Research in Progress

Towards a new understanding: the ‘Books Alive!multimedia project’ Ruth Wood, Anne Rawlings andAlayne Ozturk

Introduction

The Books Alive!r project is intended to build on thefindings of existing research, to create innovative andexciting multimedia texts, known as talking books,whichwill not only support emergent reading, but willalso encourage the development of higher-order read-ing skills. Using quality picture books with multi-layered meanings as a starting point to explore theways in which children can navigate text usinginformation from the visual image, the written text,and the unique interface between the two, we aim tocreate a more effective type of talking book.Talking book CD-ROM software generally contains

animations and spoken text, providing an interactive,multimedia presentation of stories and poems. Assuch, this technology offers exciting opportunities, asyet unexplored, for the reader to interact with a varietyof texts at multiple levels of meaning. Studies to date,assessing the effectiveness of talking books as aneducational resource, indicate that they offer manypotential benefits, in terms of the development ofreading (Adam and Wild, 1997; Chu, 1995; Medwell,1996). However, the perceived benefits are mainlylimited to motivation for reading, whole word recogni-tion, the mechanics of word identification and ‘edu-tainment’ (a term used to describe the combination ofeducation and entertainment which encapsulates thedesign of talking book material). It is clear from theresearch listed above that talking book software is notdesigned or used to develop higher order readingskills.The Books Alive!r team is made up of three higher

education tutors, a network of primary school practi-tioners, consultants in multimedia development, lit-eracy and language, as well as author and illustratorAnthony Browne. We are convinced that the potentialof talking book software to extend and engage thereader has not yet been fully exploited, particularly inthe area of higher-order reading skills. This wasconfirmed in discussion with practising teachers onin-service courses at Kingston University, who com-mented that talking books ‘did not support compre-hension and higher order reading skills’, and were‘only usedwith childrenwho have reading difficulties’or ‘as a reward.’ In order to assess whether these

opinions were mirrored across the country, weconducted surveys of the use of talking books in localand national primary schools and early years settings,to examine the current provision and use of talkingbooks. This interim report explains the background tothe research, analyses its initial findings and discussesinnovative ways forward in the design and potentialuse of talking book technologies.

Exploring the potential of talking booksoftware

By virtue of technology, readers are now able to accessbook-based material in a variety of formats. Forexample, audio tapes have enabled readers to listento recordings of stories and poems, whilst the devel-opment of the Internet has allowed global access to on-screen narratives via the World Wide Web. Specialisedsoftware is capable of reading aloud text presented inthis format, and recent developments in hand-heldcomputer systems have facilitated the portability ofelectronic versions of books, known as e-books.Individuals are now able to view and listen toliterature, using such technology, anywhere they wish.Multimedia has added yet another dimension to text:

CD-ROM software such as Broderbund’s Living Bookseries provide highly accessible resources utilisingpictures, sound, and animation for readers to interactwith. The digital pages of these books are viewed in alinear sequence in a manner similar to a slide showand, as such, reflect the conventional print-basedversion of the text. In comparison to audio tapes ande-books, such software is extremely visual and inter-active. The reader is encouraged to click on hiddenhotspots, which activate sound, animation, music, andnavigational links. Whereas e-books are read with anelectronic voice, the multimedia CD-ROM software isable to use a recorded human voice. Because of thesefeatures, books presented through this medium havebeen introduced into primary education to supportand enhance the development of reading, and havebecome known as talking book software.For the primary school child, talking-book CD-

ROMs offer opportunities to read a story indepen-dently or to listen and watch as the story is read tothem, whilst the relevant words are highlighted on thescreen (Adam and Wild, 1997). In some instances,individual words or phrases can be selected to allowthe child to hear the pronunciation (DeJean, Miller andOlson, 1997) and animation can provide cues regard-ing the meaning of words (Higgins and Cocks, 1999).As this type of software is easily accessible throughclicks of the mouse, children are able to navigate

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independently and activate features such as animationand sound in whatever order and as frequently as theywish.Since talking book software was first made available

in the early 1990s, research has indicated that childrenhave benefited from the interactive nature of thedesign. For example Medwell (1996) found that ‘thecomputer support was particularly effective in in-creasing word accuracy in the context of the story’.Reluctant readers have been motivated to engage withtext both on and off the computer (Adam and Wild,1997), and Freebody (1992) suggested that sound/symbol correspondence was also reinforced.Despite these positive reports, talking book software

has not really developed since its introduction toeducation in the 1990s. The titles available aretranslated from print-based versions to the electronicmedium. This immediately imposes restrictions on thedesign, as print-based narratives are almost alwayslinear and illustrations are created with paper ratherthan technology in mind. The most sophisticatedexamples of talking books contain much animationactivated through hidden hotspots. These animationsare usually entertaining but it is often difficult to seehow they relate to or enhance the book. It is unclearwhether the children are interacting with the story orjust with the technology (Matthew, 1997). As Gamble(2000) points out: ‘they (talking books) do not, on thewhole, exploit the potential of new technologies in away that advances the definition of literacy’.Yet opportunities for multilayered interactions with

the content of books are possible through the use ofnew technologies. Instead of being structured so thatthe reader navigates the text in a linear fashion, talkingbooks could use hyperlinksmore effectively to providenumerous routes through a story. The combination ofsound, music, animations, and text could interacttogether to provide a richer context for the reader. Withthe advent of digital video discs (DVDs), high qualityand increasingly sophisticated multimedia resourcesare widely available. Children already experiencematerial such as this whilst playing and interactingwith games and simulations. Technology has pro-gressed since the introduction of the first talking booksoftware. However, their design has remained rela-tively unchallenged.From discussions with teachers, it appeared that the

way materials such as this are integrated and usedwithin the primary curriculum, was not being ad-dressed. Teachers themselves admitted they wererelatively unaware of the potential of new technologiesto create materials for the classroom. This is notsurprising, perhaps, as teachers are not expected tobe multimedia experts and multimedia experts are notexpected to be skilled teachers. In short, collaborationbetween the two needs to be encouraged and main-tained in order to create high quality, purpose-madetalking book software.As previously indicated, much of the research on

talking books has, so far, concentrated on early readingskills (Higgins and Cocks, 1999; Medwell, 1996;

DeJean, Miller and Olsen, 1997). Little mention hasbeen made of the potential of talking books to addressthe needs of all children by challenging and extendingreaders’ understanding of stories presented in the richformat of interactive picture books. Riley (2001) refersto current times being the ‘golden age’ of the picturestorybook. Post-modern picture books, such as Zoo(1992) and Voices in the Park (1998), both written andillustrated by Anthony Browne, are sophisticated andoften deal with issues at multiple levels of complexity.Such literature consists of content which can challengechildren and adults with themes which are bestarticulated through the mutually supportive interac-tion between text, illustration and what Gamble (2000)refers to as the ‘gap’ between the two. Working outthe relevance and meaning of pictures, their relation-ship with the text and the ‘gap’ which lies in betweenhas the potential to challenge the most able ofreaders.Benson (1986) poses fundamental questions about

whether spoken and written language are suitableways of appreciating pictures and art: ‘A primaryfeature of looking and seeing is silence’. The look andgaze are essentially non-verbal. Text–picture relation-ships in picture books are complex and, according toBenson, require a specific language when discussingthem with children. Sipe (1998) states that today’ssophisticated picture books require recursive reading:‘There is thus a tension between our impulse to gaze atthe pictures and not to interrupt the flow of thought.The verbal text drives us to read in a linear way, wherethe illustrations seduce us into stopping and looking’.This could apply with even greater force to thechildren’s interactions with talking book software,since this material is multimedia rich, providing addeddimensions to the interactions between text and reader.It is this potential tension between the text and picturesin a multisensory, multimedia environment that theBooks Alive!r team is exploring.

Background to the research

The development of this research has, so far, gonethrough three main phases. The first phase involved alocal survey of 262 schools. The second, funded by theUnited Kingdom Literacy Association (UKLA),expanded on the initial survey. A more detailedquestionnaire was sent to 2000 schools, covering the4–11 age range, throughout England. Whereas the firstsurvey provided mainly quantitative data, the empha-sis of the second was on qualitative data, with limitedquantitative elements. The results of both surveyswerecollated and analysed. In addition to this data, anetwork group of teachers from the local schools whohad responded to the first questionnaire was estab-lished. Discussion and informal interviews providedfurther qualitative data, which helped to expand on theresults from both surveys.The third phase, in which the intention is to develop

high quality interactive, multimedia materials

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accessed through the World Wide Web is currentlyunder way and will, during 2003, involve pilotingmaterials in collaboration with partnership schools.

The research process

The research of the first two phases can be outlined asfollows.

Phase 1 (local survey)

Schools that have developed partnership links withKingston University, through trainee teacher place-ments, were sent a postal questionnaire. Out of the 262questionnaires distributed, 24% were returned. Theschools that responded were representative of a rangeof school types according to age taught. Questionswere designed to generate mainly quantitative datausing a rating scale.

Phase 1 (local findings)

Overall, schools seemed to be aware of the existence oftalking book software. However, there were a sig-nificant number of schools who were unaware. Thelocal results indicated that, despite high levels ofinterest offered by respondents, there is limited use oftalking books software. Some reasons given for thiswere expense, incompatibility with existing hardware,and lack of knowledge on how to use them. Resultsalso indicated that Nursery and Reception classes arethemost frequent users of talking books and that usageis almost non-existent in upper Key Stage 2. Our datademonstrated that talking book software is mostfrequently used to support the English curriculum.When asked why they used talking book software,schools indicated that it was mostly to improvemotivation for reading, to encourage interaction withtext, to reinforce early reading skills and for fun. Whatmay be interpreted from these responses is the strongconnection to ‘entertainment’ which does appear to bea key feature in the design of talking book software.Although entertainment is not inappropriate, it may beproblematic if software designers lose sight of theeducational purpose of such material. It appears that,although the potential of talking book software ispartially recognised in schools, what is currentlyavailable is only perceived as useful by those teachingthe youngest children or those struggling to read. AtKey Stage 2, teachers’ comments about talking booksranged from, ‘it’s no use for the older children becauseit does not help with their comprehension’ to ‘theydon’t fit into the literacy hour so we use them at ‘‘freechoice’’ time’ and ‘we don’t use picture books witholder children, they would think it’s babyish!’.These results, which confirmed our initial thoughts

and discussions with teachers, were only gathered

locally. In order to establish whether they werereflected nationally, a second survey was designed.

Phase 2 (national survey)

The second survey, in which emphasis was placedupon eliciting qualitative data, effectively extendedand developed the survey undertaken at a local level.As with Phase 1, respondents were representative of arange of school types. Two thousand were contactedand 2.2% responded.

Phase 2 (national findings)

The national survey mirrored almost exactly the localfindings. What the data did demonstrate is that there ismore frequent use of talking books in Year 1 classesthan in Nursery or Reception. Again, talking booksoftware hardly featured at all in Key Stage 2.Comments by teachers ranged from at Key Stage 2,‘Picture books are no use to me as I teach Year 6’, ‘Wecan only use them once a year as it fits into the literacytopic at that time’. At Key Stage 1 and FoundationStage, ‘More able children enjoy the stories, but thecontent is not sufficiently challenging’, and ‘Promotesword recognition and development of mouse control’.In summary, our findings to date indicate that in Key

Stage 1 and Foundation Stage, talking books arepredominately used to motivate and stimulate emer-gent readers, to focus on sounds and words, and forfun. Where they are used at Key Stage 2, talking booksfeature mainly as a support for children who findreading difficult. In general, across both Key Stagesand the Foundation Stage, teachers use talking booksto provide a multisensory experience, to supportchildren with specific educational needs, to developICT skills, to reinforce word recognition, and toencourage the enjoyment of emergent reading. It isevident from our findings that existing talking bookswere not used for developing higher-order readingskills.

Conclusion

In this paper, we have endeavoured to presentwhat webelieve to be the current situation with regard to theuse of talking books in primary and Foundation Stageeducation in the United Kingdom. It is clear that thepotential of talking books is not being fully exploited.In particular, higher-order reading skills are not beingsupported by current talking book software. This maybe one reason why usage is almost non-existent inupper Key Stage 2. What is available is only perceivedby teachers as useful for young children, thosestruggling to read and ‘edutainment’. The time is rightfor educators to take a lead role in the creative use oftechnology for children in the new millennium.

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Past development of talking book software has rarelyoccurred as the result of collaborative work betweeneducators and multimedia developers. Brindley (2000)suggests that without training and support forteachers, the use of ICT adds little to literacy develop-ment. The Books Alive!r Project Team thereforeproposes a collaborative approach. Materials will bedesigned for use within the Early Years and primaryphase of education and also to respond to the urgentNational Curriculum-driven quest for raising stan-dards of literacy throughout the age ranges.

Next steps

At the moment we are entering Phase 3. In collabora-tion with Anthony Browne and a network of research-ers and teachers, we are creating pilot materials on theWorld Wide Web. Using Anthony Browne’s Voices inthe Park (1998), we are investigating the potential ofmultimedia technologies to develop an exciting andinnovative approach to exploring pictures, text andmeaning. The focus of this is to foster children’sattention to detail, their listening, their thinking andtheir ability to query their ideas. Keifer (1993) arguesthat the criterion for a picture book is not to make it‘easy to find things but to make us think more’.

‘‘If talking books are to be used to support reading inprimary schools and beyond then we need to see anincrease in the production of high-quality material.Ideally such materials would reflect the wealth of ‘picturebooks’ now available for children and young people whileexploiting to the full the facilities which multi-media andhypertext offer’’. (Collins, Hammond and Wellington,1997.)

This can only happen if we place authors, teachersand children at the heart of developing educationaltechnology alongside multimedia developers.Through our project we will be providing alternativeand innovative methods of assessing and interactingwith text in order to support inclusion of all childrenand development of higher order reading skills. As yet,this is an unexplored avenue but one with excitingpotential.

References

ADAM, N. and WILD, M. (1997) Applying CD-ROM InteractiveStorybooks to Learning to Read. Journal of Computer AssistedLearning 13, pp. 119–132.

BENSON, C. (1986) Art and Language in Middle Childhood: AQuestion of Translation. Word and Image 2, pp. 123–140.

BRINDLEY, S. (2000) ‘ICT in Literacy’ in N. Gamble and N.Easingwood (Eds.) ICT and Literacy, pp. 11–18. London: Con-tinuum.

BRODERBUND Home Page (Accessed 10 January 2002) http://www.broderbund.com/broderbund.asp.

BROWNE, A. (1998) Voices in the Park. London: Picture Corgi Books.BROWNE, A. (1992) Zoo. London: Julia MacRae Books.CHU, M. (1995) Reader Response to Interactive Computer Books

Examining Literary Responses in Non-Traditional Settings. Read-ing Research and Instruction 34, pp. 352–366.

COLLINS, J., HAMMOND, J. and WELLINGTON, J. (1997) Teachingand Learning with Multi-Media. London: Routledge.

DEJEAN, J., MILLER, L. and OLSON, J. (1997) CD-ROM TalkingBooks: What do they Promise? Education and Information Technol-ogies 2, pp. 121–130.

FREEBODY, P. (1992) ‘A Socio-Cultural Approach: Resourcing FourRoles as a Literacy Learner’ in A. J. Watson, and A. M. Badenhop,(Eds.) Prevention of Reading Failure, pp. 48–60. Sydney: Ashton.

GAMBLE, N. (2000) ‘Introduction: New Literacies New Technolo-gies?’ in N. Gamble and N. Easingwood (Eds.) ICTand Literacy, pp.1–8. London: Continuum.

HIGGINS, N. C. andCOCKS, P. (1999) The Effects of Animation Cueson Vocabulary Development. Journal of Reading Psychology 20, pp.1–10.

KEIFER, B. (1993) The Potential of Picture Books. London: Heinemann.MATTHEW, K. (1997) A Comparison of the Influence of Interactive

CD-ROMStorybooks and Traditional Print Storybooks on ReadingComprehension. Journal of Research on Computing in Education 29.3,pp. 263–275.

MEDWELL, J. (1996) Talking Books and Reading. Reading 30.1, pp.41–46.

RILEY, J. (2001) Unpublished lecture entitled The Golden Age of thePicture Story Book at the Institute of Education, London.

SIPE, L. R. (1998) How Picture Books Work. Children’s Literature inEducation 29, pp. 97–98.

CONTACT THE AUTHORS:Ruth Wood, School of Education, KingstonUniversity, Kingston upon Thames, KT2 7LB,UK.e-mail: r.h.wood@kingston.ac.ukAlayne Ozturk, School of Education, KingstonUniversity, Kingston upon Thames, KT2 7LB,UK.e-mail: a.ozturk@kingston.ac.ukAnne Rawlings, School of Education, KingstonUniversity, Kingston upon Thames, KT2 7LB,UK.e-mail: a.rawlings@kingston.ac.uk

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