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Collection by
Katherine Frank
May 13 2011

Resources in this collection

4 Resources in this collection
In this resource, Danielle Nicole DeVoss introduces kinetic type through a series of examples generated from popular culture. Simple sound bites such as Yoda’s “Size Matters Not” and Office Space’s “Yeah Hi” demonstrate how content is essential to the success of such projects. The discussion thread generated by this resource is equally informative for understanding how to start thinking about kinetic type as content as well as a strategy within the classroom. DeVoss’s well-selected examples and simple introduction to kinetic type help to begin thinking about this process.
This resource emerged from Kevin Hodgson’s question in response to Danielle Nicole DeVoss’s “Kinetic/Moving Type” about how to use this process in the classroom. We learn best by doing, and this is exactly what Hodgson did and explains in his deconstruction of his own kinetic poem, “Warning.” Hodgson provides the finished product, and he walks readers through the learning process that he experienced while producing this project. He reflects on the pros/cons of the resources he used and emphasizes the importance of finding the source; making decisions about words, animation, sequence, and sound; and revising towards satisfaction with the final product.
Elyse Eidman-Aadahl provides an impressive example of a kinetic story produced by student Nicole Scott during the Three Rivers Writing Project Writers Camp. Not only does this resource provide a strong example of a student-produced kinetic text, but also of the creativity and critical thinking that accompanies such a project. Along with Nicole Scott’s story, “Toothpick Ocean,” Eidman-Aadahl provides a link to Jenny Lee’s kinetic interpretation of Hemingway’s Cat in the Rain that inspired Nicole Scott’s work and reminds us of the power of careful modeling in the classroom.
Like “Toothpick Ocean,” “When a Girl Turns 12,” a video that combines simple imagery and kinetic text by The Girl Effect, an advocacy organization for young women living in poverty especially in developing nations, exemplifies the power of this medium for communicating a clear and direct argument about a significant social issue. This resource is an excellent tool for demonstrating how the combination of innovative form and powerful content, carefully integrated and clearly articulated as a straightforward problem/solution piece, can carry profound meaning and inspire deep thinking.

Beyond Words: Meaning in Motion

Uploaded by katherinepfrank on 2011-04-27 20:07

Lewis Carroll’s “Jabberwocky” is a poem that resists containment:

‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome rathes outgrabe.

The language trembles with energy and begs for interpretation that stretches the reader’s imagination beyond the form of the poem. “What do these words mean?” the reader asks, and the interpretative process leads to association with sounds, images, and spaces that allow interpretation of what it means to “gyre and gimble in the wabe” and what “the mome rathes outgrabe” looks like. The language pulls us away from the page and begs for more.

This collection consists of four resources that challenge readers to approach the reading process in new ways as to deepen thinking and enhance learning through consideration of kinetic text. The reader is asked to contemplate what language calls for in terms of visual and aural representation—motion, color, form, sequence, sound, etc.—as well as what happens when static text is transformed into kinetic text through an active interpretative and creative process.

The four resources are presented in such a way as to introduce readers to kinetic type, deconstruct the process of creating a kinetic poem from an instructor’s point of view, present a student example of a kinetic story, and demonstrate the power of kinetic typography and simple images through a professional example. Danielle Nicole DeVoss’s “Kinetic/Moving Type” provides the introduction through a series of examples that emphasize the importance of selecting content carefully and keeping presentation rather simple and consistent when creating a kinetic text. It is through the discussion prompted by this resource that leads to Kevin Hodgson’s resource, “Illuminating the Process of Creating an Illuminated/Kinetic Type Poem.” In his initial post to the discussion of DeVoss's resource, Hodgson asks: “How does one go about doing this with students?” And, in his next post to the discussion thread, Hodgson shows how through his own creation of a kinetic poem. He deconstructs this process in his resource. The third and fourth resources are both authored by Elyse Eidman-Aadahl. The first of these, “Illuminated Text: A Student Exemplar,” provides a student example inspired by a viewing of Jenny Lee’s kinetic rendition of Hemingway’s Cat in the Rain. Nicole Scott’s “Toothpick Ocean” is both an impressive example of student work and a powerful example of how kinetic texts can help students invent, create, revise, and think critically about the writing and reading process. The second resource provided by Eidman-Aadahl, “Simple but Powerful Animation: A Professional Exemplar,” features The Girl Effect project and uses an animated example that combines simple images and kinetic text in a problem-solution format in order to send a powerful and straight-forward message about young girls living in poverty.

When reviewed in sequence, these resources provide an informative introduction to kinetic text and the ways it can be used in the classroom to improve critical thinking, reading, and writing skills and emphasize the power of well presented and articulated arguments.

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<p>I feel like my best writing (and thinking) revolves around words, not images, not moving type, just two-dimensional words on a page.&nbsp; Am I on a slowly sinking ship?&nbsp; Am I bound to be banished to the forest with a pickax and some seeds?&nbsp; Will my students cyber-punch me until they can scrounge up a more techno-savvy teacher?&nbsp; Although I'm only 34, my mind's elasticity seems rigid in terms of digital intake and output, my words on the page all the more naked for their lack of movement and sizzle.&nbsp; I am Cinderella without the makeover, watching my step-sisters sash and swish in their new gowns, jealous but somehow consoled by the little animated bluebirds flitting on my shoulder.&nbsp; Where do my words belong?</p>
<p>Leah,</p> <p>Your thoughts really resonate for me, and I'm sure for many others who will read them. &nbsp;I have a good friend here in the Bay Area who is completing a masters program in teaching, and discovering what it means to be a classroom teacher in this "digital" world. &nbsp;She just shared some news of two upcoming projects, one involving the use of digital cameras in the classroom 9and presumably outside), and one based on organic gardening. &nbsp;I enjoyed reading about the contrast between the two, but both will take quite a bit of mental elasticity, although only one, seemingly, carries a possibility of cyber-punches. &nbsp;One of the things I like most about my friend is that we choose to communicate primarily through letters, because we both value them highly, and we both love opening an envelope and reading each other's character, etched in words that flow across pages with creases and folds in them. &nbsp;</p> <p>I would say in response that your words belong to you--what could be better?</p> <p>-jpg</p>