Behind the screens : digital storytelling as a tool for reflective practice

Abstract

Representations of an architectural space have a diversity of purposes and their implementation should be carefully evaluated in order to be coherent with those objectives. Some of them are analytical descriptions, where its components are easily identifiable but relations among them may appear distorted to enhance a particular attribute. Methods used to represent a space, however, are also capable of a more expressive nature, as in art. Those expressions need not be an attempt to evoke the experience of the space in consideration, but just ideas the architect wants to share with his reality. The use of digital media allows incorporating time as another component to the spatial properties that static media has, expanding its possibilities both in terms of content as well as of form. This thesis suggests the use of diverse film theories as referential background for the creation of motion graphics, as a newly developed kind of architectural representations. Film theory and practice should help understand the implications of adding this other dimension to static images, as it resembles a proportional similarity to motion graphics. This does not imply that these two channels are the same or incomparably different. Hypothetically, there is a common field that brings them together and from which we can learn similarities as well as differences. A number of experiments were performed to test the validity of some of the notions expressed by several film theories in the realm of computer-generated motion graphics. A case study was selected to work with and a number of experiments would render several alternative representations of this particular architectural event, in this case, the church of Saint Pierre, in Firrniny, France, designed by Le Corbusier in 1962. They represented the same object, but these representations would have a completely different character and, arguably, might evoke a different reading of the space. These studies are an attempt to understand how to synthesize visually different ideas and convey distinct meanings to provoke the reading of the building in divergent directions.

Too often, learners in constructionist learning environments stop too early in their design process. They imagine what is possible and then realize their vision, but they don't reflect on the results-that is, they don't take a step back from their work to get a deeper understanding of how and why they do what they do. Without reflection learners miss out on many important opportunities to improve their creations, discover new things, and share their ideas with others. In this thesis I describe and discuss Behind the Screens, a workshop which I developed to foster the practice of reflection among young people engaged in a constructionist learning environment. Over three months, twenty teenagers aged 12 to 18 at two Computer Clubhouse afterschool centers constructed digital videos about themselves or their "learning stories." I describe the set of tools, activities, and contexts used, and I examine the successes and challenges the workshops presented. Through analysis of the resulting stories, individual interviews, and transcripts of workshop discussions, I propose strategies for spreading the use of digital storytelling for reflective practice to other constructionist environments, especially among adolescents. More broadly, I also consider the role of mentoring and its relationship to the activities of the Clubhouse. I conclude with design suggestions for new software tools, activities, and contexts for creating, editing, and sharing digital video stories.These support the development of a culture of reflection among constructionist learners by promoting the creation of short digital video pieces produced by and for these youth.