On teaching game design in a journalism course, part 2

In my last post on the newsgames course I will be teaching this fall, I began to discuss how the need to respect the journalistic intent of a newsgame translates into requirements and constraints upon the game’s design and production. In this post, I want to  delve into that topic more deeply, using principles outlined in Tracy Fullerton’s Game Design Workshop: A Playcentric Approach to Designing Innovative Games, and applying those principles to a game that I consider particularly successful, MSNBC’s “Can You Spot the Threats?”  game about the challenges of screening airport baggage.  Finally, I will discuss questions that I will raise with my students about my partially finished “Food Stamps Game,” which I introduced in the last post. The intent of the Food Stamps Game is to simulate the experience of trying to buy a week’s worth of groceries on a $30 budget, about average in terms of what states allow a single adult participating in the Supplemental Nutrition Assistance Program (SNAP) which is the current name for Food Stamps. (Eligibility for benefits and benefit levels vary, and are based on complex criteria. See references on benefits at the end of this post.)

Fullerton defines a game as:

  • A closed formal system that
  • Engages players in structured conflict and
  • Resolves its uncertainty in unequal outcomse (p, 43)
MSNBC's game about airport baggage screening successfully incorporates dramatic and formal elements.

Here, an aside: It should be noted that Fullerton’s definition of a game is at slight variance with that employed by the authors of the other text that I plan to use in the course, Newsgames: Journalism at Play, which I discussed in the previous post. The Newgames text considers animated infographics as games, where as Fullerton is more restrictive. I bring this up because this is an interdisciplinary class in which some of the students are already familiar with Fullerton;s formulations. I may need to take these differing perspectives into account in order to build a common intellectual climate within the class.

Part of the value of Fullerton’s definition is that she breaks it down into components that can be understood as operational requirements.  Games have what Fullerton describes as formal elements (such as rules, playing pieces, boundaries and outcomes), dramatic elements (premise, setting, character and a dramatic arc), and system dynamics (the way the formal and dramatic elements interact). Please note that Fullerton’s definition of these categories is more extensive than I have presented here. This list is only  for the sake of illustration and discussion.

Applying Fullerton’s rubric to MSNBC’s “Can You Spot the Threats” game helps us to understand more about her categories, as well as the characteristics of a successful simulation-type game. The game starts with ominous music and a voiceover narration about the ways in which airport baggage screening procedures changed in the United States after the terrorist attacks of 9/11. Then you are told that you are about to experience what it’s like to screen baggage for two minutes. A series of actual images of luggage generated by screening equipment scrolls across the screen, and you have to pick out the bags most likely to contain guns, knives or explosives. However, the pictures are frustratingly blurry and vague, as can be seen above. You can stop an image, zoom in, and change the black-and-white image to color, but the images are still non-descript. Take too long, and the passenger murmuring in the background rises to a fever pitch. Move too quickly, and it’s likely that something dangerous will slip through. At the end of two minutes, you get a score based on the number of bags screened, the number of dangerous bags detected, the number missed, and a score.

In Fullerton’s parlance, there are formal elements – rules, resources (the bags, the controls), boundaries (the time limit, for example) and outcomes. There is a real-world premise, a story in with characters (you, the baggage screener, and the passengers),  a setting, and a simple dramatic arc. The flash program functions efficiently, and the interface is clean.

“Can You Spot the Threats?” is one of the most effective newsgames I’ve seen, both When I had a class of about 24 students play this game in 2003, they said they gained a new appreciation for the difficulty of the baggage-screener’s job, and motivated them to read the accompanying web feature article. My campus is an hour’s train ride from Ground Zero, and the 9/11 attacks were still evoked a visceral emotional response from my students. They said they found it easy to accept the game’s premise, and they felt anxious as the blurry images rolled across the screen and passengers began to complain that they might miss their planes.

These are some of the ways in which the Food Stamps game is unfinished and needs revision.  As some test users report, the boundaries of the game aren’t always clear – for example, a script that should come up when a buyer runs out of money doesn’t yet work properly. There aren’t enough dramatic elements and the system dynamics could use some work. These will be some of the things that will be fodder for discussion with students in the fall.

Arguably, the flaws in this game, and the ability to download and remix the code in Scratch, makes the Food Stamps game useful as a tool for highlighting this game and its design process as an example of computational thinking. I will elaborate on that in the next post.


References on benefits. For more information on how states calculate Food Stamp benefits, please see examples below:

  1. USDA SNAP Eligibility page
  2. Texas: Food Stamp Benefit Estimator
  3. Illinois: DHS Supplemental Nutrition Assistance Program
  4. MassLegal Services. 2011 Food Stamp Advocacy Guide Part III. Eligibility
  5. Hawaii Financial  and SNAP Benefits RIghts and Responsibilities
  6. Louisiana Department of Children and Family Services: Economic Stability Supplemental Nutrition Assistance Program
  7. South Carolina Department of Social Services SNAP Benefit Calculator
  8. 2007 Congressional Food Stamp Challenge
  9. US Food Policy “Living on a Food Stamp Budget” (This is the specific source of my $30/week figure.

Course syllabus as of July 13, 2001


    The Food Stamp Game: a test case for teaching computational journalism, part 1

    This fall, I am teaching a class, “Serious Games for News, ” in which journalism and interactive multimedia students will analyze and design various examples of “newsgames.”  In their book,  Newsgames: Journalism at Play(MIT Press, 2010) Ian Bogost and his colleagues use the term Newsgames to mean, broadly, using game design techniques to “do” journalism – that is to report, present and or comment on the news. That broad definition takes in everything from crossword puzzles to videogame-like simulations and alternate reality games of the type created by futurist Jane McGonigal. Since the students in the class are journalism and interactive multimedia majors, not computer science students, I see the class as a practical exploration of computer science concepts relevant to journalism, as well as an opportunity to learn about and test the possibilities of this rapidly developing journalistic medium.

    Newsgames: Journalism at Play

    The journalistic focus of the class will be on two pressing issues in Trenton New Jersey, the city just blocks away from the location of our college -pollution and food security. Trenton has experienced the difficulties that have beset many industrial American cities: disinvestment, environmental degradation, and a crumbling infrastructure. Enrollments in the federal supplemental nutrition assistance program have risen precipitously in the last five years. How can newsgames make the issues more visible, more comprehensible, and more amenable to citizen dialogue, engagement and resolution?

    As part of my preparation for the class, I thought I would create a sample newsgame  in Scratch for the students to critique and remix. The the game below challenges players to buy a week’s worth of groceries on a food stamp budget – about $30/week, according to my research.  (The title reflects my age – when I was growing up, people getting government assistance to buy food got a coupon book from what was called the Food Stamp program. Now, they get an ATM-like card called an “EBT card,” and the program is now called the Supplemental Nutrition Assistance Program.)

    The version below is in the user testing phase and will probably undergo some refinements in the fall, but I do not intend to present it to students as a finished product. In addition to some technical glitches, I think it has some important design flaws. I don’t think it has enough story elements to make recreate the experience of having to shop with an EBT card. (what . I have some ideas on how to make it more realistic – swap out the images for images from Trenton, add voices and back stories of real people, add more items to better illustrate the trade-offs people have to make..

    Part of the conversation that I want to have with the students is to raise the question of how much information needs to be built into the game, and how much would need to be part of another story package. Maybe this is the wrong focus for a game about food insecurity in Trenton  – perhaps the focus should be on applying for benefits, or running one of our over-stretched food pantries. Perhaps it can be part of a suite of games around this theme.

    The idea is to get the students to first try to improve on what I’ve done, and use the strength and weaknesses of my approach, along with the guidance from the texts, to develop their own ideas.

    In this series of posts, I want to share some thoughts about what I expect my students to learn from working with this game and creating others like it.

    A Note on the Use of Scratch

    I chose to use the Scratch programming language for this class for the following reasons:

    • It has a low learning curve, but contains many of the features of more sophisticated  languages
    • It allows programmers to import their own still images and audio, which means that we ought to be able to achieve a strong documentary effect on the games we produce.
    • The Scratch website makes it easy to organize student work into galleries, and the uploading feature of the software has built-in version control, so it’s easy to see how projects evolve.
    • Interactive games and stories can be prototyped in Scratch relatively quickly for larger scale production in a subsequent course. We have done this successfully for several years at The College of New Jersey.


    In reflecting upon the game design process in the context of journalism pedagogy, and on the use I expect to make of this game in particular, a series of guiding questions and considerations emerge that I want to share here.

    Learn more about this project

    Game design as journalism: general questions and considerations

    • What’s the journalistic goal of making this or any other newsgame?As with text, video, audio, still images and static information graphics, the value of news games as journalism is a function of editorial judgment and skill. Regardless of the medium, the focus is on the story one is trying to tell.

    My goal with the food stamp game is to find new ways to share information and provoke conversations about poverty and the problem of healthy food access in poor communities. The actual experience of shopping with an electronic benefits card (EBT card for short) is something that many Americans, and thousands of Trenton-area residents experienced for the first time during the economic downturn of the last few years. They have joined an often-invisible army of millions. In 2008, the Columbia Journalism Review considered the need for fresh ways of shining a spotlight on the problems of the poor:

    “How can a reporter cover that most persistent of problems, poverty, today without making it boring and predictable, or guilt-tripping readers and turning them off?”

    Hypothetically, simulations of how poor people attempt to meet basic needs might be a way of engaging news consumers and encouraging further exploration of the issues raised. To test this hypothesis, I plan to have students consider how the Food Stamp game might be improved both as a work of journalism and as a computing artifact. As the course evolves, I expect that other approaches to these and similar projects to emerge.

    • What kinds of stories and issues lend themselves best to newsgames and especially, to which type of game? Should the game stand alone or should it be combined with other forms of storytelling and exposition?

    Using Wired.com’s “Cutthroat Capitalism” interactive feature and simulation game about the business model behind Somali piracy as an example, the Bogost text notes that game design techniques open up ways of revealing complex systems. Both the feature and the game make the point that piracy continues off the coast of Somalia because the shipping companies targeted find it more profitable to risk being pirated and pay ransoms than to change their shipping routes. For their parts, the pirates also find the potential wealth to be garnered from crime to be more lucrative than the alternatives available to them, despite the risk of arrest or violence.

    The feature uses the expository technique of process analysis, a method for explaining the how or why something happens or is done. This is a common technique in magazine writing, especially for articles designed to impart personal advice, or to explain how a big news event happened. tt frequently lends itself to a very structured layout with accompanying graphics. (This Jan. 1992 Black Enterprise package, “The Big Comeback” which I worked on with Dawn Baskerville, is typical – it offers advice on how to recover after falling into debt.)

    The Wired.com narrative feature, though, tries to do something more ambitious, which is to make an economic analysis interesting and accessible.

    Wired’s Cutthroat Capitalism feature story and game broke new ground

    It is organized into four sections:

    1. The Hot Zone:Pirates Know Plunder Pays
    2. The Attack: Shippers Brave Shortcuts Through Pirate Waters
    3. The Negotiation: Offer or Counteroffer, Shoot or Stand Down?
    4. The Resolution: Sealing the Deal and the Getaway

    From the perspectives of computer science and game design, Wired.com structured and highly visual approach to the narrative was highly conducive to the kind of abstraction needed to create a game to complement the feature.

    The process analysis method contrasts with the human-interest angle, another popular feature writing technique for approaching complex issues. Human interest stories help us understand what it feels like to be caught in the middle of a complex event, as Alfred Lubrano of the Philadelphia Inquirer does beautifully in his 2010 series on hunger in Philadelphia’s first congressional district.  Lubrano shows us hardworking parents rendered incapable of feeding their kids by sudden job losses, and spotlights a dedicated social worker struggling to help them. The series had an impact, too – readers responded by helping one mother find a new job and an apartment.

    In theory, a well-designed game could complement a strong human-interest series. The food stamp game is one example of such a complementary

    A Portrait of Hunger - by Alfred Lubrano
    Alfred Lubrano’s Philadelphia Inquirer series on hunger inspired readers to help one struggling mother find a new job and home for her family.

    effort. Other examples might be designed around the challenges faced by a social worker struggling with a burgeoning caseload,  or a social entrepreneur looking for ways to bring jobs and a healthy environment back to the community.

    • How do the journalism goals of the game translate into design requirements – and constraints- for the game?

    Creating a game from a complex narrative, whether real or imagined, requires a level of abstraction that can have all kinds of unintended results. The interactive story Façade has been hailed for the sophistication of the artificial intelligence that allows the gamer to participate in a drama whose narrative arc bears an impressive similarity to the Edward Albee masterpiece, Whose Afraid of Virginia Woolf. In 2007 and 2008, I asked a number of students and others to play Façade and observed the results. After watching about 40 people between the ages of 15 and 45 participate in the story, I saw a consistent tendency to “game” the story. Instead of becoming immersed in the drama, players did things that they thought would skew the game one way or another, often with results they found hilarious. I think that this was partially a function of the rudimentary quality of the 3-D graphics (a compromised necessitated by the processing requirements of the AI.)  It became obvious that the experience of Façade is nothing like that of the drama that inspired it. This may be fine in this instance because the two works stand apart from each other, but a similar result in a game with a journalistic purpose threatens to trivialize the story or issue that it is trying to elucidate.

    Clearly, then, the journalistic success of The Food Stamp Game project requires careful attention to the dramatic elements – or the storytelling experience of the game, along with the formal game elements (such as rules) or the technical requirements. For a further understanding of these challenges, I will have students turn to the guidance in Tracy Fullerton’s Game Design Workshop: A Playcentric Approach to Creating Innovative Games along with some of the project management techniques that my colleagues and I have developed in seven years of teaching game design at The College of New Jersey. I will discuss this in a subsequent post.

    Acknowledgements: This work draws upon research funded by Microsoft Research and National Science Foundation grants 0739173 and 0829616

    Interdisciplinary Computing Blog: Interdisciplinary Computing Meeting Number 2: Day 1, Part 1

    Liza Kaczmarscyk does a nice job of capturing the first day of discussion at our meeting on Creating a Climate for Interdisciplinary Computing. The discussion on computational journalism to which she alludes was initiated by yours truly and Rich Gordon from the Medill School at Northwestern University. Other journalists here include Jonathan Tracy from the AP, Michelle Ferrier from Elon University, and Barbara Iverson from Columbia College, Chicago.

    Sidebar: Learning about learning – a conversation with Deborah Tatar

    Dr. Deborah Tatar, Virginia Tech
    Deborah Tatar, cognitive scientist at Virginia Tech

    Deborah Tatar is a cognitive scientist at Virginia Polytechnic University whose current research focuses on understanding and clearing the obstacles to student learning in mathematics and science. For example, she was a principal investigator on the SimCalc project, a software-based interactive math curriculum for middle schoolers that has shown demonstrable success when accompanied by professional development for teachers. She is a collaborator on the CPATH Distributed Expertise project for which I am a co-PI.

    In this conversation about what it takes to bring students from under-represented groups into computing, Tatar cautions against easy generalizations and simplistic solutions, offering intriguing possibilities for ways in which we can assist learners in finding the paths to understanding that are most appropriate for them.

    Tatar’s insights remind me of Georgetown University math professor Jim Sandefur’s use of “think-alouds” – recorded interviews with students who explain their thought processes while working on math problems. It also echoes and complements the insights from Visible Knowledge Project, spearheaded by Randy Bass during the last decade. I was a researcher in that project in the early 2000s. My research project for VKP, “Blogging on the Beat” details my action research project on whether having journalism students keep blogs will lead deeper and more richly-sourced reporting.

    This interview is part of my work in progress: The Re-Education of Me: Journalism, Diversity and Computing. Pearson, a long-time professional writing practitioner and educator, is using auto-ethnography and literary journalism to probe the implications of the transformation of journalism by computer science for journalism education. This interview was recorded at the National Science Foundation’s CE 21 community meeting in New Orleans, Lousiana Jan. 30, 2011.

    View the interview (Quicktime file, runtime about 26 minutes)

    The Electronic Music Lab at Masterman School – An Adventure in Mathetics and Pedagogy

    The Re-education of Me Table of Contents

    1. What we investigate is linked to who we are
    2. The Me nobody knew then
    3. Mrs. Jefferson’s “Sympathetic Touch” meets Mrs. Masterman’s Philanthropy
    4. Discovering Masterman, discovering myself
    5. The electronic music lab at Masterman School
    6. The Interactive Journalism Institute for Middle Schoolers and the quest for computing diversity

    “There are, at least, two approaches to education: the mimetic approach and the mathetic approach. The mimetic approach emphasizes memorization and drill exercises and is most efficient in inculcating facts and developing basic skills [Gar89, p. 6]. The mathetic approach stresses learning by doing and self exploration; it encourages independent and creative thinking [Pap80, p. 120]. In the mimetic framework, creativity comes after the mastery of basic skills. On the other hand, proponents of the mathetic school believe that self discovery is the best, if not the only, way to learn…”

    Educational Outlook,”

    Sugih Jamin, Associate Professor, EECS, University of Michigan

    “Music educators can no longer ignore the possibilities afforded by computers and the related fields of science and mathematics.” With those words, Virginia Hagemann threw down the gauntlet to her colleagues in a 1968 essay for the Music Education Journal. It was the first of two articles she would write about the electronic music laboratory that she created at the JR Masterman Laboratory and Demonstration School in Philadelphia in the late 1960s.

    I was a participant in that lab, and as I read Ms. Hagemann’s essays, I was struck by the parallels between her arguments for the effectiveness of electronic music and a tool for expanding the horizons of secondary school students, and the research and findings from the Interactive Journalism Institute for Middle Schoolers, a National Science Foundation-funded project for which I served as a co-principal investigator. Like Ms. Hagemann, we found that given the opportunity to make media, young people can produce artifacts that reflect fairly sophisticated concepts. We also concluded that professional development that empowers teachers is central to successful curricular innovation. Ms. Hagemann also learned serendipitously that a budding media maker is capable of becoming a technology innovator.

    In this essay, I want to place Hagemaan’s action research alongside the work of Seymour Papert and his intellectual descendants to turn computers into learning tools for children. While Hagemann was developing her ideas about electronics as a vehicle for musical composition and education, Papert and his colleagues at MIT were creating the LOGO programming language as a tool to help children construct their own knowledge about the world. With this foundation, he reasoned that teachers could then support students in moving to more formal understandings of concepts in mathematics, physics and other subjects that are generally considered abstract and difficult to learn.

    Research shows that music education can be a wonderful foundation for teaching mathematics and by extension, computing.(Research on music and learning) The reasons are not hard to understand: both require that information be organized in certain structures. Pattern recognition is integral to both fields. Both have formal and informal “languages.” One can draw analogies between their elements – bits and bytes of computing and the diatonic scale in Western music, for example. Music has its own versions of computing’s “if-then” statements, loops, strings, recursion, modularization and other fundamentals. Both are fundamentally mathematical, although not necessarily in a “school math” kind of way. Looking back, I can see how many of these concepts were embedded in the work we did in Ms. Hagemann’s electronic music class.

    For the sake of context, I should mention that I also had traditional classes in basic music appreciation and theory while at Masterman, taught by Gloria Goode.   Ms. Goode also expanded our cultural horizons. She added jazz, African and Brazilian music to our studies of Dvorak, Copeland and Stephen Foster. In sixth grade, we happened to have a student teacher who had lived in Brazil, so we learned to make their national dish, fejoida, home ec class and performed a Brazilian number in the school show. As one of the few black faculty members at Masterman, she was a powerful role model for the black students. She was also a crucial mentor for a small group of students who actually did become professional musicians in their adult lives. She also set an example for us as a life-long learner, sharing with us about her explorations of African music and dance, for example. Her 1990 doctoral dissertation, “Preachers of the word and singers of the Gospel: The ministry of women among nineteenth century African-Americans,” was hailed by the author Delores Causion Carpenter hailed as, “one of the finest treatments of 19th century black, singing, evangelist women” in her book, A Time for Honor: A Portrait of African American Clergywomen.

    The exposure that she gave us to polyrhythms through the music of Babatunde Olatunji has particularly stayed with me. What follows is a video collection of the some of the music I was exposed to in Ms. Goode’s classes. I believe that what she taught me about the underlying structure of these diverse kinds of music would become important in Ms. Hagemann’s class, and in my later thinking about writing and problem solving. This collection includes not only Olatunji, but also Sergio Mendes, “Largo” from Dvorak’s New World Symphony, the folk song, “Goober Peas,” Della Reese and Wes Montgomery playing “Windy.” The last song especially sticks out in my mind because my first hearing of the song wasn’t Montgomery’s guitar version. It was our fifth-grade classmate Joel Bryant, who played the song for us on piano at her invitation at the end of class one day. Joel went on to become an accomplished professional songwriter, producer and accompanist with credits that include work with Philadelphia International Records and Gospel great Traimaine Hawkins. Joel was one of many professional musicians who came through Masterman.

    Ms. Hagemann’s essays don’t explain what specifically prompted her to create an electronic music class, but she knew Robert Moog, the physicist-engineer whose experiments with the theremin led to his invention of the first popularly-used synthesizer in 1965.  She was an active composer with far-flung connections who reportedly studied with the legendary music teacher Nadia Boulanger. (This assertion comes from a posting on Facebook; I am in the process of trying to verify it.)

    What we do know from her 1968 essay, “Electronic Composition in the Junior High School,” is that she described the lab as “logical outgrowth and extension of the [Music Educators National Conference] Young Composers’ Project,” an initiative funded by the Ford Foundation. She started the lab with a $316 grant from a fund established by Philadelphia Schools Superintendent Mark Shedd for innovative teaching projects. According to Salon magazine, Moog synthesizers were $11,000 in those days, so she focused on components instead. We had two reel-to-reel tape recorders, an oscilloscope, sine and square wave generators, splicing equipment, and tools for making musique concrete, such as a gong and a metronome. We wrote our compositions on graph paper, plotting frequencies on the vertical axis and time on the horizontal.

    According to Hagemann, the 15 children were initially selected to participate in the lab, and several dozen students were admitted into the program before long because of popular demand. All of the students who were initially selected played instruments. If my memory is correct, I entered the program during the 1968-69 school year, when I was in the sixth grade.

    Ms. Hagemann’s methods emphasized the mathetic over the pedagogic or mimetic. Each of us was assigned a partner,  which meant that we not only had the experience of composing and recording our own work, we also learned to play recording engineer for someone else. She exposed us to experimental composers and methods, and further broadened our cultural horizons. The video compilation below is a sampling of what we heard in class, and what we were taught to do. It includes Switched on Bach, Tibetan chants, a demonstration of musigue concrete composition and production techniques, and a Swingle Singers performance.

    This early electronic music composition, “Lemon Drops,” by Kenneth Gaburo, was also part of our curriculum:

    Hagemann cautioned her colleagues against being “guided by an outmoded philosophy that only the teacher knows best.” At the same time, she added,

    “Although anything is possible, everything should not be permitted. In this incipient stage of a student’s musical development, the disciplined experi- ence of creating logical compositions within the frame- work of accepted musical form is imperative. Although students should become aware of the concept of alea- toric composition (eleven of the twenty-six members in the first class purchased John Cage’s book, Silence), the use of indeterminacy and chance elements in com- position should be reserved until the students have demonstrated their understanding of and competence to compose in various musical forms. Concurrent with a rigid adherence to traditional form, the children can be given a measure of freedom of expression to avoid stifling the possible creation and development of new musical structures.” (p. 88)

    Hagemman reported surprise and delight at the quality and precocity of the musical compositions that emerged from the class (not from any of my work , though, I assure you!). But it was the technological innovation that took place that was an additional delight. She reports on page 90 that after field trips to Princeton and Philadelphia’s Franklin Institute:

    “William Serad, age thirteen, submitted a technical report, complete with schematic diagrams, on the possibility of using an analog computer for writing electronic music. William thought that this computer would be useful in the writing of such compositions as “Study in Square Roots” or “Cube Root Canon.” His report was later discussed with Robert A. Moog, presi- dent of the R. A. Moog Company, Trumansburg, New York, manufacturers of electronic equipment, who agreed that this idea was feasible. With this encourage- ment, William constructed a four-sound, push-button switch, serial sequencer, which he used in writing an electronic canon. He has since made a working model of a tri-amplitude mixer module. Another member of the class, Randy Kaplan, age twelve, was inspired by the linear controller at Princeton to build a three- sound, push-button switch, serial sequencer with mixer. The teacher will not always understand every wire and transistor, but he can always tell if the equipment operates properly, and he can assist his students to use such devices musically.”

    Hagemann concluded her article by noting that keeping up with her students had required her to embark on a new path of professional development for herself. She enrolled in an electronics course and started reading electronics reference texts.  She picked up the theme of the necessity of teacher development in a Dec. 1969 article for the Music Education Journal, “Are Junior High School Students Ready for Electronic Music? Are Their Teachers?”  Hagemann asserted that if teachers open their minds and become resourceful about using electronic music classes as a means of allowing students the “freedom to create” (.p 36) ,

    “The adolescent need for independence will be satisfied by the creative free- dom encouraged within the labora- tory. The study of the basic con- cepts of electronic music will help the student gain a critical perspec- tive of himself, of his social environ- ment, and of the ways he can shape new goals of learning.” (p.37)

    I was astounded to read these words nearly 40 years later, because they are remarkably similar to the conclusions that we reached with regard to the results of our Interactive Journalism Institute for Middle Schoolers in exposing middle school students and teachers to computing and journalism as as means of creative expression and civic engagement.  More about that in a future post.

    Update: April 30 – Thanks to fellow Masterman alum and musician Ilene Weiss, who send these .mp3s from the online archives of Masterman student compositions on a Philadelphia radio station WFMU.


    Music Educators Journal articles by Virginia Hagemann referred to in this post:

    For examples of research on music and learning, see,


    • Hetland, Lois, “Learning to Make Music Enhances Spatial Reasoning” Journal of Aesthetic EducationVol. 34, No. 3/4, Special Issue: The Arts and Academic Achievement: What the Evidence Shows (Autumn – Winter, 2000), pp. 179-238 (article consists of 60 pages) Published by: University of Illinois Press

      Stable URL: http://www.jstor.org/stable/3333643

    • Habib, Michel and Mireille Besson. “What Do Music Training and Musical Experience Teach Us about Brain Plasticity? Music Perception: An Interdisciplinary Journal, Vol. 26, No. 3, Music and Language (Feb., 2009), pp. 279-285
    • Wendy S. Boettcher, Sabrina S. Hahn, Gordon L. Shaw, Mathematics and Music: A Search for Insight into Higher Brain Function Mathematics and Music: A Search for Insight into Higher Brain Function,Leonardo Music Journal, Vol. 4, (1994), pp. 53-58

    One of those “intellectual descendants,”, my colleague and collaborator Ursula Wolz, was researcher in Papert’s LOGO lab in the 1970s. In the early 1980s, she and Jim Dunne began teaching LOGO to children and teachers at Columbia Teachers’ College’s Microcomputer Resource Center. (See contemporaneous popular press reports on that work from Popular Mechanics and Infoworld. Wolz is the Principal Investigator of the IJIMS.

    I thank my former Masterman schoolmate and academic colleague Elizabeth Gregory for her help in locating both of Ms. Hagemann’s articles.