wide walls

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Definitionen

The tool must allow for a wide range of projects, let users tap into elements of personal experience and populär culture, and let them design and develop programs that are unique and represent their own interests and backgrounds.

Von Yasmin B. Kafai, Quinn Burke im Buch Connected Code (2014) im Text From Scratch to Remix auf Seite 55

Yasmin Kafai and Quinn Burke describe the need for languages to have low floors, high ceilings, wide walls, and open windows. That is, a language should have a low barrier to entry (low floors), allow a lot of room for growing in proficiency (high ceilings), make room for a diversity of applications (wide walls), and enable people to share what they write (open windows).

Von Annette Vee im Buch Coding Literacy (2017) im Text Introduction: Computer Programming as Literacy

Bemerkungen

When evaluating the use of creativity support tools, we consider diversity of outcomes as an indicator of success. If the creations are all similar to one another, we feel that something has gone wrong. And if, after finishing one project, users feel that they are “done” with the tool, again we feel as if we have failed.

Von Mitchel Resnick, Brad Myers, Kumiyo Nakakoji, Ben Shneiderman, Randy Pausch, Ted Selker, Michael Eisenberg im Buch Creativity Support Tools im Text Design Principles for Tools to Support Creative Thinking (2005)

To support and encourage this diversity, we explicitly include elements and features that can be used in many different ways. The design challenge is to develop features that are specific enough so that kids can quickly understand how to use them (low floor), but general enough so that kids can continue to find new ways to use them (wide walls).

Von Mitchel Resnick, Brian Silverman im Text Some Reflections on Designing Construction Kits for Kids (2005)

When we evaluate the use of our construction kits, we consider diversity of outcomes as an indicator of success. If the creations from a class of students are all similar to one another, we feel that something has gone wrong. And if, after finishing one project, a student feels that s/he is “done” with the construction kit, again we feel as if we have failed.

Von Mitchel Resnick, Brian Silverman im Text Some Reflections on Designing Construction Kits for Kids (2005)

In our own work (especially in recent years), we have put less emphasis on high ceilings and more emphasis on what might be called “wide walls.” That is, we have tried to design technologies that support and suggest a wide range of different explorations. When kids use our Programmable LEGO Bricks, for instance, they can create anything from a robotic creature to a “smart” house to an interactive sculpture to a musical instrument. We want kids to work on projects that grow out of their own interests and passions – which means that our technologies need to support a wide range of different types of projects.

Von Mitchel Resnick, Brian Silverman im Text Some Reflections on Designing Construction Kits for Kids (2005)

By not including predefined widgets, the Flash tool encourages designers to explore many different ways to control the interaction, instead of just using buttons and scroll bars. Carnegie Mellon’s Alice tool has enabled the creation of a wide variety of three-dimensional stories, games, and interactive Virtual Reality experiences [Conway 2000], and the Disney/Carnegie Mellon Panda3d System (panda3d.org) has allowed theme park, online, and classroom content creation. When kids use MIT’s Programmable LEGO Bricks, for instance, they can create anything from a robotic creature to a “smart” house to an interactive sculpture to a musical instrument [Resnick 1993][Resnick 1996]. We want users to work on projects that grow out of their own interests and passions – which means that the creativity support tools need to support a wide range of different types of projects.