM Video Game Challenge last year, I created a suite of games for pre-K through fourth graders that teaches the systems of the human body using game controls appropriate for kids in that age range.  I am working to complete the final levels of those games for a full release on the App Store, but for now, my kids (age 4 and 6) are enjoying them!

What’s next…
I am currently in the process of completing the HTML5 web games for each of the systems of the human body and hope to have them completed soon. I also plan to release these games for the iPad, iPhone, and iPod Touch and possibly for Android devices as well.

Once that is done I will begin working on the next sciTunes Curriculum Series. The difficult part is to decide what topic to tackle next.  I love reading and learning about evolution and know from nine years of teaching that many middle school age students struggle to grasp the concept.  An evolution unit with the possibility of an evolution/genetics combination will likely be my next project.  I also think that a unit on ecology and environmental science would be very important considering the current state of the global climate. Either way, I am excited to continue writing songs, creating games, and tying it all together with learner-centered student activity books.

Learn more about scitunes.com.

Resources for educators:

• GameChanger: Investing in Digital Play to Advance Children’s Learning and Health by Ann My Thai, David Lowenstein, Dixie Ching, and David Rejeski
• Moving Learning Games Forward by Eric Klopfer, Scot Osterweil, and Katie Salen
• From the National Reseasrch Council: A Framework for K-12 Science Education: Practices, Crosscutting Concepts, and Core Ideas (PDF)
• Common Core Math Standards

See more at STEMChallenge.org.

This post originally appeared in TASC’s “The ExpandED Exchange” blog. Read more to find out what our New York Action Team members have been up to!

Wouldn’t you love to be a kid in one of these two new pilot after-school programs at Quest to Learn, a tech-powered public middle school in New York City? The program in green design grew out of seventh graders’ desire to invent more sustainable ways to live on this planet. The school’s multi-media news channel will give kids voice through reporting, blogging, video production and marketing.

Our Science Manager, Lisa Mielke, had a great time play-testing the green curriculum with Institute of Play, and sharing her feedback on how to adapt it beyond Quest to Learn. We’re grateful to the digital learning enthusiasts at the Joan Ganz Cooney Center for introducing us to Institute of Play and Hive NYC, the citywide learning network of organizations that are helping kids morph from digital media consumers to creators. We’re now part of a citywide Action Team to use technology to engage more kids in learning, sharing and creating.

Next up in this collaboration: Hackasaurus Jams come to TASC ExpandED Schools.

Susan Brenna is TASC’s Chief Communications Officer. A former journalist and education reporter for outfits including New York magazine and New York Newsday, she manages TASC publications, talks to journalists and bloggers, deals with the whole messaging business that former journalists treat somewhat suspiciously, and argues for why kids need both more learning time AND inspiring opportunities. Trenton Makes, the World Takes.

Two weeks ago, this blog featured a preview of Robot Heart Stories (R<3S), a 10-day transmedia learning project in which two classrooms in underserved neighborhoods in Montreal (French speaking) and Los Angeles (English speaking) used collaboration and creative problem solving to help a lost robot navigate across North America before hitching a ride back to space with NASA on a launch to the International Space Station, scheduled sometime early next year.

The robot (symbolized by a stuffed animal version embedded with a GPS chip, whom students in both classrooms decided to name Laika, after the first dog in space) ended the North American-leg of its journey (in picture and story form here) in Los Angeles on Friday, October 28 at the DIY Days conference held at UCLA.  I had the pleasure of attending DIY Days (keynoted by my Ph.D. advisor Prof. Henry Jenkins) and meeting a diverse group of creative educators, game designers, filmmakers, and authors.

Many of people I met are deeply invested in new ways to approach the role of media in children’s learning ecologies.  I believe that various projects presented at DIY Days (including R<3S and another very special project I’ll share in a later post) have deep implications for the role transmedia storytelling and immersive learning experiences can have in problematizing and improving education processes and outcomes in the U.S. and internationally.

DIY Days (organized by Lance Weiler, also the creator of R<3S) is a free conference, taking place biannually in NYC and LA.  The conference focuses on making ideas, resources and networking accessible to storytellers to enable them to fund, create, distribute and sustain their projects.  DIY Days, along with this fall’s StoryWorld and the Futures of Entertainment Conferences, are touch points for members of a growing global network of transmedia storytellers, interested in how the power of narrative can impact commercial ventures, non-profit organizations, and issues such as education, health care, and human rights violations that require sustainable solutions.

What exactly transmedia storytelling is has been explained and re-explained, but for the purposes of the context of transmedia storytelling in education, let’s set the parameters, as Jenkins does, as “the best approach to tell a particular story to a particular audience in a particular context depending on the particular resources available to particular producers.”  A child can be the one telling the story, being told the story, or re-telling the story in a new way to a friend, sibling, or parent.  The resources may be digital (e.g., an animation-rich smartphone app) or analog (e.g. an “animated” — as in, lively — puppet show).

I’d like to all-too-briefly highlight three discussions I engaged in at DIY Days related to transmedia storytelling, children, media, and education.  Many thanks to Jamie Salka and Duke Doyle of Story Pirates, Janine Saunders of R<3S, and Prof. Liz Losh of UC San Diego for being great conversation partners regarding these ideas.

Do-it-Yourself (and Ourselves?)

DIY  (as in Do-it-Yourself) is a pretty ambiguous category when it comes to talking about individual or collective forms of “doing it.”  The DIY approach to engaging with culture is defined by amateurs being able to make their “own” media by using supplies, techniques, and skills that were previously exclusive to highly-trained experts who had access to then-expensive and restricted spaces, know-how, and resources.

Michele Knobel and Colin Lankshear have recently edited DIY Media: Creating, Sharing and Learning with New Technologies (2010), a rich book on DIY culture and what it might contribute to reframing contemporary educational practices and pedagogy.  (See part one and part two of their recent interview with Jenkins on the book’s implications and core themes.)  Though the event was called DIY Days, there was a lot more evidence in support of the value of DIO (Do-it-Ourselves) or (Do-it-Together).  How we “do” education and what “it” is we value teaching cannot be separated from the social context in which it takes place.

Experiential Learning and Immersive Learning

Robot Heart Stories is the first in a trilogy of experiential learning projects (spanning air, land, and sea) from award winning storytelling pioneer Lance Weiler and creative producer Janine Saunders.  “Experiential learning” is generally defined as formal or informal encounters through which learners are able to reflect, generalize, and apply skills and knowledge in active and directly applicable ways.  One example might be instead of only reading about how magnets work in a book, a student might be able to supplement his or her learning with using a compass to solve a puzzle, and the use of that compass being a way of knowing magnets in a deeper way.

But, not to take anything away from R<3S, isn’t all learning, even sitting in uniform rows with eyes facing uniform pages in a book, an experience?  And if teachers or facilitators place most of the emphasis on the experience of learning, is this at the sake of reflection on that engagement or its lasting social impact?  Perhaps “immersive learning” might better acknowledge the different culturally-based experiences, conditions, and communication styles that learners bring to any educational activity.

Interactivity and Participation

Just because an eBook, virtual world or video game is interactive doesn’t make it particularly participatory.  Who gets to authorize and make the choices about how open or closed ended a media text is?  What is unique about R<3S is that participation in the project is not limited to its creators, teachers, or students.  You can collaborate with the classroom by selecting one of the students’ stories, working with the photograph of Laika the Robot associated with that story, add a layer of your own illustration to that photo, and posting it here.  You can also get involved by donating to the project here.

In conclusion, from conception to execution, R<3S is a rapid prototype.  The project moved faster than any commercial or grant agency venture.  Logistically, this DIY/DIO/DIT process can be messy and experimental, which also makes analyzing documentation and assessing outcomes tricky as well.  The success of this project, as with other applications for transmedia storytelling in education, depends on the needs of all actors involved, the resources available to them, and the social context around the producers and audience of the story.

Photos:

Top: A wall of robot “heartpacks” (in both French and English) that powered Laika’s journey, posted at DIY Days

B&W: R<3S Creative Producer Janine Saunders, Meryl Alper, and Laika (the Robot) at DIY Days

Meryl Alper is a Ph.D. student in Communication at USC Annenberg.  Prior to her graduate studies, she worked as a researcher for Sesame Workshop and Nick Jr.  At Annenberg, her research focuses on young children’s evolving relationships with analog and digital technologies. She is particularly interested in intergenerational media use among children and families, media literacy in early childhood education, children’s psychological processing of interactive media, and representations of nationality in children’s television.