This study takes a design-based research approach to explore how applications designed for mobile devices could support reflection in learning in K-12 education. Use of mobile devices is increasing in schools. Most of the educational apps support single-person use of interactive learning materials, simulations and learning games. Apps designed to correspond to collaborative learning paradigms, such as collaborative progressive inquiry or projectbased learning, are scarce. In these pedagogical approaches, reflection plays an important role. This paper presents a design-based research study of mobile device apps, ReFlex and TeamUp, that are specifically designed for use in student-centred and collaborative school learning, in which continuous reflection is an important part of the learning process. The design of the apps has relied on earlier research on digital tools for reflection and research about mobile devices in classroom learning. The design of the apps was accomplished as part of the qualitative designbased research conducted with a total of 165 teachers in 13 European countries. As a characteristic for a designbased research, the results of the study are twofold: practical and theoretical. The apps designed, ReFlex and TeamUp, are practical results of the qualitative research carried out in schools with teachers and students to understand the design challenges and opportunities in schools, to renew their pedagogical practices and to take new tools in use. To understand better the capacity of the apps to facilitate reflection, we analysed the apps in light of earlier studies concerning the levels of reflection that digital tools may support and categorizations of affordances that mobile device apps may provide for classroom learning. Our research indicates that there is potential for fostering the practice of reflection in classroom learning through the use of apps for audio-visual recordings.

Across from the makerspace entrance, stacked against the blue-and-white-painted wall, sits the 3D printer queue, consisting of 4 double-stacked tables and 12 3D printers. Connected by network cables, microcomputers and custom-made software, the printers automatically queue prints. Youth and staff can upload files, and the software checks the status of each printer before distributing the files. The printers are almost evenly spaced, suggesting a finished installation, though their visible wiring toppling over the tables makes the workstation appear in-progress. When no 3D printing workshops are being facilitated, some printers run at their own speed, slowly squirting filament across the plane, filling the air with a mellow cacophony of high-and low-pitched sounds while slowly rotating filament spools. Perhaps fastened too loosely, one of the spools bounces onto the floor, unwinding the dark blue filament. As the printer marches on, a former youth and now staff member, Darnel (pseudonym), picks up the spool and winds it back into place. The 3D printer queue as described here has not always had this form. In fact, Darnel joined the makerspace when the first 3D printer kit arrived and the space focused on facilitating AbstractCelebrating hands-on making and technological inventiveness, the Maker Movement promotes the popularity of new makerspaces: learning environments filled with diverse materials for youth's creative projects. Described as "constructionist learning environments," makerspaces can be challenging to design because materials require substantial budgetary investments. Because the practical demands of space and cost often dominate decisions concerning a new makerspace, less attention is paid to how the choice of materials inadvertently limits who uses the space, how learning happens, or how materials in a space will interact and intra-act over time. Building on theories of constructionism and relational materialism to analyze and theorize learning in makerspaces, we take a case-based approach to illustrate the co-development of 3D printing materials, youth and educational programs at an out-of-school makerspace. In the process, we demonstrate the need to rethink the role of materials in human development and educational design. We introduce the concept of materials-to-developwith to explain how objects can be internalized and drive the development of spaces, people and learning opportunities. -to-develop-with 281 web-design workshops for youth. Assembling the first 3D printer kit and being part of the development of the workstation from scattered printers, to a row of 3D printers, and finally to the elaborate 3D printer queue, Darnel and the makerspace programs changed, too. Darnel got to know 3D printer technology, established a 3D printing business that he presented at the White House, and became the first African-American staff member at the makerspace. Programs shifted from web design to 3D printing workshops and finally to pathway programs for youth to become members of the makerspace staff, li...

Two approaches to materiality (i.e. mediated discourse and agential realism) are compared to explore their usefulness in tracking literacies in action and artefacts produced during a play and design activity in a preschool makerspace. Mediated discourse analysis has relied on linguistic framing and social semiotics to make sense of multimodality. Can a multimodal lens grounded in embodied histories of meaning-making unpack sensory exploration, silly repetition and free-wheeling nonsense in children’s playdough play? Barad’s agential realism seems promising for unpacking the sensory and the emergent produced in the materiality, fluidity and messiness of entangled bodies and things in a makerspace. We compare key constructs of mediated discourse and agential realism, comparing interaction and intra-action in video excerpts from two weeks of play with playdough electronics kits in three early childhood classrooms in a US university childcare centre. Mediated discourse analysis of multimodality identified collaborative interaction among players in a small group and tracked a collective flow of materialized knowledge that moved through children’s sharing and collaboration. Agential realism tracked intra-actions among bodies, materials and spaces as transitory becomings and undoings that rupture definitions of sense-making as strategic design that manipulates materials into artefacts or as play that resemiotizes materials into roles and props in dramatized narratives.

Making is a playful exploration of tools and materials to design personally meaningful artifacts, providing a particularly impactful entry point for traditionally underrepresented youth in science, technology, engineering, and mathematics (STEM) fields. However, it remains unclear how these constructionist explorations translate to eventual professional and educational STEM opportunities, especially for women. This paper tracks an exemplary case in a makerspace to theorize, describe, and analyze the behavioral patterns of young women as they engage in making and move toward expertise in STEM. Building on a material-based and constructionist notion of making, we use mediated discourse analysis to examine how recognition (materialized in artifacts as displaying, legitimizing, and circulating emergent STEM expertise) leads to transformational development over time. We introduce the notion of tinkering with development, which conceptualizes playful project design, spatial project placements, and emergent online project sharing as drivers of human developmental trajectories. Implications of this work include a set of design principles to support makerspaces and other constructionist learning environments to foster participation in STEM. Further, implications for constructionist theory and STEM gender representation are discussed. Among the hustle and bustle of a digital filmmaking course, a few youth crowded around an artifact that was pushed against a wall in the urban youth-serving makerspace: a digital jukebox piano, a technologyaugmented player piano that played pop songs and lit up an LED light strip when users pressed keys. The artifact was constructed out of an upright piano similar to those commonly found in schools and was covered in black chalkboard paint that featured drawings of the White House and the US flag. Other emerging technologies were layered on the jukebox piano (see graphical abstract). Most centrally, a Makey Makey computational breakout board adorned the top center and an LED strip was taped along the piano's fallboard. The Makey Makey board and the LED strip were connected to the copper tape-covered piano keys by the visible wires and alligator clips typically used in prototyping. Inside the piano box, copper tape was precariously soldered to the alligator clips, and a bunched up white shirt was placed on top of unused keys to prevent them from sounding notes. When turned on, the screen that was mounted onto the piano's musical board displayed songs that anyone could play by pressing individual piano keys. Once selected, the LED strip lit up to the rhythm of the music. A small, neatly written card on the upper-left corner read the artifact's name and the name of its maker: Sierra, 1 a 15-year-old aspiring photographer who was one of the first female participants at the makerspace who had little interest in electronic tinkering when first joining the program. This lack of interest shifted into a desire to study electronic engineering in college. In what ways did the construction and placement ...

Closing gaps between visionary ideas and classroom practice was the key achievement of the design research and work of the iTEC project. The design activities were based on the traditions of Scandinavian participatory design, activity theory, service design, artistry, and a specifi c view on learning design. Within iTEC, the design research and work brought forward the concept of Learning Activities as a useful mode of communicating new ideas to teachers that provided both challenges and support for overcoming those challenges. Evaluation results showed that Learning Activities were extremely successful. This success led to the need to ensure the continuation of Learning Activity design and production beyond the project. The design approach for creating the Learning Activities was captured for educators in the Edukata toolkit. Radical simplifi cation yielded a model that seems to be valuable for teachers even with small amounts of training. However, the full impact of this model and its applicability in the diverse school learning settings across Europe remains to be validated. In this article we present the design research process and one of its main results: the Edukata toolkit for teachers to design their own Learning Activities to bridge the gap between tie visionary ideas and classroom practice.