After several months of personal journey towards accepting that the coronavirus pandemic is real (see Jandrić 2020a, b), in early March, it dawned on me that the pandemic does not need only so-called essential workers. Self-quarantined after returning from abroad weeks before the Croatian government locked down the country, I immediately wrote an editorial for Postdigital Science and Education and argued that 'While doctors, nurses, politicians, food suppliers, and many other brave people self-sacrifice to support our daily survival, this editorial argues that academics have a unique opportunity, and a moral duty, to immediately start conducting in-depth studies of current events.' (Jandrić 2020c: 234) I had no idea how to even approach these studies, yet I had a strong feeling that something needed to be done urgently. So, I just did what I know best and issued calls for 3 different types of Covid-19-related material to be published in Postdigital Science and Education: short testimonies, longer commentary articles, and full-length original articles. I had no idea how much material I would receive, what this material would look like, and what I would do with this material. I just had a deep gut feeling that we are witnessing a unique time in human history, a once-in-a-lifetime event, that needs to be recorded as it unfolds. For better or for worse, I decided to follow that feeling. This general vision, without a clear idea of what I was doing, paved a bumpy road for the development of this collection. On 17 March 2020, I shared the Call for Testimonies on Postdigital Science and Education social network sites and I emailed it to the journal's mailing list. Based on my previous experience with similar calls, I expected to receive 10 to 15 contributions and produce a standard-length collective article aiming at postdigital dialogue (Jandrić et al. 2019) about the pandemic. Yet my call went 'viral', at least for academic standards, and a couple of weeks later, I had more than 50,000 words written by more than 80 authors. So how do I make sense of all that material? My dear friend and Associate Editor of Postdigital Science and Education, Sarah Hayes, came to my rescue. We first tried to make sense of the contributions using critical discourse

The paper builds on the work of Rossitto et al. on collaborative nomadic work to develop three categories of practice of nomadic collaborative learning groups. Our study is based on interviews, workshops and observations of two undergraduate student's group practices engaged in self‐organised, long‐term collaborations within the frame of Problem and Project Based Learning. By analysing the patterns of nomadic collaborative learning we identify and discuss how the two groups of students incorporate mobile and digital technologies as well as physical and/or non‐digital technologies into their group work. Specifically, we identify the following categories of nomadic collaborative learning practices: “orchestration of work phases, spaces and activities,” “the orchestration of multiple technologies” and “orchestration of togetherness.” We found that for both groups of students there was a fluidity, situatedness and improvisational aspect to how they negotiate the orchestration of their work. Their ways of utilising space, places, technologies and activities over time was a complex interweaving of the digital and physical. We conclude by suggesting that the three categories of practice identified are important for deepening our understanding of nomadic collaborative learning groups.

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Touchscreens are being integrated into classrooms to support collaborative learning, yet little empirical evidence has been presented regarding how children collaborate using touchscreens in classrooms. In particular, minimal research has been directed towards how teachers can design for and guide children's touchscreen-based collaboration. Concurrently, the Programme for International Student Assessment and other international organisations have highlighted collaboration and ICT skills as crucial competencies for mastery in the twentyfirst century. Accordingly, this article presents three narrative cases from a touchscreen project in Denmark, where 41 second-grade children and three teachers from two classrooms participated. The cases are based on ethnographic field data and 150 hours of video footage of natural occurring interaction in classroom settings. The ethnographic field data and video footage are examined using a collaboration model and embodied interaction analysis. Each case presents features of the subtle processes of children's collaboration around touchscreens and teachers' role in designing and guiding such collaboration. Thus, this article illustrates teachers' and children's situated processes of integrating touchscreens for collaborative activities in their classrooms.Keywords: children's collaborative learning; instruction; video analysis; narrative research; twenty-first century skills Introduction For more than three decades, researchers and practitioners have been investigating how computers can best help children learn to collaborate. The concept of collaboration and the use of information and communications technology (ICT) in education have been particularly emphasised in recent policy papers and research reports (Luckin et al., 2012) on so-called twenty-first century skills (Dede, 2010;Voogt & Roblin, 2012). Additionally, the technological development of shareable, mobile, interactive and networked devices (e.g. interactive whiteboards [IWBs], smartphones, tablets, tabletops and touchscreens) has highlighted the relevance and urgency of focusing on how such technologies can help children learn to collaborate. Responding to this development, the Programme for International Student Assessment will begin testing children's collaborative problem-solving skills on an international level in 2015 (Organisation for Economic Co-operation and

In CSCL studies, language is often foregrounded as the primary resource for engaging in collaborative learning, while the body is more often positioned as a secondary resource. There is, however, a growing interest in the body as a resource in learning and collaboration in and outside CSCL. In this paper, we present, analyse, and discuss how two nine-year-old children collaborate through gesturing and moving their bodies around a touchscreen. The pair is working with the concept of scale and area measurement and are in midst of copying their rooms from paper to touchscreen. During this process, the pair engages in a discussion regarding the size of one meter through language, gestures and manipulation of the material resources. The analysis shows two distinct ways of understanding the length of one meter, which primarily are visible through the children's gestures and bodily movements. In the analysis we show how the children dynamically produce bodymaterial resources for communicative and illustrative purposes; moreover, they use body-material resources as a cognitive tool and as a way of shepherding each other. The study forms part of a body of studies analysing and theorizing the body in education, learning, and interaction. We discuss the wider impact of our findings and argue how they may challenge and improve studies relying mainly on a coding and counting approach or automated capture of e.g. gestures. In addition, we provide a detailed multimodal representation of the subtle bodily-material resources, which we argue is a modest contribution to a catalogue of ways of representing and making bodily-material resources visible in CSCL research. Keywordsbodily-material resources for learning * embodied meaning-making practices * touchscreens * video analysis * concept of scale "When the proportions of architectural composition are applied to a particular building, the two-termed relationship of the parts to the whole must be harmonized with a third term-the observer. He not only sees the proportions of a door and their relationship to those of a wall (as he would in a drawing of the building), but he measures them against his own dimensions. This threetermed relationship is called scale." (Britannica Online Encyclopedia, 2014).