<!DOCTYPE article PUBLIC "-//NLM//DTD JATS (Z39.96) Journal Archiving and Interchange DTD v1.0 20120330//EN" "JATS-archivearticle1.dtd">
<article xmlns:xlink="http://www.w3.org/1999/xlink">
  <front>
    <journal-meta />
    <article-meta>
      <title-group>
        <article-title>Between creative process and creative product: DoCENT Mooc for the integration of technology, creativity and learning</article-title>
      </title-group>
      <contrib-group>
        <contrib contrib-type="author">
          <string-name>Luigi</string-name>
        </contrib>
        <contrib contrib-type="author">
          <string-name>Simon</string-name>
        </contrib>
        <contrib contrib-type="author">
          <string-name>Ponti</string-name>
        </contrib>
        <contrib contrib-type="author">
          <string-name>orvo[</string-name>
        </contrib>
        <contrib contrib-type="author">
          <string-name>zio Miglino[</string-name>
        </contrib>
        <aff id="aff0">
          <label>0</label>
          <institution>ISTC-CNR</institution>
          ,
          <addr-line>via San Martino della Battaglia, 44, 00185 Rome</addr-line>
          ,
          <country country="IT">Italy</country>
        </aff>
        <aff id="aff1">
          <label>1</label>
          <institution>University of Naples Federico II</institution>
          ,
          <addr-line>Via Porta di Massa 1, 80133 Naples</addr-line>
          ,
          <country country="IT">Italy</country>
        </aff>
      </contrib-group>
      <abstract>
        <p>In this paper, we describe an approach that integrates in an educational tool, namely a MOOC, creativity and digital aspects. Starting from a brief introduction on the attributes that such an approach must have: creative, digital and “open”, this paper describes how these aspects can find their place in educational contexts, giving birth to creatively digital and digitally creative learning environment.</p>
      </abstract>
      <kwd-group>
        <kwd>Mooc</kwd>
        <kwd>Creativity</kwd>
        <kwd>Technology</kwd>
        <kwd>Learning</kwd>
      </kwd-group>
    </article-meta>
  </front>
  <body>
    <sec id="sec-1">
      <title>Introduction</title>
      <p>Creative, digital and “open” are three key-words to describe socio-cognitive
challenges of our era, pervasive in every aspect of our daily life. Educational research,
mirroring this twist, has generated many methodologies, tools and practices exploiting
the potential of technology in education. However, the effort to bridge technologies
and open resources with creativity in a learning process remains quite low. This paper
describes how creative, open and technological can become the core attributes of new
training approaches and tools.</p>
    </sec>
    <sec id="sec-2">
      <title>Creative, digital and open</title>
      <p>
        Creative. Creativity is a term that indicates the cognitive ability to create and invent
something new and valuable. A wide definition describes creativity as the ability to
generate ideas, insights and solutions that possess the feature to be original and
flexible [
        <xref ref-type="bibr" rid="ref1 ref4 ref6">1, 4, 6</xref>
        ] or original and effective [
        <xref ref-type="bibr" rid="ref5">5</xref>
        ]. Thus, the term “creativity” refers to
Copyright © 2019 for this paper by its authors. Use permitted under Creative Commons License Attribution 4.0 International (CC BY 4.0)
different dimensions about which there is not a shared consensus [
        <xref ref-type="bibr" rid="ref17">18</xref>
        ]. Anyway,
according to Rhodes four Ps model [
        <xref ref-type="bibr" rid="ref16">17</xref>
        ], we can identify four relevant dimensions,
different sides of this complex concept: a. Process; b. Product; c. Press; d. Person. The
first dimension, process, is connected with the cognitive dimension of creativity that
leads to new ideas. In a schematic representation this process can be divided in
different steps: first of all, the problem or the task is identified, thus triggering the
subsequent steps that include preparation, response generation and validation, the
communication to others, at the end, the outcome. Creativity consists in following
these steps in an unforeseen and unusual way, anyway leading to a new product.
Product is indeed the second dimension of creativity and includes material elements
such as artefacts, artworks, innovative tools, as well as immaterial elements including
theoretical perspective, new frame of reference, etc. Also, the external environment,
press, where creative process takes place, plays a relevant role. The fourth dimension
is person and refers to personality and cognitive traits that define a creative person.
They include broad interests, independence of judgement, openness, intrinsic
motivation, creative self-concept [
        <xref ref-type="bibr" rid="ref10 ref11 ref19 ref2 ref7">2, 7,10, 11, 20</xref>
        ].
      </p>
      <p>
        Creativity is therefore important, at individual level, as an individual resource [
        <xref ref-type="bibr" rid="ref20">21</xref>
        ], a
way to adapt and as a latent power. In fact, literature highlighted that creativity could
be interpreted as an individual resource, mostly in terms of adjustment. Indeed,
creativity was considered one of the main personality traits useful both for adaptation
and maladjustment of individuals to environment [
        <xref ref-type="bibr" rid="ref10">10</xref>
        ].
      </p>
      <p>
        Digital. Technology is pervasive in many fields, including education where it has
produced the so-called Technology Enhanced Learning approach (TEL, learning
boosted by technology), a broader and more far-reaching idea than concerns the
impact on learning and teaching. Recent international studies [
        <xref ref-type="bibr" rid="ref21">22</xref>
        ] have in fact
highlighted how the use of tools in digital mode is now part not only of people habits,
but directly affects the cognitive, affective and relational development of individual
from the early stages of life. Moreover, from a socio-relational point of view, it is
evident how the use of new digital technologies (transposed online, see social
networks) is configured as a real form of social activity [
        <xref ref-type="bibr" rid="ref14">14</xref>
        ]. Recently, some research
approaches have proposed to join the digital side to the physical ones [
        <xref ref-type="bibr" rid="ref24 ref25 ref8 ref9">8, 9, 16, 25,
26</xref>
        ], giving an idea of how much is relevant the digital in the present days.
      </p>
      <p>
        Open. "Open" has become a crucial word in the last decade [
        <xref ref-type="bibr" rid="ref12 ref13">12, 13</xref>
        ]. The "open"
philosophy has inspired one of the most important educational movements in the last
decade (Open Access) whose basic idea is to promote shared values and principles in
the way of thinking about creation, organization and sharing of knowledge,
conceptualized as a common good [
        <xref ref-type="bibr" rid="ref23">24</xref>
        ].
      </p>
      <p>
        Teaching/learning contexts have hosted "digital" and "open" idea: the first principle
of the open philosophy in education is that the sharing of "knowledge is a good thing
to do" and the sixth declares: “open sharing will speed up the development of new
learning resources, stimulate internal improvement, innovation and reuse” [
        <xref ref-type="bibr" rid="ref15">15</xref>
        ].
      </p>
    </sec>
    <sec id="sec-3">
      <title>The DoCENT MOOC</title>
      <p>
        MOOC is an open access type of online course (Open Access), which provides for
extensive participation via the web (Massive) based on the use of open educational
materials (OERs) that can be produced by the institutions themselves that organize
these courses, or even taken freely from OER communities. The term MOOC,
acronym of Massive Open Online Course, coined by David Cormier [
        <xref ref-type="bibr" rid="ref3">3</xref>
        ] now refers to
a variety of online and blended courses.
      </p>
      <p>The DoCENT Mooc hosts the first attribute, creative, as well. Indeed, Online modules
in the MOOC focus on how to use the technologies suggested by the project and how
to apply them in educational contexts to promote digital creativity. Following a
sandbox approach, teacher educators will be able to choose among the available
modules, according to their teaching interests, objectives and contexts.</p>
      <p>
        The Docent MOOC covers the main issue of the DoCENT project, Digital Creativity
ENhanced in Teacher education, funded under ERASMUS + framework. It will be
made up of 8 lessons, with textual material and introductory videos. The goal of the
MOOC is to give teachers and teachers' educators some indications to make their
lesson more digitally creative and creatively digital and to describe some tools that
can be included in their teaching routines [
        <xref ref-type="bibr" rid="ref18 ref22">19, 23</xref>
        ].
      </p>
      <p>Moreover, each lesson is enriched by relevant additional materials. The on-line
modules focus on how to prepare teacher educators to teach creatively through digital
technologies. They include the MOOC and the OER.</p>
      <p>According to the project, the curriculum includes the following topics:
- Pedagogical approaches and associated technologies to foster digital creativity, i.e.
GBL (Minecraft, Game Maker, etc.), robotics (e.g. Lego Mindstorm and Wedo), manipulative
and tangible technologies (e.g. Blockmagic)
- Design and application of digital creative learning scenarios, based on teachers’ interests
and areas of expertise
Following this structure, the MOOC index is the following:</p>
      <p>Lesson 1: Digital creativity in education
UNIT 1 - Defining creativity
UNIT 2 - Creative education
Lesson 2: Digital creativity in education: the DoCENT approach
UNIT 1 - DoCENT competence framework for digital creative teaching
UNIT 2 - Digital creative pedagogies: GBL, tangible interfaces, educational robotics and
STEM education.</p>
      <p>Lesson 3: Approaches and tools for integrating digital creativity in Teacher Education
UNIT 1: Game-based learning, gamification and serious games
UNIT 2: DoCENT approach to GBL
Lesson 4: Digital creativity through tangibles interface
UNIT 1: theoretical introduction,
UNIT 2: application and examples
Lesson 5: Digital creativity through educational robotics
UNIT 1: theoretical introduction,
UNIT 2: application and examples
Lesson 6: Digital creativity for STEM education
UNIT 1: theoretical introduction
UNIT 2: application and examples
Lesson 7: Inquiry-based learning
UNIT 1: theoretical introduction
UNIT 2: application and examples
Lesson 8: Evaluation about Digital creativity
UNIT 1: evaluation models and framework,</p>
      <p>UNIT 2: evaluation tools
The DoCENT MOOC is hosted by the Federica platform, that provides:</p>
      <p>- a learning space: the platform will host the learning activities of the MOOC
online modules, the serious game and the OERs.</p>
      <p>- a collaboration space: the platform will offer a wide range of social networking
tools to facilitate communication (either synchronous or asynchronous) and
collaboration, e.g. forum, wiki, blog, chat, online videoconferencing. These
functionalities will facilitate the development of partnerships among teacher educators
and EdTech stakeholders, as well as the creation of a sustainable CoP. Furthermore,
users will be able to upload their own resources (user generated content).</p>
    </sec>
    <sec id="sec-4">
      <title>Conclusion and future directions</title>
      <p>In the challenge that education is called to meet, a relevant role is played by
teachers, as they are, together with students, the leading characters on the education
stage. In education, creativity can stimulate imaginative activity generating outcomes
that are original and valuable in relation to the learner and digital technologies can be
the medium to promote creativity, under the guidance of teachers that promote
creative expression by the means of digital tools, teach how to use digital tools in a
creative way, design, implement and propose to learners creative learning scenarios.
The DoCENT Mooc represents an open digital source, theoretically based and
psycho-pedagogically validated course to explore and boost up teachers’ creativity
processes in order to implement creative educational products, that in turn promote
students creative learning.</p>
    </sec>
    <sec id="sec-5">
      <title>Acknowledgment</title>
      <p>The DoCENT project (Digital Creativity ENhanced in Teacher education) is
cofunded by the Erasmus+ programme of the European Union, in the call Key Activity 2
– Strategic Partnership and runs between October 2017 and September 2019.</p>
    </sec>
  </body>
  <back>
    <ref-list>
      <ref id="ref1">
        <mixed-citation>
          1.
          <string-name>
            <surname>Amabile</surname>
            ,
            <given-names>T. M.</given-names>
          </string-name>
          <article-title>Creativity in context: Update to the social psychology of creativity</article-title>
          . Hachette, UK. (
          <year>1996</year>
          )
        </mixed-citation>
      </ref>
      <ref id="ref2">
        <mixed-citation>
          2.
          <string-name>
            <surname>Amabile</surname>
            ,
            <given-names>T. M.</given-names>
          </string-name>
          <article-title>The social psychology of creativity: A componential conceptualization</article-title>
          .
          <source>Journal of personality and social psychology</source>
          ,
          <volume>45</volume>
          (
          <issue>2</issue>
          ),
          <volume>357</volume>
          (
          <year>1983</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref3">
        <mixed-citation>
          3.
          <string-name>
            <surname>Cormier</surname>
            ,
            <given-names>D.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Stewart</surname>
            ,
            <given-names>B.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Siemens</surname>
            ,
            <given-names>G.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>McAuley</surname>
            ,
            <given-names>A.</given-names>
          </string-name>
          .
          <source>What is a MOOC?</source>
          (
          <year>2010</year>
          )
        </mixed-citation>
      </ref>
      <ref id="ref4">
        <mixed-citation>
          4.
          <string-name>
            <surname>Craft</surname>
            ,
            <given-names>A.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Cremin</surname>
            ,
            <given-names>T.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Burnard</surname>
            ,
            <given-names>P.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Dragovic</surname>
            ,
            <given-names>T.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Chappell</surname>
            ,
            <given-names>K.</given-names>
          </string-name>
          <article-title>Possibility thinking: culminative studies of an evidence-based concept driving creativity?</article-title>
          .
          <source>Education 3-13</source>
          ,
          <issue>41</issue>
          (
          <issue>5</issue>
          ),
          <fpage>538</fpage>
          -
          <lpage>556</lpage>
          (
          <year>2013</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref5">
        <mixed-citation>
          5.
          <string-name>
            <surname>Cremin</surname>
            ,
            <given-names>T.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Craft</surname>
            ,
            <given-names>A.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Clack</surname>
          </string-name>
          , J. Creative Little Scientists:
          <article-title>Enabling creativity through science and mathematics in preschool and first years of primary education, D2. 2. Literature Review of Creativity in Education (</article-title>
          <year>2012</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref6">
        <mixed-citation>
          6.
          <string-name>
            <surname>Csikszentmihalyi</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          :
          <article-title>Creativity, fulfillment and flow</article-title>
          .
          <source>TED</source>
          (
          <year>2008</year>
          )
        </mixed-citation>
      </ref>
      <ref id="ref7">
        <mixed-citation>
          7.
          <string-name>
            <surname>Csikszentmihalyi</surname>
            ,
            <given-names>M.:</given-names>
          </string-name>
          <article-title>The creative personality</article-title>
          .
          <source>Psychology today</source>
          ,
          <volume>29</volume>
          (
          <issue>4</issue>
          ),
          <fpage>36</fpage>
          -
          <lpage>40</lpage>
          (
          <year>1996</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref8">
        <mixed-citation>
          8.
          <string-name>
            <surname>Di</surname>
            <given-names>Fuccio</given-names>
          </string-name>
          ,
          <string-name>
            <given-names>R.</given-names>
            ,
            <surname>Ponticorvo</surname>
          </string-name>
          ,
          <string-name>
            <given-names>M.</given-names>
            ,
            <surname>Ferrara</surname>
          </string-name>
          ,
          <string-name>
            <given-names>F.</given-names>
            , &amp;
            <surname>Miglino</surname>
          </string-name>
          ,
          <string-name>
            <surname>O.</surname>
          </string-name>
          :
          <article-title>Digital and multi-sensory storytelling: narration with smell, taste and touch</article-title>
          .
          <source>In European Conference on Technology Enhanced Learning</source>
          (pp.
          <fpage>509</fpage>
          -
          <lpage>512</lpage>
          ). Springer, Cham (
          <year>2016</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref9">
        <mixed-citation>
          9.
          <string-name>
            <surname>Ferrara</surname>
            ,
            <given-names>F.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Ponticorvo</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          ,
          <string-name>
            <given-names>Di</given-names>
            <surname>Ferdinando</surname>
          </string-name>
          ,
          <string-name>
            <given-names>A.</given-names>
            ,
            <surname>Miglino</surname>
          </string-name>
          ,
          <string-name>
            <surname>O.</surname>
          </string-name>
          :
          <article-title>Tangible Interfaces for Cognitive Assessment and Training in Children: LogicART</article-title>
          .
          <source>In Smart Education and eLearning 2016</source>
          (pp.
          <fpage>329</fpage>
          -
          <lpage>338</lpage>
          ). Springer International Publishing (
          <year>2016</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref10">
        <mixed-citation>
          10.
          <string-name>
            <surname>Karwowski</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Lebuda</surname>
            ,
            <given-names>I..:</given-names>
          </string-name>
          <article-title>The big five, the huge two, and creative self-beliefs: A meta-analysis</article-title>
          .
          <source>Psychology of Aesthetics, Creativity, and the Arts</source>
          ,
          <volume>10</volume>
          (
          <issue>2</issue>
          ),
          <volume>214</volume>
          (
          <year>2016</year>
          )
        </mixed-citation>
      </ref>
      <ref id="ref11">
        <mixed-citation>
          11.
          <string-name>
            <surname>Ivcevic</surname>
            ,
            <given-names>Z.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Mayer</surname>
            ,
            <given-names>J. D.</given-names>
          </string-name>
          <article-title>Creative types and personality</article-title>
          . Imagination, Cognition, and Personality,
          <volume>26</volume>
          ,
          <fpage>65</fpage>
          -
          <lpage>86</lpage>
          (
          <year>2006</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref12">
        <mixed-citation>
          12.
          <string-name>
            <surname>Lane</surname>
            ,
            <given-names>A.</given-names>
          </string-name>
          :
          <article-title>A review of the role of national policy and institutional mission in European Distance Teaching Universities with respect to widening participation in higher education study through open educational resources</article-title>
          .
          <source>Distance Education</source>
          ,
          <volume>33</volume>
          (
          <issue>2</issue>
          ),
          <fpage>135</fpage>
          -
          <lpage>150</lpage>
          (
          <year>2006</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref13">
        <mixed-citation>
          13.
          <string-name>
            <surname>Materu</surname>
            ,
            <given-names>P.</given-names>
          </string-name>
          <article-title>Open source courseware: A baseline study</article-title>
          . Washington: World Bank (
          <year>2004</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref14">
        <mixed-citation>
          14.
          <string-name>
            <surname>Nardi</surname>
            ,
            <given-names>B. A.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Schiano</surname>
            ,
            <given-names>D. J.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Gumbrecht</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Swartz</surname>
            ,
            <given-names>L.</given-names>
          </string-name>
          <article-title>Why we blog</article-title>
          .
          <source>Communications of the ACM</source>
          ,
          <volume>47</volume>
          (
          <issue>12</issue>
          ),
          <fpage>41</fpage>
          -
          <lpage>46</lpage>
          , (
          <year>2004</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref15">
        <mixed-citation>
          15. OECD.:
          <article-title>Giving Knowledge for free: the Emergence of Open Educational Reosurces</article-title>
          . Paris: OECD (
          <year>2007</year>
          ).
          <fpage>16</fpage>
          .
          <string-name>
            <surname>Ponticorvo</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Di</surname>
            <given-names>Fuccio</given-names>
          </string-name>
          ,
          <string-name>
            <given-names>R.</given-names>
            ,
            <surname>Ferrara</surname>
          </string-name>
          ,
          <string-name>
            <given-names>F.</given-names>
            ,
            <surname>Rega</surname>
          </string-name>
          ,
          <string-name>
            <given-names>A.</given-names>
            ,
            <surname>Miglino</surname>
          </string-name>
          ,
          <string-name>
            <surname>O.</surname>
          </string-name>
          <article-title>: Multi-sensory Educational Materials: Five Senses to Learn</article-title>
          .
          <source>In International Conference in Methodologies and intelligent Systems for Techhnology Enhanced Learning</source>
          (pp.
          <fpage>45</fpage>
          -
          <lpage>52</lpage>
          ). Springer, Cham (
          <year>2018</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref16">
        <mixed-citation>
          17.
          <string-name>
            <surname>Rhodes</surname>
            ,
            <given-names>M.:</given-names>
          </string-name>
          <article-title>An analysis of creativity</article-title>
          .
          <source>Phi Delta Kappan</source>
          .
          <volume>42</volume>
          :
          <fpage>305</fpage>
          -
          <lpage>310</lpage>
          (
          <year>1961</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref17">
        <mixed-citation>
          18.
          <string-name>
            <surname>Runco</surname>
            ,
            <given-names>M.A.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Jaeger</surname>
            ,
            <given-names>G.J.:.</given-names>
          </string-name>
          <article-title>The standard definition of creativity</article-title>
          .
          <source>Creativity Research Journal</source>
          ,
          <volume>24</volume>
          ,
          <issue>9296</issue>
          (
          <year>2012</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref18">
        <mixed-citation>
          19.
          <string-name>
            <surname>Sefton-Green</surname>
            ,
            <given-names>J.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Brown</surname>
          </string-name>
          , L. .
          <article-title>: Mapping learner progression into digital creativity (</article-title>
          <year>2014</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref19">
        <mixed-citation>
          20.
          <string-name>
            <surname>Sica</surname>
            ,
            <given-names>L.S.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Ragozini</surname>
            ,
            <given-names>G.</given-names>
          </string-name>
          , Di Palma,
          <string-name>
            <given-names>T.</given-names>
            ,
            <surname>Aleni</surname>
          </string-name>
          <string-name>
            <surname>Sestito</surname>
          </string-name>
          ,
          <string-name>
            <surname>L.</surname>
          </string-name>
          :
          <article-title>Creativity as Identity Skill? Late Adolescents' Management of Identity, Complexity and</article-title>
          <string-name>
            <surname>Risk-Taking</surname>
          </string-name>
          ,
          <source>The Journal of Creative behavior</source>
          , (
          <year>2017</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref20">
        <mixed-citation>
          21.
          <string-name>
            <surname>Sternberg</surname>
            ,
            <given-names>R. J.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Lubart</surname>
            ,
            <given-names>T. I..</given-names>
          </string-name>
          : Investing in creativity.
          <source>American psychologist</source>
          ,
          <volume>51</volume>
          (
          <issue>7</issue>
          ),
          <volume>677</volume>
          (
          <year>1996</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref21">
        <mixed-citation>
          22.
          <string-name>
            <surname>Subrahmanyam</surname>
            ,
            <given-names>K.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Šmahel</surname>
            ,
            <given-names>D.</given-names>
          </string-name>
          <article-title>Constructing identity online: Identity exploration and self-presentation</article-title>
          . In Digital youth (pp.
          <fpage>59</fpage>
          -
          <lpage>80</lpage>
          ). Springer, New York, NY (
          <year>2011</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref22">
        <mixed-citation>
          23.
          <string-name>
            <surname>Wands</surname>
            ,
            <given-names>B.</given-names>
          </string-name>
          <article-title>Digital creativity: Techniques for digital media and the Internet</article-title>
          . John Wiley &amp; Sons (
          <year>2002</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref23">
        <mixed-citation>
          24.
          <string-name>
            <surname>Willinsky</surname>
            ,
            <given-names>J.:</given-names>
          </string-name>
          <article-title>The access principle: The case for open access to research and scholarship</article-title>
          . MIT Press, Cambridge, Mass. (
          <year>2006</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref24">
        <mixed-citation>
          25.
          <string-name>
            <surname>Miglino</surname>
            ,
            <given-names>O.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Gigliotta</surname>
            ,
            <given-names>O.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Ponticorvo</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          , e Nolfi, S.: Breedbot:
          <article-title>An edutainment robotics system to link digital and real world</article-title>
          .
          <source>Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics)</source>
          , vol.
          <volume>4693</volume>
          LNAI, n.
          <source>PART 2</source>
          , pagg.
          <fpage>74</fpage>
          -
          <lpage>81</lpage>
          , (
          <year>2007</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref25">
        <mixed-citation>
          26.
          <string-name>
            <surname>Broz</surname>
            ,
            <given-names>F.</given-names>
          </string-name>
          , et al.:
          <article-title>The ITALK project: A developmental robotics approach to the study of individual, social, and linguistic learning</article-title>
          .
          <source>Topics in Cognitive Science</source>
          , vol.
          <volume>6</volume>
          , n. 3,
          <issue>pagg</issue>
          .
          <fpage>534</fpage>
          -
          <lpage>544</lpage>
          . (
          <year>2014</year>
          ).
        </mixed-citation>
      </ref>
    </ref-list>
  </back>
</article>