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DCC19
Education and Digital Literacy
PP 060
Hoping for, Protecting from: Parental Imaginaries of Children’s Digital Media Futures
A. Blum-Ross
1
, S. Livingstone
1
1
London School of Economics and Political Science, Media and Communications, London, United Kingdom
From the days of early films and comics to today’s social networks, tablets and multiplayer online games, the spectre of ‘futuristic’ technology has always
entered into the imagination of parents – raising hopes about what media might offer and fears about the dangers they might introduce. Yet the pace
of recent advances in digital media – think of wearables, educational apps, micro-chipping or sexting – leaves many parents and carers anxious about
what these changes will mean for their children, now and in the future. In this paper we present initial findings from our research on Parenting for a digital
future, funded by the MacArthur Foundation’s Connected Learning Research Network, drawing on ethnographic fieldwork in digital media and learning
sites, and in-depth interviews with parents, carers and children in the home. We understand parenting to be iterative and future-oriented: how parents
imagine the future might unfold shapes their practices in the present; how children’s lives unfold in the present may in turn impact on their future. Yet
rather than viewing ‘the future’ as a utopian space of possibility, much of the cultural and academic commentary on post-modern ‘parenting culture’ (Lee
et al 2014) posits that parents view their role in preparing their children for the future as a ‘risky burden’ (Furedi 2010). Some parents, notably those with
relative privilege, seem to confront the future through highly‘intensive’parenting practices (Hays 1996),‘cultivating’(Lareau 2011) their children’s skills and
aptitudes in order to ensure what they hope will be future social, emotional or financial success. Although these practices extend far beyond digital media,
as media and communications scholars we are struck by the ubiquity with which‘the digital’becomes focal in parental imaginings of either children’s future
possibilities or problems. From parents enrolling primary school-aged children in coding clubs or investing in digital devices for home learning or, by con‑
trast, forbidding teenagers from using social media to avoid ‘cyber-bullying’(Livingstone et al 2012), these actions show how being a parent often means
making choices about how to manage, or encourage, children’s digital media use.To make these determinations, parents are sometimes guided, though not
always aided, by the often-polarised policy and popular media discourses about online dangers or the detrimental effects of ‘screen time’on the one hand
(American Academy of Pediatrics 2015), and a vision of digital media as opening up radically-new pathways to academic achievement or self-expression,
on the other (Ito et al 2013).
PP 729
Camera Drones in Education: First Nordic Experiences of Two Pilot Courses
A. Gynnild
1
, L. Nyre
1
, T. Uskali
2
1
University of Bergen, department of Information Science and Media Studies, Bergen, Norway
2
university of jyvaskylaa, Juvaskylaa, Finland
More than ever the world needs communication professionals with expertise in emerging visual technologies. During the last five years the use of camera
drones for civilian purposes has rapidly increased in many countries, and the media industry is working hard to keep up with the citizen access to, and appli‑
cation of, camera drones of all sizes and shapes. This paper discusses in what ways innovative and responsible uses of camera drones might be successfully
integrated in communication education. A comparison of the two first Nordic pilot courses on camera drones suggests that small drone technologies are
well suited for teaching and exploring creativity in journalism. The first pilot course conducted at a Finnish university in 2015 focused on adopting camera
drones for video production, and was tested by journalism students. The second pilot course explored interfaces for journalistic uses and was carried out
by new media students at a Norwegian university in 2016. It emerged that a main challenge experienced by the educators was to find the best ways to
teach creative uses of camera drones in journalism. Creativity is defined in this paper as the ability to produce work that is novel and unexpected as well as
appropriate, useful, and adapted to task constraints.The project followed the principles of innovation pedagogy where students were challenged to become
more innovative or creative by being given responsibility for a development process. The comparative analysis of the two Nordic pilot courses is based on
observations and interview data supplied with written reports provided by the participating students. The paper also provides a brief overview of camera
drones in the media industries, especially in journalism, including the first drone journalism lab created in the US in 2011. There is a growing recognition
of responsible research and innovation (RRI), and the authors consider journalism to be a neglected, but very important aspect of the RRI paradigm. In con‑
clusion, the paper suggests some advice for responsible camera drone education in the future. (357/500) Keywords: Camera drone, education, journalism,
innovation pedagogics, RRI, qualitative interviews.
PP 730
Digital Literature as Means of Integration: Building an Open Educational Platform on the Basis of Estonian Novel
A. Milyakina
1
, M. Ojamaa
1
, T. Pilipoveca
1
, M. Rickberg
1
, L. Sieberk
1
1
Tartu University, Department of Semiotics, Tartu, Estonia
For a 25-percent Russian minority, Estonian school system provides a crucial possibility for understanding and absorbing foreign culture. Digitalization
of the novel Old Barny or November (2000) by Andrus Kivirähk aims to deepen the cultural and linguistic experience of non-natives. Serving as a model
of culture, the text reflects a dynamism between center and periphery: on the one hand, it is deeply rooted in the Estonian context and makes use of his‑
torical events, folk language and traditional narratives; on the other hand, it belongs to the postmodern genre, therefore gives place to heterogeneity
and innovation. The similar balance is to be established in the system of literary education: literary discourse needs to be acknowledged as a specific but
inseparable part of the wider media landscape (Koskimaa 2007). In line with this, the redundant notion of literacy should be expanded by multimodal
literacies reflecting the semiotic systems that young people use (Jewitt 2006). Digital means allow rendering the openness and fluidity of contemporary
communication through challenging the conventional design of books. The values of specialist knowledge, authority and authenticity that are inherent
to “older” logocentric pages, are being replaced by new principles that grant readers with agency and promote the use of nonverbal sign systems (Jewitt