Digital Identity and Security Reflection

In todays ‘big brother’ era it is crucial teachers consider the ramifications their digital identity could have on the professional life. Increasingly, employers are using social media as tool to screen potential employees (Yeager, n.d.). The media often draws attention to teachers being penalised and in some cased fired for inappropriate use of social media (Simpson, 2010). The term ‘digital tattoo’ used by the University of British Columbia [UBC] and companion tagline ‘think before you ink’ are a perfect analogy and reminder of the permanency of online activity (The Digital Tattoo Project, 2013). Teachers are highly visible community members and as such, need to remember that their online activities are open to scrutiny (Yeager, n.d.). The internet is a public arena (UBC, n.d.).

Learning about new technologies and exploring the digital identities of teachers through their blogs, linked-in, and pinterest accounts has excited me to the positive potential and professional strength of a carefully executed digital identity. Initially I was concerned my eclectic assemblage of personal posts and information shared online is misaligned with my teacher identity. While I believe strongly in my right to express myself online in a personal manner I am aware of the necessity of having distinctly separate identities by maintaining a distance between your personal and professional persona and have resolved to clean up my online presence. My excitement lay in discovering the ways I can control how I portray myself online. Acting in the role of curator I can create the ideal teacher identity to be used to promote myself to parents and employees. For teachers an online identity can be a digital portfolio, place to store resources, and proof of professional engagement, critical reflection and continual development (Yeager, n.d.). It can serve as a window to a teacher’s pedagogy and is a valuable tool to network and connect with fellow teachers (Owens, 2014).

Mindfulness for how online posts may be misinterpreted if the audience or context change, and an adept understanding of the mechanics of digital security are essential skills for teachers to function successfully in the 21st Century.

Word Count: 328


The Digital Tattoo Project. (2013, March 13). TBYI: 5 types of people on social media [Video file]. Retrieved from

Owens, M. (2014). Using social media in the classroom: Why there is a lot to like. Retrieved from

Simpson, M. (2010). Social networking nightmares: Cyberspeak no evil. Retrieved from

University of British Columbia. (n.d.). Removing myself from the internet. Retrieved from

Yeager, J. (n.d.). When should teachers use social media? Retreived from


Digital Identity a University of Adelaide Press Publication

For more information on the topic I recommend Clair Sullivan’s book Digital Identity: An Emergent Legal Concept, which is available for download at the following link.


In today’s digital environment the concept of identity is an issue of much greater complexity than it was in the days of the offline world. Our digital identity can exist in many forms and for many different purposes. Its existence on the Web becomes a currency that can be unscrupulously traded and abused.

          – Professor Stephen Saxby (2014)


Teaching Resource and Evaluation Matrix

Storify (Sommervelle, 2015).

Name of teaching resource

Storify: Yayoi Kusama Retrospective

Weblink (if web based)

Who should this digital teaching resource be used with? (ie year/grade)

Grade Four

How should it be used? (e.g. individual, whole class)

This resource has been designed for individual use as a research tool for students to explore the life and works of the artist Yayoi Kusama. Additionally it is easily adapted to whole class use where the teacher can display it on a smartboard or projector and walk through the resources. In this way the class can watch the videos, read, discuss and question the information together.

Which subject or learning area would it be most appropriate to use in?

Visual Art.

Identify the strengths of this teaching resource

Storify’s strength lies in its ease of use as a curation tool and functionality for gathering online materials following a theme, story or concept together in one location. The ability to annotate the ‘story’ gives teachers the freedom to ask questions or assign activities throughout.

Identify any weaknesses of this teaching resource

The only weakness I encountered with this resource is that it can be time consuming to gather materials and put together.

Explain any ideas you may have for further use of this teaching resource

I would like to use this resource as part of a unit of work accompanying a class visit to Kusama’s obliteration room. Children will use storify to expand their understanding of Kusama’s position and success in the art world will and use this to answer questions about the information and engaging in class discussion about the use of pattern and repetition in art.

Word count: 204


Sommervelle, J. (2015). Storify header screenshot [Image].

Sommervelle, J. (2015). Storify screenshot [Image].

Geometric Solids

Teaching Reference

A screencast taken of Geometric Solids, a digital teaching resource by Illuminations as I use it to explore the properties of a cube.


Sommervelle, J. (2015, April 26). Geometric solids screencast [Video]. Retrieved from

Swift, B. (2011). Pretty colors [Image]. Retrieved from htpp://

Evaluation Matrix

Name of teaching resource

Geometric Solids

Weblink (if web based)

Who should this digital teaching resource be used with? (i.e. year/grade)

I will evaluate this resource for use in a Grade Two lesson, however the National Council of Teachers of Mathematics [NCTM] identify it as appropriate for use in Pre-12.

How should it be used? (e.g. individual, whole class)

For optimal use this resource should be incorporated into a lesson or demonstration to extend upon students understanding of solid shapes. It is well suited to whole class use for display on a smartboard or individual use to aid students in answering questions about three-dimensional shapes and exploring their features.

Which subject or learning area would it be most appropriate to use in?

Mathematics, specifically geometry

Identify the strengths of this teaching resource

An alternative to using tangible shape models with the versatility to cater to a range of age levels. The manipulation of shapes is engaging, taking a constructivist styled approach. Shows solid shapes in their three-dimensional form and unfolded to their net pattern. Useful to select and count faces, edges and vertices.

Identify any weaknesses of this teaching resource

Could include more shapes, especially basic shapes for use in lower grads. Some students would need initial guidance to use this tool optimally as it doesn’t have clear instructions.

Explain any ideas you may have for further use of this teaching resource

This digital technology can be used to extend upon a developing understanding of geometric shapes, building on the ability to classify, recognise and describe the features of three-dimensional objects in line with the Australian Curriculum and Assessment Reporting Authority [ACARA] (2014) content descriptor ACMMG043. Wonderful aid to support the drawing of three-dimensional objects.

Word Count 218


Australian Curriculum and Assessment Reporting Authority. (2014). Foundation to Year 10 Curriculum: Mathematics, Shape (ACMMG043)Retrieved from

National Council of Teachers of Mathematics. (n.d). Illuminations: Resources for teaching math. Retrieved from

Transmedia Reflection

Postmodern Education and the Digital Age: Can Transmedia Provide a Beneficial Model for Education

Transmedia_BW1(Transmedia, n.d.)

Transmedia is a relatively new term which describes the use of multiple media platforms to expand upon a story, theme or concept. Reading the units content presented the idea of incorporating the model of transmedia into my digital pedagogy. The applications for transmedia to be appropriated for use in education are extensive. I find transmedia can address several teaching theories, curriculum outcomes and enhance learning. “Transmedia experiences invite children to draw upon multiple literacies, including digital, textual, visual and media literacies, as well as social skills and cultural competencies” (Alper & Herr-Stephenson, 2013).

Through the constructivism of technology and the motivating enthusiasm it generates, transmedia allows for deeper engagement and enriched learning experiences. With the translation of content across different platforms (Johnson, n.d) students can construct their own meanings allowing for greater understanding and increased comprehension (Alper & Herr-Stephenson, 2013).

Transmedia is a by-product of the digital revolution Howell addresses in her book Teaching with ICT (2012, p.15). It promotes creativity, self-expression, critical thinking, play and experimentation and addresses the digital expectancy of society while fostering the lifelong learning skills self-education requires.

An additional strength of transmedia which could prove invaluable in the education setting is its strategic ability to increase accessibility, allowing for a wider range of student participates by extending broadly across digital and non-digital platforms and creating many different points of entry. In this way transmedia demonstrates its inclusiveness by being flexible and diverse. By taking into consideration the uniqueness of students and working across a variety of contexts transmedia creates many different entry points (Jenkins, 2007). This adaptability and easily personalised approach creates heightened interest for students with varied learning styles and abilities.

Perhaps the involvement of transmedia concepts is the key to adapting education to the unique learning styles of digital natives. Twenty-first Century students are digital natives with distinct learning preferences (Howell, 2012). Research shows that students born into today’s era of mass technology, post modernism and globalisation are predisposed to technology (Howell, 2012; Prensky, 2008). Transmedia harnesses this. Drawing on networking (Hsia, 2011), the rapid information sharing of globalisation and highly visual forms of communication “participants pool information and tap each other’s expertise as they work together to solve problems” (Jenkins, 2007).

If used correctly the transmedia model promises to be a highly effective enhancement to learning and a valuable addition to a teacher’s digital pedagogy.

Word Count: 330


Alper, M., & Herr-Stephenson, R. (2013). Transmedia play: Literacy across media. The Journal of Media Literacy Education, 5(2), 366-369. Retrieved from

Big data internet of things [Image]. (n.d.). Retrieved from

Howell, J. (2012). Teaching with ICT: Digital pedagogies for collaboration and creativity. South Melbourne, VIC: Oxford University Press.

Hsia, L. (2011). How transmedia storytelling is changing TV. Retrieved from

Jenkins, H. (2007, March 22). Transmedia storytelling 101. [Web log post]. Retrieved from

Johnson, D. (n.d). A history of transmedia entertainment. Retrieved from

Prensky, M. (2008). The 21st century digital learner: How tech obsessed iKids would improve our schools. Retrieved from

Transmedia [Image]. (n.d.) Retrieved from

Ullyses, G. (2010, October 17). What is transmedia [Video file]. Retrieved from

Pottermore: Bringing Harry Potter to life through transmedia storytelling

There has been some controversy and argument as to whether Harry Potter can truly be said to have transcended to be a transmedia story. As an avid fan I believe it has but what do the experts think?

Relatively little of the official Harry Potter media produced to date has been transmedia in the sense that I use the term — as an extension of the information we have available about the world rather than as a replication of the story from one medium to another. I’ve been suggesting lately that we might identify transmedia projects through the combination of two factors – radical intertextuality (that is, the complex interweaving of texts through the exchange of story-related information) and multimodality (that is, the mixing of different media and their affordances in the unfolding of the story). Pottermore works at both levels.

– Henry Jenkins (2011).

Pottermore brings the Harry Potter brand from its basis in being a repurposed or repeated story world, into being a true transmedia brand.

– Jeff Gomez (2011).