All of these issues relate to the applicability of the research to your learning situation, that is, to the confi dence you can put in the results based on the validity of the study. Throughout this book, we report the results of statistical tests of the research we summarize. Therefore, in this section we briefl y summarize how to interpret those statistical tests. Suppose you read a study com...

Previous research on the redundancy principle in multimedia learning has shown that although exact correspondence between on-screen text and narration generally impairs learning, brief labels within an animation can improve learning. To clarify and extend the theoretical and practical implications of these results, the authors of the present research examined the extent to which varying degrees...

Purpose – TV changes in several disciplines concurrently: from analogue to digital, from scheduled broadcasts to on-demand TV on the internet, from a lean-back (passive) to a lean-forward (active) media, from straight watching to the consumption of content connected to additional services, from the sole TV viewer to the viewer being part in social networks and communities regarding to the TV co...

This study investigated the effects of two design principles as prescribed by the cognitive theory of multimedia learning on the situational interest of adult learners in a multimedia-based continuing education training program. One hundred and two adult learners employed by an emergency medical service were randomly assigned to one of three training groups designed to follow modality and redun...

OBJECTIVE To describe how DVDs designed for very young children are constructed, focusing on the formal production features used to present the program content. DESIGN Descriptive study of the concentrations of perceptually salient, nonsalient, and reflective formal features. PARTICIPANTS Fifty-nine DVDs designed for children younger than 3 years. Main Exposure The presence and absence of s...

dolat abadi’s kalidar had been narrated from the intrusive third person point of view. in this way of narration, although the narrator has not physical presence but revealshls his feeling every where in the text. some of critics, like hooshang golshiri, believe that this kind of narration and story telling come from far pasts. the fact is that, the narrator intrusions in kalidar’s stories has m...

In traditional media such as sculpture and painting, but also in film, a static design process is used during the creation phase. In interactive media dramaturgy can permanently change depending on user interaction or dynamic factors. To be consequent visualizations should react on narration changes, so that narrative content and visualization are consistent. Fig. 1: Visual Artists use graphica...

This paper provides a logically precise analysis of agreement and disputes in dialogue. The semantics distinguishes among the public commitments of each dialogue agent, including commitments to relational speech acts or rhetorical relations (e.g., Narration, Explanation, Correction). Agreement is defined to be the shared entailments of the agents’ public commitments. We show that this makes pre...

DLESE Teaching Boxes are metaphors for online assemblies of interrelated learning concepts, digital resources, and cohesive narration that bridge the gap between discrete resources and classroomspecific inquiry-oriented lesson sequences. Currently, technology is being implemented that will support scaleable customizable teaching, creating opportunities for the use of the rich content within dig...