Pokémon is something you do, not just something you read or watch or consume

the most significant stories tend to

Luis actively sought out feedback, new representational tools, and ideas across setting

ad his teachers been attuned to his expertise development earlier, they may have found ways to build on his excellent out-of-school learning skills to reengage him in academic content

n c l o s i n g , t h e c l u b h o u s e w a s c r i t i c a l i n h e l p i n g L u i s t o d e v e l o p t h e k i n d s o f t e c h -nological fl uencies that may position him for further learning and creative work

is teachers were surprised to see what he was able to do, “They were kind of amazed, like they liked it a lot. Their eyes were wide like look-ing at it.”

At the same time, the close attention Luis’s mother paid to his work at the clubhouse allowed her to recognize the importance of capitalizing on his outside interests to motivate his production.

His mother and older brother were central fi gures in the development of his projects

home remained an important context for design.

Luis’s workspace at the clubhouse was frequently crowded with boys who were very much a part of the scene, laughing and giggling while making sound effects, and gesturing with the action fi gures that appear in the movies. They con-tributed ideas and offered advice in terms of what they liked or did not like. In addi-tion to being audience and critic, they also occasionally contributed sound effects to the fi lms.

Luis began to make his own backgrounds for different shots. He also looked for new ideas and solutions to prob-lems online, especially from a site called zipster.com.

While Luis was fi nding his own technical way with the equipment, the clubhouse coordinators recognized and encouraged his incoming interest in fi lm-making and offered new ideas

I just asked [the clubhouse coordinators] what it was and they old me and it was for taping and stuff, so I just started running around taping my friends, trying to do scenes and stuff....”

uis : “Well when I fi rst saw the camera I didn’t know what it was for, and [the clubhouse coordinators] didn’t know either, so my friends and me were just doing stuff, like movies making it look like people were going super fast. Then I started getting ideas about like moving things and then taking pictures.”

o b s e r v ation, interviews, analysis of the artifacts learners create, and data collection through an occasional questionnaire.

Youth who lived in the community served by the Simmons Computer Clubhouse, on average, had much less access to computing tools at home than their Silicon Valley neighbors whose parents worked in the technology industr

hared their technical expertise through informal teaching processes or provided their children with learning resources such as books or new media tools.

hose that can use technology in more advanced ways have typically been deeply supported by parents, peers, or teachers that have expertise

twenty- fi rst-century capacities such as collaboration, knowledge of how to build social networks, man-age information, direct one’s own learning, engage in design, and capitalize on opportunities for distributed cognition and the building of collective intelligence.

pportunities to design and create artwork, movies, games, animations, interactive robots, and other artifacts.

Digital technologies offer children and adolescents rich opportunities to design and create artwork, movies, games, animations, interactive robots, and other artifacts.

d to adapt technology to advance one’s own goals.

” Luis, a skinny dark-haired 13-year-old boy, sits at a computer station in the back corner of the room with a set of plastic action fi gures from the X-men comic series, a basket of play dough, and an Intel Digital Blue stop-animation camera.

new computers with professional design software

A teenage girl sits at a large green table with her head bent over a Venn diagram. A younger boy sits at a nearby computer searching for images on the Internet using Google