Matching Items (3)
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- Genre: Art--Study and teaching--Study and teaching (Higher)
- Genre: Creative nonfiction
- Genre: Interactive multimedia--Evaluation.
Description
The purpose of this study was to investigate the impacts of visual cues and different types of self-explanation prompts on learning, cognitive load and intrinsic motivation, as well as the potential interaction between the two factors in a multimedia environment that was designed to deliver a computer-based lesson about the human cardiovascular system. A total of 126 college students were randomly assigned in equal numbers (N = 21) to one of the six experimental conditions in a 2 X 3 factorial design with visual cueing (visual cues vs. no cues) and type of self-explanation prompts (prediction prompts vs. reflection prompts vs. no prompts) as the between-subjects factors. They completed a pretest, subjective cognitive load questions, intrinsic motivation questions, and a posttest during the course of the experience. A subsample (49 out of 126) of the participants' eye movements were tracked by an eye tracker. The results revealed that (a) participants presented with visually cued animations had significantly higher learning outcome scores than their peers who viewed uncued animations; and (b) cognitive load and intrinsic motivation had different impacts on learning in multimedia due to the moderation effect of visual cueing. There were no other significant findings in terms of learning outcomes, cognitive load, intrinsic motivation, and eye movements. Limitations, implications and future directions are discussed within the framework of cognitive load theory, cognitive theory of multimedia learning and cognitive-affective theory of learning with media.
ContributorsLin, Lijia (Author) / Atkinson, Robert (Thesis advisor) / Nelson, Brian (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation is both creative and scholarly, engaging in the technique of "narrative scholarship," an increasingly accepted technique within the field of ecocriticism. The project is framed by my experiences with Spanish and Latino actors as well as activists involved with the 15-M movement in and around Madrid. It takes a "material ecocritical" approach, which is to say that it treats minds, spirits and language as necessarily "bodied" entities, and creates an absolute union between beings and the matter that constructs them as well as their habitat. I apply the lens of Jesper Hoffmeyer's Biosemiotics, which claims that life is at its most essential levels a communicative process. In other words, I will explore how "all matter is 'storied' matter," as well as how the "semiosphere," which is an important concept in biosmiotics, signaling a semiotic environment that predicts and defines all biological bodies/life, the human, the plant and the animal as beings who are made of and involved in semiotic activity, can serve as a basis for union amongst all bodies and provide a model of cooperation rooted in "storytelling." My project aims to embody what Wendy Wheeler describes as ecocriticism's, "syntheses between the sciences and the humanities" It is my strong opinion that creative writing has the power to offer the general public insight into the reasons why new research in biosemiotics is so important to the work that activists are doing to raise awareness of how humans can live responsibly on the only planet that is our home. This will help readers of creative writing and cultural studies scholars understand why they ought to embrace science, especially in literary and cultural studies, as a path to better understanding of the role of the humanities in an increasingly scientifically oriented world.
ContributorsDay, Timothy (Author) / Adamson, Joni (Thesis advisor) / Gutkind, Lee (Committee member) / Flys-Junquera, Carmen (Committee member) / Arizona State University (Publisher)
Created2016
Description
We live in a world of rapidly changing technologies that bathe us in visual images and information, not only challenging us to find connections and make sense of what we are learning, but also allowing us to learn and to collaborate in new ways. Art educators are using one of these new technologies, virtual worlds, to create educational environments and curricula. This study looks at how post-secondary art educators are using Second Life in their undergraduate and graduate level curricula and what perceived benefits, challenges, and unique learning experiences they feel this new educational venue offers. This study uses qualitative and participant observation methodologies, including qualitative interviews, observations, and collection of generated works, to look at the practices of six art educators teaching university level undergraduate and graduate courses. Data are compared internally between the participants and externally by correlating to current research. Art education in Second Life includes many curricula activities and strategies often seen in face-to-face classes, including writing reflections, essays, and papers, creating presentations and Power Points, conducting research, and creating art. Challenges include expense, student frustration and anxiety issues, and the transience of Second Life sites. Among the unique learning experiences are increased opportunities for field trips, student collaboration, access to guest speakers, and the ability to set up experiences not practical or possible in the real world. The experiences of these six art educators can be used as a guide for art educators just beginning exploration of virtual world education and encouragement when looking for new ways to teach that may increase our students' understanding and knowledge and their access and connections to others.
ContributorsSchlegel, Deborah (Author) / Stokrocki, Mary (Thesis advisor) / Erickson, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2014