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Small world play

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Small world play offers some special learning opportunities for children. Acting out narratives

and ideas through the manipulation of small equipment (animals, dolls, Lego people etc) helps

children to reflect on feelings and events in their lives in a safe way. Small world play is also richin possibilities for learning about spaces and positions, with many opportunities for putting

things inside structures, on top, next to and underneath.

Doll play is also carefully presented and structured. Each doll has clothes, bedding etc which fit

and the children are encouraged to imagine the dolls as a real person and respect them as such:we discourage the naked doll face down in the water tray, and other forms of play which devalue

the dolls and limit the imaginative richness of play.

Dolls, clothes and bedding all reflect a range of cultural practices. Children are encouraged to

take dolls out, push them in prams and take them around with the same care and respect theywould show a baby: if children simply want an object to put somewhere and zoom around, then

an alternative is found.

Small world play as a context for development and learning in the EYFS Edit

Small world play supports childrenspersonal, social and emotional developmentby providing

opportunities to enjoy familiar and new play equipment, with others or individually, developingconfidence and autonomy, and sometimes involvement for long periods of time. Small world

play provides a context for children to make connections with others, drawing them into their

play. In play, children can explore and experiment with different emotions and play out aspectsof their experiences.

Small world play also helps childrens developingcommunication, language and literacy as theyvocalise, make sounds, talk about what they are doing and collaborate with others. It is a good

way to experiment with the language of possession and position. Children will sometimesdevelop narratives with others, having to listen to and take account of different ideas and

negotiate. Small world play is sometimes set-up to extend book experiences (e.g. the props for

the Very Hungry Caterpillar) or first-hand experiences (e.g. trains and blocks following a trip onthe underground); this allows children to reflect on experience or a story, sequence actions and

events, and reflect on experiences and feelings.
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Children can develop theirproblem-solving, reasoning and numeracyby exploring sets of

objects, holding things in their hands and grouping them together, experiencing things that are

larger and smaller, using language like more and a lot, and counting. Small world playprovides problems to solve: sorting objects by their properties (e.g. putting all the farm animals

in the farm) and finding out about adding and taking items away from sets, and finding the total

number by counting. Children can also explore capacity and size e.g. dressing dolls, buildingtrain tracks, and position e.g. putting Lego people into a house.

Small world play is also a context for children to expand theirknowledge and understanding of

the world, exploring objects with all their senses, finding out about causes and effects (e.g. how

pushing the train makes it move along the tracks) and exploring ideas about the world throughplay (e.g. a garage set, farm or train station).

Theirphysical development is supported with opportunities to develop large and small motor

skills and hand-eye co-ordination during play.

Childrens creative development is supported as they enjoy and respond to familiar playthings,making noises and movements, and start to pretend and in time develop stories, sometimes based

on their own life experiences.

What Is Constructive Play?

By Elisabeth Dahl, eHow Contributor

updated: February 23, 2010

Constructive play can involve fitting pieces together to create something new.

For children, playtime can be as much of a learning experience as classroom work. Children

at play learn to interact with one another, use their imaginations and follow game rules. One

valuable type of play is known as constructive play.

Definition

1. In constructive play, children build larger objects out of smaller ones or otherwisemanipulate their environment. Constructive play can involve a variety of activities, includingstacking, rearranging, assembling, disassembling, drawing and molding.
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Examples

2. Kids building sandcastles on a beach or snowmen in their back yard are engaged inconstructive play, as are children making towers out of wooden or plastic building blocksand those gathered around a train table, rearranging the tracks.

Improving Skills

3. According to Francis Wardle, PhD, writing for EarlyChildhoodNews.com, the benefits ofconstructive play are numerous. For instance, manipulating objects helps kids develop skillsin various activities, such as stacking or drawing.

Building Confidence

4. Wardle also notes that completing constructive-play projects gives children a sense ofsatisfaction, improves their confidence and gives them some control over their environment.

Other Types of Play

5. Constructive play is one important type of play. Other types include social play, fantasyplay, motor play and game play. As children grow and their interaction with the worldbecomes more complex, play continues to support their growth and development.

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Read more:What Is Constructive Play? | eHow.com

http://www.ehow.com/facts_6019038_constructive-play_.html#ixzz1FF1Aw8P0

http://www.gamasutra.com/view/feature/4061/dramatic_play.php?print=1

Dramatic Play

A New ParadigmWhat is the future of video games? This is a large, if not insurmountable question, especially

when considering the increasing diversification of styles within the medium. Indie, casual,

core, mature -- the labels continue to proliferate, identifying specialized niches of styles,

however real or unreal, within the larger medium.

Forming at present is a new niche, one that threatens to pull away from the classic play-

centric design paradigm. It's forming in the cubicles over at Visceral, at BioWare, at Ubisoftand at 38 Studios.

Many studios are aiming with different titles and terms, but the goal is to transplant theplayer into the video game by all means of his visual and aural faculties -- into a believable

drama where he is actor. This is dramatic play; interactive drama that utilizes interaction,rather than description, to tell a story.

Aristotle began the movement some 2300 years ago with his Poetics, dissecting plays into

clear parts and functions [Aristotle 330 BCE]. Some 2000+ years later, Richard Wagner sawa dissolving of the fourth wall of theater, bringing the audience into the play as actors so

that the stage art may breathe like life, and seemed to them to be as expansive as the realworld [Wagner 1859].

Through the next 130 years various studies and pioneers would set out on a pursuit to hit

that mark: happenings, video installations, virtual reality, just to name a few. Though thetarget was never reached and the pursuit itself seemed to fall into the land of the obscure,

and intellectual, without much effect on the everyday life of the public and how theyexperience stories. With the dawn of popular video game culture, the pursuit has gained a

refined focus.

Janet Murray described how it would feel in Wagner's world of immersive interactive story[Murray 1998], and most recently Michael Mateas with his creation Faade and theaccompanying paper Interactive Drama, Art, and Artificial Intelligenceset out a detailed

approach to creating dramatic systems [Mateas 2002].

This seemingly obscure pursuit has leaked, via some osmosis, into contemporary AAA video

game development, manifesting in such titles asJade Empire, Dead Space, Far Cry 2, World

of Warcraftandthe author's own Company of Heroes.
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These games seek to immerse the player in a dramatic role play, whereby they assume therole of character in a different time and place, and whose actions and presence having

meaning in the world as designed.

Dramatic play is the new niche these games expound upon, a paradigm that is the focus ofinteractive narrative design, a craft that meets at the apex of ludology and narratology and

conjoins the theories into functional video game development methodologies (see Figure 1).

Figure 1: Interactive Narrative Design

Ludologyis the theory of play commonly used by contemporary game makers in the pursuit

to understand and craft interactive systems. Playis defined as "movement within a system"[Salen, Zimmerman 2003].

Narratologyis the theory of narratives, which is utilized by writers, critics, and academics,to understand the parts and functions of narrative texts, cultural artifacts that "tell a story"

[Bal 1994]. Narrative is dramatic text that engages the reader in a pattern. Interactivenarrative is a dramatic text that engages the player in a meaningful participatory pattern.

The Player as ReaderThe game system fires up, the cooling fans roar, and the once-black screen ignites.Immediately the player engages the video game and encounters stimuli: text, main menus,

loading screens, cinematics, play mechanics, player characters, non-player characters, etc.They take witness and navigate the system using designed actions, play mechanics.

Using these mechanics, the player acts as an agent within the participatory dramaticspectacle. An agentis a person or thing that takes an active role. The player moves forward


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through a series of events acting with designed mechanics to bring about change in thesystem in order to achieve some desired outcome.

To actis to cause or experience events. An eventis a transition from one state to another.

As a player acts he assembles a series of logical and chronologically related events, afabula. This is the story, a series of events cognitively assembled and perceived by the

player. The player authors this through the reading of the text.

"A narrative text is a text in which an agent relates a story in a particular medium," [Bal1994]. The video game is related, or narrated, by the video game engine to the player

through both active and passive means.

Text, imagery, feedback, sound, and temporal sequences are read, perceived and judged.

The game engine presents a narrative text to the player and says read me; understandwhat I am; and immerse yourself in the simulation.

Some are better readers or better players, but all the players read and absorb theexperience. As the player progresses in his play these judgments about the events,

experienced as a result of his actions, cause him to modify his play to produce desiredresults.

Reading allows the player to determine the next action needed to achieve a specificobjective, or "object of desire". The story is needed by the player to convey the subjective

meaning associated with the narrative read in the video game. A dramatic pattern thatwhen assembled by the player creates a [player] story; a communication about the way

things are within a particular system.

Dramatic Patterns: Constructing

Interactive Narrative SystemsAristotle's Poetics is a classic text that was the first to identify clear patterns and structure

in narrated stories. The narrative design system of six hierarchal categories serves as botha tool for storytellers and critical study: Plot, Character, Thought, Language, Pattern,

Spectacle -- the parts of a play. These all are related by formal and material causes (seefigure 2).


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Figure 2: Classical Dramatic Theory

Material cause is the material with which a spectacle is created; a formal cause is the"object of desire" (desired outcome) toward which a plot is headed. Theplotis a

constructed series of events by which a writer tries to expound on a theme.

The characters are formally caused by plot; the characters in turn are formed by theirthought, the first step in creation. This thought translates to language, which within a

temporal period becomes a dramatic pattern that forms a spectacle, caused by the actions

of characters.

The material cause works in reverse moving the audience from spectacle to plot. When a

drama is successful the audience experiences catharsis, a realization of the formal causes ofa spectacle, the ever elusive "a-ha" moment, which is so often missed and misunderstood.

This constructivist system attempts to dissect how both the audience and writer tounderstand the structure of drama.

With time the constructivist approach evolved further. Vladimir Prop created a formulaic

system to deconstruct the narrative systems of Russian fairytales [Prop 1968] He took textsand broke them down into formula of elements (variables, values, functions) that when read


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create a meaningful narrative. They could be mixed and remixed to create believable, albeit"unauthored", texts resembling the authored parents from which they were derived.

He worked backwards, starting with meaningful patterns, dissecting the texts to identify the

narremes, parts and functions, fundamental to their narrative systems. Prop's dissection offables further suggested that a constructivist approach to story was possible; it seemed

system design was inherent to these stories.

One man's system has been the feature of many of Game Developers Conference lectures,Joseph Campbell's The Hero's Journey.

While a wonderful framework to understand the structure of myth, like Prop's, thesesystems were never meant for constructing stories, but to understand the structure of

cultural artifacts, texts.

Narrative design works in the opposite manner. It is a narratological craft that focuses on

the structuralist, or literary semiotic creation of stories [Dinehart 2008]. Narremes(variables, values, functions) are formulated into designed patterns to create a cohesive

narrative structure.

Interactive narrative design works in a similar manner, creating parts and functions to

design and develop interactive narratives systems; ones that deliver meaningful textsfocused on core play experiences of a visceral nature.

The aim is to create a cathartic immersive interactive world with a meta, or arch, narrativefacilitated through designed dramatic play.

Similar to the neo-Aristotelian approach proposed by Mateas [Mateas 2002] the theory ofinteractive narrative presented here takes the narratological model of Aristotelian theory,

and alters it with the considerations of ludology and AAA video game design. Here the plot

is a constructed series of events by which an interactive designer tries to expound on atheme. The plot formally causes the player character (PC).

The PC is formally caused by their designed actions, the feedback produced by the system aformal result of player actions, this feedback loop forms a pattern, and this pattern forms a

spectacle. Again here the material cause works in reverse moving the player from spectacle

to plot (See Figure 3).


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Figure 3: Interactive Dramatic Theory

Dramatic play systems invite the player to co-create a plot through a world that is

influenced, if not shaped, by their actions. In this role play, the question is begged of theplayer "what kind of character do you want to be?" Begetting the formation of a particular

desire in the player, a desire to be. By actively pursuing that desire, the player becomes anactive protagonist.

In taking action, trying to achieve that character, to be the person he desires, conflictsnaturally emerge. As Robert McKee would have it, the "gap" opens up. That is the gap

between what is in actuality, and the goal of achieving what is desired [McKee 1997].

It is in this basic human conflict of wanting we have drama. Drama is a serious play of

human conflict. Interactive narrative creates more engaging game conflict. Conflict whichplays on a players own desires to act and achieve; engaging the player in a participatory

dramatic pattern that is focused on a concise themed communication.

Interactive narrative design is a craft that aims at creating dramatic play systems. Systemsthat deliver narremes, narrative elements, to a player so that they may cognitively craft a

story based on their navigation within said system. When successful the player authors aplot-driven text based on their experience within the played video game.


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Figure 4: Dramatic Play

While the aims of interactive narrative design are similar to game writing and game design,

and surely involves many of their crafts, interactive narrative design makes story to takecenter stage so that the systems engaged by the player are delivered in continuity with a

core thematic vision [Dinehart 2008]. This is surely a both present and future art, a fusion

of drama, games ,and interactive media, one that is here called dramatic play(See Figure4).

The Artwork of the Future

The video game industry now stands on a threshold, ready to create a new form of story --

an interactive one. As video game products increase in diversification that new form exists,forming a yet to be named niche within the medium whose aim is dramatic play.

It is at the intersections of interactive media, games, and drama that dramatic play exists.

It's been a long time coming; for over 150 years people have been trying to bring it forth.

Heralding it most was Richard Wagner, ever famous German composer and theorist. He

called this new form "Gesamtkunstwerk", or "the total artwork", the embodiment of all thearts into one fusion in which the fourth wall [screen] is dissolved and the spectator becomes

actor-player.

Drawing from an adapted definition of his total artwork, the Gesamtkunstwerk is described

as the artwork of the future, a work that transplants the player into a dramatic space by all


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means of his visual and aural faculties, making one forget the confines of reality; to live andbreathe in the drama which seems to the player as life itself, and on in the work where

seems the wide expanse of a whole world [Wagner 1859]. The key to this dramatic play isthe craft of interactive narrative design.

As the videogame industry slowly changes to see interactive narrative as a viable enterprise

it will beget the total artwork of the 21st century, dramatic play. Or as Dr. Greg Zeschuk offamed narrative-driven developer BioWare put it recently, at the GDC Canada conference,"What [video games] are going to be in the next 30 years is limited only by, we think, the

imagination... We're the creators; it's an exciting role to have. Narrative is one of the mostpowerful forms of expression," [Remo 2009].

References1. Aristotle. Poetics. 330 BCE

2. Wagner, Richard. The Art Work of the Future. Kessinger Publishing, 2004.

3. Zimmerman, Eric and Salen, Katie. The Rules of Play. MIT Press, Cambridge MA 2003

4. Bal, Mieke. Narratology. University of Toronto Press. 19945. Mateas, Michael. Interactive Drama, Art, and Artificial Intelligence. 2002

6. Murray, Janet. Hamlet on the Holodeck. MIT Press, Cambridge MA 19987. Propp, Vladimir. Morphology of the Folk Tale. University of Texas Press, Austin, Texas

1968.8. Dinehart, Stephen. "Defining Narrative Design". The Narrative Design Exploratorium

2008.9. Mckee, Robert. Story: Substance, Style, and the Principles of Screenwriting. Regan

Books, 1997.10. Dinehart, Stephen. "Defining Interactive Narrative Design". The Narrative Design

Exploratorium 2008.11. Remo, Chris. GDC Canada: Bioware Bosses Talk The Future of Storytelling. Gamasutra

2009.

Return to the full version of this article with comments

Copyright 2010 UBM Techweb

About Playtray

Playtray is a tray designed for the Stokke Tripp Trapp chair. Playtray can be used when eating, playing and drawing

and makes life easier for the child as well as its parents.

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strap. The strap is mounted on the tray as a safety strap so that the child doesn't slip under the tray.

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When our oldest son Tobias was little and was learning to eat and drink on his own we were out looking for a tray to

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If your child is sitting in a Stokke Tripp Trapp chair Playtray is able to help both you and your child by making it fun to

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15/19


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Mounting Playtray

Documents

About Playtray

Playtray is a tray designed for the Stokke Tripp Trapp chair. Playtray can be used when eating, playing and drawing

and makes life easier for the child as well as its parents.

Playtray is solid and safe. Has been tested for pressure and resistance. Playtrays soft and round design makes it

easy to mount and clean. Playtrays plastic surface is easy to wipe of and is very resistant to marks from forks and
http://playtrayusa.com/#The%20storyhttp://playtrayusa.com/#Mountinghttp://playtrayusa.com/#henthttp://playtrayusa.com/#The%20storyhttp://playtrayusa.com/#Mountinghttp://playtrayusa.com/#hent


17/19

spoons. It has an edge that keeps spilled milk from running to the floor when the cup tilts.

On some chairs Playtray can be mounted on the original Tripp Trapp harnish or you can use the enclosed Playtray

strap. The strap is mounted on the tray as a safety strap so that the child doesn't slip under the tray.

Playtray is designed by the Danish designer Carsten Buhl. The design has been registered in EU. The tray is made of

transparent plastic with a non-scratch surface which gives it an exclusive look. Playtray is produced in Denmark.

Material :K-Resin RK150 (SBC), which is FDA approved. Playtray is FREE of phthalates, PVC and bisphenol-a.


November 2006

When our oldest son Tobias was little and was learning to eat and drink on his own we were out looking for a tray to

mount on our Stokke Tripp Trapp chair, but with no success. We were tired of the mess he made at the meals and ofpicking up his toys when he was playing at the table. Because of this irritation we often fed him in order to avoid this

mess, and therefore it took him a long time to learn to eat on his own.

In 2005 our twins Teis and Tilde were born and now we had twice the mess. We now had two more Tripp Trapp

chairs and still no trays, so we decided to do something about it. With our idea and the drawings from the Danish

designer Carsten Buhl we developed a tray that was very functional and at the same time in a design that suited the

excellent Tripp Trapp chair design.

The name was Playtray.

If your child is sitting in a Stokke Tripp Trapp chair Playtray is able to help both you and your child by making it fun to

learn to eat and drink on their own. Playtray is also a great help when the child is drawing and painting, because the

paint stays on the tray and is not spilled on the table or floor.

With best regards

Helle Kornerup

Owner, 4mykid aps


18/19

To the top>>

Mounting Playtray

Playtray is very easy to mount on the Stokke Tripp Trapp chair. The tray is slipped onto the sides of the chair, as

shown on the below pictures. Playtray glides automatically on place and does not have to be fixated in any way.

When Playtray needs to be cleaned it is easily taken of the chair and washed in the zink or wiped off.

Tambahan pengenalan

Everyday routines and play events offer rich opportunities for teaching your children about

mathematics. Integrating math into all parts of the day multiplies the learning and gives your

young children an understanding that math is part of everyday life.

During the early years of life, children play with concepts of size, number, shape, and quantity.

They discover that objects exist, can be moved, and can be fitted together. As they acquire

language, children begin to make statements indicating their knowledge of mathematical

concepts. Their play and language form the basis for learning about math in natural ways, andone great way to integrate math involves hands-on activities and problem-solving situations that

pique your children's curiosity.

For example, try constructing a math puzzle with three empty glasses. In the first glass, pour themilk up to the brim. Fill the second glass halfway, and leave the third glass empty. Then ask your

children to identify which glass is empty, which is full, and which is one-half full.

Most preschool-aged children will understand the meaning of full, and will be able to identify the

full glass of milk. Many young children will also understand the concepts of empty and more,but several may have trouble with half and less.

You can explore these same concepts through a grocery shopping game. Give your children

plastic cups and containers of dried beans. Ask them to take three cups and to fill one cup full of

beans, leave one cup empty, and fill the third cup with fewer beans than the full cup but morethan the empty one. Through these repeated interactions and dialogue, your young children can

learn some of the vocabularyand concepts that underlie mathematics such as equations, fractions

and the notion of zero.

Measuring tapes or other measuring tools, whether in standard or nonstandard units, also createenjoyable learning activities. For example, your children can use them to measure blocks. They
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may also measure blocks using smaller blocks and then compare the results to see which block is

longer or which is thicker.