A Discussion with Mount Desert Island High School: Notes from the June 3rd Webinar
Thanks to the folks who logged in Thursday afternoon or evening to participate in the webinar, Mount Desert Island High School: A Case Study for Integrating Accessible Instructional Materials (AIM) in the Content Areas. My guest facilitator was Paige Collins, MDI HS special education teacher and fellow member of Maine’s AIM Community of Practice. Additional guests included Mark Arnold (MDIHS technology integrator), Roberta Raymond (MDI HS special education teacher in the Life Skills program), and Casey Rush (MDI HS Drama/English teacher).
The topic of AIM in the content areas is important to the education of all students, but particularly for students with disabilities that interfere with their access to printed text. Print disabilities include blindness and low vision, certain physical conditions (e,g., a disability that interferes with physically turning the pages of a book), and specific learning disabilities, such as dyslexia. So, to put the need for – and implementation of – AIM into context, we explored the actions of these educators because MDI High School has begun to provide instructional materials in electronic formats for all students, so that it’s not necessarily an accommodation for students with unique needs. That is, it’s a model of universal design for learning (UDL) because all students have access to flexible formats of materials that inherently allow the use of assistive technologies, such as text to speech, screen magnification, and portable media players.
We set out with the essential question:
How does a school develop a system of differentiated instructional materials for all learners, including students with print disabilities? Read more…
Many forms of digital storytelling rely upon the incorporation of powerful soundscapes as a crucial ingredient. Indeed, soundscapes can in and of themselves constitute digital narratives — but to do so, they must be carefully constructed. We will look at some of the elements that go into creating great digital audio, including music, voice, and environmental sound, and the tools and practices that translate them into a finished product.
Comics and video provide rich possibilities for digital storytelling; however, neither affords the viewer opportunities for interactive exploration. Interactivity allows viewers to delve deeper into different portions of the narrative, and choose their focus according to interest and necessity. Can this type of flexible narrative be created without extensive programming experience? We will see that in fact, it can, and look at two very different toolsets for doing so.

Bringing images to life in video effectively involves more than just sequencing them in a slideshow — it requires an understanding of how the language and techniques of film interact with the processes of digital storytelling. We will look at this interaction, and use the knowledge derived in two applied projects: one that focuses on using still images as its sole raw material source, and a second one that brings video shot on inexpensive pocket camcorders or computer webcams into the mix.


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