In this paper, we study the interactional organization of an instructed object exploration among sighted and visually impaired people (VIPs) in order to contribute to studies of instructional activities and the observable accomplishment of haptic perception. We do this by showing the situated, interactional, and co-operative organization of achieving object understanding. We focus on the dynamics of haptic perception as being reliant on instructions, while at the same time being an observable production that furnishes further instructions. We show the organization (...) of visual and verbal instructions versus the touching of objects for haptic perception. Based on ethnomethodological conversation analysis of video data, we study a VIP’s haptic actions in interaction with a professional, sighted ICT consultant who provides instructions on what an object is and what it can do. We show how the instructions are sequentially adjusted to make them relevant for a simultaneous, emerging exploration in which the VIP uses their hands and fingers to perceive very specific details of the object. We argue that achieving object understanding is accomplished in and through the fine-tuned coordination of haptic exploration, both as a response to verbal instructions and also as a means of conveying perception-related actions, which the ICT uses to build new actions. The paper thus makes a case for instructed and distributed haptic perception as observable in social interaction and as a resource for building object understanding within phenomenal fields. (shrink)

Persons with visual impairments (hereafter PVI) detect and discover obstacles and road conditions by touching with a white cane when walking on the streets. In one training session, an Orientation and Mobility specialist (hereafter SPT) guided a PVI by grasping and moving the cane that the PVI was holding. We conducted a multimodal analysis of two instruction sequences, one a "proving and achieving" demonstration (Sacks in Lectures on conversation, Blackwell, 1992) and the other a "learnable" (Zemel and Koschmann, (...) in Discourse Stud 16:163–183, 2014) demonstration. The achieving demonstration proved the assessment of the PVI's performance. In the "learnable" demonstration, the PVI was able to receive and perform the most critical part of the "learnable" of the long contact touch without the aid of talk. Sharing a single cane touch is an efficient way for both the guiding SPT and the guided PVI to jointly experience and understand the environmental features. The SPT did not need to verbally confirm that the guided touch was accountable to the PVI and seemed confident that intersubjectivity with the PVI had been established. A unique form of being with others and achieving intersubjectivity in society was identified. In traditional learning instruction, it has been assumed that the learnable is presented and communicated visually and audibly. However, through guided touch learnable is presented and conveyed effectively in the cases of this paper. It seems that the sense of touch has been considered to be just for the occasion, but this is an example of something that is not just for the occasion but is consequential, that is, usable for further occasions. The data is in Japanese. (shrink)

An experiment was conducted to test the effectiveness of brief instruction in information structuring (i.e., representing and integrating information) for improving the coherence of probability judgments and binary choices among intelligence analysts. Forty-three analysts were presented with comparable sets of Bayesian judgment problems before and immediately after instruction. After instruction, analysts’ probability judgments were more coherent (i.e., more additive and compliant with Bayes theorem). Instruction also improved the coherence of binary choices regarding category membership: after (...) class='Hi'>instruction, subjects were more likely to invariably choose the category to which they assigned the higher probability of a target’s membership. The research provides a rare example of evidence-based validation of effectiveness in instruction to improve the statistical assessment skills of intelligence analysts. Such instruction could also be used to improve the assessment quality of other types of experts who are required to integrate statistical information or make probabilistic assessments. (shrink)

Visual academies were unique social formations in the ancien régime, so distinctive that they are best studied as prototype professions. Alone among academies, they were responsible for offering instruction. Alone among educational institutions, they linked liberal instruction to occupational practice. Alone among ‘learned’ occupations, they accommodated an irreducible manual component. The visual Académie in Paris in particular established literally the first ‘graduate school’ in any field of activity and admitted students on the basis of anonymously scored (...) student competitions. Equivalent activities will not begin to emerge in medicine or law until the mid-19th century. Our historical case, in short, calls into question the received orthodoxy regarding the time and place of the first professionalism projects. Instead of focusing on 19th-century Britain, we are now considering mid-17th-century France and thereby preparing the way for a new start in the sociology of professions. (shrink)

The appearance of mass media and a versatile medium of videos can serve the convenience and instructive information for children; on the other hand, it could abet them in implicit image consumption. Now is the time for kids' to be in need of thinking power which enables them to make a choice, applications andcriticism of information within such visual cultures. In spite of these social changes, the realities are that our curriculum still doesn't meet a learner's demand properly. This (...) research, in this context, is aimed at looking out on the currently implemented art appreciation learning process in a critical fashion, and also aimed at suggesting a plan for visual culture learning by applying the philosophy program for kids as a new alternative. The purpose of such education is toenhance the capability to solve a variety of problems they are facing in the course of daily life by reflecting their matter of concern in a curriculum. What we have to pay attention to in visual culture learning is 'visual literacy.' Such an interpretative faculty of a critical reading of images is a must especially when kids should make a judgment of value hidden in images in their daily events, make an analysis of an ideological message and make an information-oriented decision. Therefore, learners have to enrich their higher-order thinking power as well as critical thinking faculty in modern society. If there is no objection to these social surroundings, it is quite natural that philosophy education, which forms a base of a higher-order thinking for children should be handled significantly at school. (shrink)

Putting the principles of multisensory teaching into practice, this study investigated the effect of audio-visual vocabulary repetition on L2 sentence comprehension. Forty participants were randomly assigned to experimental and control groups. A sensory-based model of instruction was used to teach a list of unfamiliar vocabularies to the two groups. Following the instruction, the experimental group repeated the instructed words twice, while the control group received no vocabulary repetition. Afterward, their electrophysiological neural activities were recorded through electroencephalography while (...) doing a sentence acceptability judgment task with 216 sentences under acceptable and unacceptable conditions. A one-way analysis of variance, a multivariate analysis of variance, and a Bayesian repeated-measures ANOVA were used to compare the behavioral and neurocognitive responses [N400 as the main language-related event-related brain potential effect] of the two groups. The results showed no significant N400 amplitude difference in favor of any of the groups. The findings corroborated the ineffectiveness of two repetitions preceded by multisensory instruction on L2 sentence comprehension. (shrink)

As visual art becomes more international, ways of writing about art become more uniform. This essay proposes that two disciplines concerned with contemporary visual art, art criticism and art theory, are on the verge of being effectively homogeneous around the world. They share concepts, artists, artworks, institutions, and bibliographic references. For comparison, I consider two other fields that may also be increasingly uniform: studio art instruction and the novel. The last, in particular, is the subject of a (...) large literature; critics and historians debate whether contemporary global novels are becoming more self-similar if not more predictable. The literature on the novel allows me to conclude that it is likely writing on art is following the same tendency. (shrink)

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of "immediate visual perception." However, the images they produced and presented for this purpose were strongly mediated. By means of specifically designed instruments, such as (...) the "cardioscope," the "contraction telegraph," and the "frog pistol," and of specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments. (shrink)

We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals while (...) performing a secondary task. Judgements were influenced by melodic cues and facial expressions and the effects were undiminished by the secondary task. Experiment 2 involved identical conditions but participants were instructed to base judgements on auditory information alone. Again, facial expressions influenced judgements and the effect was undiminished by the secondary task. The results suggest that visual aspects of music performance are automatically and preattentively registered and integrated with auditory cues. (shrink)

Geometry defines entities that can be physically realized in space, and our knowledge of abstract geometry may therefore stem from our representations of the physical world. Here, we focus on Euclidean geometry, the geometry historically regarded as “natural”. We examine whether humans possess representations describing visual forms in the same way as Euclidean geometry – i.e., in terms of their shape and size. One hundred and twelve participants from the U.S. (age 3–34 years), and 25 participants from the Amazon (...) (age 5–67 years) were asked to locate geometric deviants in panels of 6 forms of variable orientation. Participants of all ages and from both cultures detected deviant forms defined in terms of shape or size, while only U.S. adults drew distinctions between mirror images (i.e. forms differing in “sense”). Moreover, irrelevant variations of sense did not disrupt the detection of a shape or size deviant, while irrelevant variations of shape or size did. At all ages and in both cultures, participants thus retained the same properties as Euclidean geometry in their analysis of visual forms, even in the absence of formal instruction in geometry. These findings show that representations of planar visual forms provide core intuitions on which humans’ knowledge in Euclidean geometry could possibly be grounded. (shrink)

Data literacy – the ability to analyze, interpret, evaluate, and use data and data visualizations – has become increasingly important for understanding and communicating information in the discipline of history. In the United States, curricular standards and standardized assessments already reflect this importance, but educators lack a clear picture of how students use data visualizations when reasoning about the past. How do students use data visualizations when reasoning about a historical question? To what degree does using data visualizations enhance students’ (...) historical reasoning? What challenges do students face when attempting to use data visualizations? This study addresses these questions, investigating how fifth-grade, eighth-grade, and high school students use data visualizations from typical school textbooks. Twenty-seven students were interviewed, surveyed, and asked to think aloud about a historical question while using a textbook entry that included a data visualization. Results from qualitative and quantitative analyses highlight the potential for data visualizations to enhance historical reasoning. However, results also indicate that students are unlikely to read data visualizations on their own, underscoring the importance of providing targeted data literacy instruction. (shrink)

Although children learn more when teachers gesture, it is not clear how gesture supports learning. Here, we sought to investigate the nature of the memory processes that underlie the observed benefits of gesture on lasting learning. We hypothesized that instruction with gesture might create memory representations that are particularly resistant to interference. We investigated this possibility in a classroom study with 402 second‐ and third‐grade children. Participants received classroom‐level instruction in mathematical equivalence using videos with or without accompanying (...) gesture. After instruction, children solved problems that were either visually similar to the problems that were taught, and consistent with an operational interpretation of the equal sign (interference), or visually distinct from equivalence problems and without an equal sign (control) in order to assess the role of gesture in resisting interference after learning. Gesture facilitated learning, but the effects of gesture and interference varied depending on type of problem being solved and the strategies that children used to solve problems prior to instruction. Some children benefitted from gesture, while others did not. These findings have implications for understanding the mechanisms underlying the beneficial effect of gesture on mathematical learning, revealing that gesture does not work via a general mechanism like enhancing attention or engagement that would apply to children with all forms of prior knowledge. (shrink)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate (...) a theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

Background: Visual arts education has been suggested to influence cognitive and behavioral outcomes, yet its specific effects on critical thinking and behavior regulation remain underexplored. The effect of visual arts education on these domains forms the topic of the present study, which employs a mixed approach research design. Aim: To assess the impact of visual arts education on the improvement of critical thinking and self-regulation in students. Methodology: A quasi-experimental approach was employed with 80 individuals, with 40 (...) in the experimental group Report Phrase receiving education in visual arts and 40 in the control group receiving non-visual arts education. CTST and BRI assessment tools were used to acquire quantitative data about the participants, utilizing the independent and paired sample T-tests. Data collected from participants include interviews, focus group discussions, self-administered, and thematic analysis. A repeated measures ANOVA was used to analyse the data. Result: Statistical findings depicted improvements in the quantitative aspect; critical thinking skills improved from 70.0 to 75.3 with p<0.001 and behavior regulation improved from 65.0 to 69.2 with p<0.001 in the experimental-group in contrast to the control-group. The thematic analysis found striking increases in attention, impulse control, task completion, creativity, collaboration, affect expression, and self-esteem of experimental-group participants. Based on the findings of the Repeated Measures ANOVA, significant enhancements were observed in both domains for critical thinking and behavior regulation with effect size estimates of 0.40 and 0.30, respectively. Conclusion: The development of critical thinking and behavior control in students is greatly impacted by art instruction. Quantitative and qualitative data both support the utility of using visual arts interventions for cognitive and behavioral development and inform practice in art education. (shrink)

At the turn of the nineteenth century when anatomy and hands-on dissection became the prerequisite for a medical career, the medical community in England and France increasingly relied upon visual representations as part of a complex system of reinforcement of their professional goals. The production of novel illustrated textbooks that disseminated arguments through systematizing illustrations were thus integral to their professional status. Through an examination of a series of realistic diagrams that outlined the new methods of surgical and preservation (...) techniques, this paper argues that visual diagrams were instrumental in supporting the systematic codification and prestige on which nineteenth-century medical knowledge was to depend. It analyses the visual rhetoric and the complex representational languages of these intricate and equally precise illustrations by asking how these illustrations embraced new representational strategies as well as embodied idealizing aesthetic techniques. (shrink)

The development of action representation during adolescence was investigated using a visually guided pointing motor task to test motor imagery. Forty adolescents and 33 adults were instructed to both execute and imagine hand movements from a starting point to a target of varying size. Reaction time was measured for both Execution and Imagery conditions. There is typically a close association between time taken to execute and image actions in adults because action execution and action simulation rely on overlapping neural circuitry. (...) Further, representations of actions are governed by the same speed-accuracy trade-off as real actions, as expressed by Fitts’ Law. In the current study, performance on the VGPT in both adolescents and adults conformed to Fitts’ Law in E and I conditions. However, the strength of association between E and I significantly increased with age, reflecting a refinement in action representation between adolescence and adulthood. (shrink)

Barbara McClintock won the Nobel Prize in 1983 for her discovery of mobile genetic elements. Her Nobel work began in 1944, and by 1950 McClintock began presenting her work on "controlling elements." McClintock performed her studies through the use of controlled breeding experiments with known mutant stocks, and read the action of controlling elements (transposons) in visible patterns of pigment and starch distribution. She taught close colleagues to "read" the patterns in her maize kernels, "seeing" pigment and starch genes turning (...) on and off. McClintock illustrated her talks and papers on controlling elements or transposons with photographs of the spotted and streaked maize kernels which were both her evidence and the key to her explanations. Transposon action could be read in the patterns by the initiated, but those without step by step instruction by McClintock or experience in maize often found her presentations confusing. The photographs she displayed became both McClintock's means of communication, and a barrier to successful presentation of her results. The photographs also had a second and more subtle effect. As images of patterns arrived at through growth and development of the kernel, they highlight what McClintock believed to be the developmental consequences of transposition, which in McClintock's view was her central contribution, over the mechanism of transposition, for which she was eventually recognized by others. Scientific activities are extremely visual, both at the sites of investigation and in communication through drawings, photographs, and movies. Those visual messages deserve greater scrutiny by historians of science. (shrink)

The ArgumentIn 1787 an anonymous student of the Perth Academy spent countless hours transforming his rough classroom notes into a beautifully inscribed notebook. Though this was an everyday practice for many Enlightenment students, extant notebooks of this nature are extremely rare and we know very little about how middle class children learned to inscribe and visualize knowledge on paper. This essay addresses this lacuna by using recently located student notebooks, drawings, and marginalia alongside textbooks and instructional literature to identify the (...) graphic tools and skills that were taught to Scottish children in early modern classrooms. I show that, in addition to learning the facts of the curriculum, students participated in educational routines that enabled them to learn how to visually package knowledge into accessible figures and patterns of information, thereby making acts of inscription and visualization meaningful tools that benefitted both the self and society. (shrink)

Developing novices’ proficiency in skilful activities is central to the reproduction of human societies. The interactional practices through which instruction is accomplished have provided a rich focus for ethnomethodological and conversation analytic studies examining classroom settings, and, more recently, non-classroom environments of instruction in practical and manual skills. This paper examines the work of instruction in basketball training and in particular the correction of player performances, which are a ubiquitous and central feature of instruction in basketball (...) training sessions. A central part of this instructional action relies on the coach observing training activities to determine players’ competencies and to extract relevant correctables from the players’ embodied displays, which are in turn embedded within complex arrangements of rapidly moving bodies situated in material environments. In this paper we examine the visual-analytic work involved in both organizing and observing a basketball training activity, demonstrating the sequential layering of multiple membership categorization devices drawn upon in producing and recognizing actions in this setting. We argue that the coach deploys spatial orientations which function analogously to membership categorization devices, with players’ bodily positions relative to one another and the material structure of the surround generating category-like sets of rights, responsibilities, and sequential relevancies. As we demonstrate, these orientations provide crucial resources for the identification of players’ errors and thereby for the organization of instruction in interaction in this setting. (shrink)

The regional brain networks and the underlying neurophysiological mechanisms subserving the cognition of visual narrative in humans have largely been studied with non-invasive brain recording. In this study, we specifically investigated how regional and cross-regional cortical activities support visual narrative interpretation using intracranial stereotactic electroencephalograms recordings from thirteen human subjects (6 females, and 7 males). Widely distributed recording sites across the brain were sampled while subjects were explicitly instructed to observe images from fables presented in “sequential” order, and (...) a set of images drawn from multiple fables presented in “scrambled” order. Broadband activity mainly within the frontal and temporal lobes were found to encode if a presented image is part of a visual narrative (sequential) or random image set (scrambled). Moreover, the temporal lobe exhibits strong activation in response to visual narratives while the frontal lobe is more engaged when contextually novel stimuli are presented. We also investigated the dynamics of interregional interactions between visual narratives and contextually novel series of images. Interestingly, the interregional connectivity is also altered between sequential and scrambled sequences. Together, these results suggest that both changes in regional neuronal activity and cross-regional interactions subserve visual narrative and contextual novelty processing. (shrink)

Prior research suggests that visual features of the classroom environment (e.g., charts and posters) are potential sources of distraction hindering children's ability to maintain attention to instructional activities and reducing learning gains in a laboratory classroom. However, prior research only examined short‐term exposure to elements of classroom décor, and it remains unknown whether children habituate to the visual environment with repeated exposure. In study 1, we explored experimentally the possibility that children may habituate to the visual environment (...) if the visual displays are static. We measured kindergarten children's patterns of attention allocation in a decorated classroom environment over a 2‐week period and compared the percentage of time children spent off‐task to a baseline condition in which the classroom environment was streamlined (i.e., charts, posters, and manipulatives were removed). The findings indicate that with more prolonged exposure to a static visual environment, partial habitation effects were observed: Attention to the environment declined at the end of the exposure period compared to the beginning of the study; however, the environment remained a significant source of off‐task behavior even after 2 weeks of exposure. In study 2, we extend this work by conducting a longitudinal observation of six primary classrooms in which we measured children's patterns of attention allocation in real classrooms for 15 weeks to investigate whether increasing familiarity with the classroom décor would influence attention toward the visual environment. No evidence of habituation was observed in genuine classrooms in study 2. Potential implications for classroom design and future directions are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by (...) a number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In 2012, and 2014 Libraries and Learning Services from the University of Auckland created two online courses to introduce students to the concept of academic integrity and its associated values and expectations. The challenge was to introduce the somewhat dry subject matter to a diverse group of students in an engaging way and to avoid large tracts of text that were difficult to comprehend. Initial research undertaken by the development team suggested that visually representing bodies of text was an effective (...) way of communicating with the target audience. Dual coding theory, multimodal instructional design and cognitive load theories provided a framework for the learning design approach taken by the design team who ultimately selected Richard Mayer’s (2001) Cognitive Theory of Multimedia Learning as a basis for designing the two courses. This paper outlines how the two courses were designed in accordance principles outlined in Mayer’s theory and how the design team integrated seven of Mayer’s twelve principles to create dynamic, visual and aural elements such as animations, narrations and text to engage learners in a more meaningful learning process. (shrink)

The verification of a sentence against a visual display in experimental conditions reveals a procedure that is driven solely by the properties of the linguistic input and not by the properties of the context (the set-up of the visual display) or extra-linguistic cognition (operations executed to obtain the truth value). This procedure, according to the Interface Transparency Thesis (ITT) (Lidz et al. in Nat Lang Semant 19(3):227–256, 2011), represents the meaning of an expression at the interface with the (...) ‘conceptual-intentional’ system (Chomsky in The minimalist program. MIT Press, Cambridge, 1995). My experiments provide support for the ITT by replicating in Polish and in Bulgarian the findings of Lidz et al. (Nat Lang Semant 19(3):227–256, 2011) for the English quantifier most. We also obtain new evidence that participants are prompted to switch between verification procedures by a change in the linguistic input (a different superlative quantifier entailed by most), but not by a change in the visual input. Thus, the motivation for the subconscious switch in procedures is not to maximize efficiency. Participants use the procedure associated with each quantifier, and in effect, the same display is verified differently depending on which information the visual system is instructed to use by the semantic representation of the sentence. (shrink)

The COVID-19 pandemic has transformed the ideological, social, economic, and political aspects of life on planet Earth. This study examines the visuals associated with COVID-19 published in Pakistani English newspapers. Visual data were collected through purposive sampling, analyzed using social semiotic theory, and discussed through a post-colonial lens. The visual data were grouped as Global South and North owing to socioeconomic and political categorization among countries. The results show that the Pakistani media portrayed the Global South as rebellious, (...) miserable, and noisy against the government. However, the Global North is depicted as civilized, stress-free, and abiding by all the instructions of the authority. Analysis shows that the two realms are visually represented as remarkably divergent from each other, and media portrayal has attached stereotypes identities to the nations. Pakistani media follows a basic restricted code of conduct, which should be extended to avoid labelling and politicizing groups and nations. (shrink)

Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper explores (...) the plotline, characterization, and visual aspects of “Spartak” to reveal the eponymous hero’s significance for young Bulgarian readers in the 1980s. Drawing on the cultural and historical context, I argue that Spartacus was well suited to serve as a role model and a national hero by embodying the proletarian anti-imperialist struggle and also, notably, because of his supposed place of birth near the river Strimon in modern-day Bulgaria. I also look at examples of contemporary comics, including a new graphic novel based on Daga’s story published in 2020, and consider the transmutations of the hero to suit the post-communist (and anti-communist) ideological agenda, characterized by a departure from the proletarian image of Spartacus in favor of more conservative, aristocratic features. (shrink)

This article explores the organization of instructional corrections in pre-clinical dental education. The students are practising manual skills using a simulator and tutors are inspecting and evaluating their progress. Simulators and simulation are critical to the organization of contemporary healthcare training, and the academic literature that explores forms of simulation in healthcare tends to consider the ‘fidelity’ of systems and the extent to which they match the clinical situations that they are designed to mimic. In contrast, this article considers how (...) tutors and students explicitly attend to matters of realism in the course of instructional sequences. We highlight the ways in which tutors routinely invoke ‘real life’ in instructional corrections and we discuss how these sequences reveal the work that tutors undertake to compensate for the ‘chronic insufficiency’ of the simulator. We show how tutors emphasize the reasoned character of manual bodily skills, reasons linked to the complexities and contingencies of clinical practice. To explore these issues and concerns, the article draws on the analysis of audio-visual data of everyday instruction. (shrink)

In this study, 44 late elementary students’ visual behavior patterns when reading mind maps were investigated, more particularly, the intuitive processing nature of their visual characteristics, reading sequence and presentation mode. Eye-tracked data were investigated by means of static early attention and dynamic educational process mining analysis and combined with learning performance and retrospective interview data. All students seem to struggle with the map’s radial structure during initial reading. Also, the picture’s position in the map diverts students from (...) consecutively reading interconnected branches. EPM analyses revealed different reading patterns in proceeding reading behavior. Students receiving a text first, seem to grasp the radial structure slightly more and show higher information integration attempts. They also attained higher free recall and coherence scores. The study concludes with instructional design principles for urgently needed explicit visual literacy instruction in elementary grades. (shrink)

The psychopathological phenomenon of delusions of influence comprises variable disturbances of the self-environment-border leading to the feeling of external influence on thoughts, feelings, impulses or behaviors. Delusions of influence are a hallmark in psychotic illness, but nevertheless, attenuated forms can also appear in healthy individuals. Here we present a newly developed paradigm to induce and assess feelings of external influence during instructed imaginations in healthy individuals. In the current study, we asked 60 healthy individuals to visually imagine different objects. To (...) induce feelings of external influence, we applied one of three different physical setups, and informed the participants whether or not an external influence was attempted during the respective trial. The physical setup as well as the information given to the participants alone were able to modulate the feeling of external influence in all three interventions. The impact of information significantly exceeded the impact of the physical setup on the ratings of experienced external influence. Moreover, the response latency correlated with the estimated feeling of external influence. Additional analyses addressed the influence of the emotional content of imagined objects and examined the intensity and emotional valence of the imaginations. Further supplemental analyses correlated external influence estimation of the participants with other psychopathological measures. In conclusion, this study endorses a quantitative model of psychopathological characteristics, in this case feelings of external influence that can be induced by external cues. (shrink)

Recent advances in mobile electroencephalogram (EEG) systems, featuring non-prep dry electrodes and wireless telemetry, have urged the needs of mobile brain-computer interfaces (BCIs) for applications in our daily life. Since the brain may behave differently while people are actively situated in ecologically-valid environments versus highly-controlled laboratory environments, it remains unclear how well the current laboratory-oriented BCI demonstrations can be translated into operational BCIs for users with naturalistic movements. Understanding inherent links between natural human behaviors and brain activities is the key (...) to ensuring the applicability and stability of mobile BCIs. This study aims to assess the quality of steady-state visual-evoked potentials (SSVEPs), which is one of promising channels for functioning BCI systems, recorded using a mobile EEG system under challenging recording conditions, e.g., walking. To systemati-cally explore the effects of walking locomotion on the SSVEPs, this study instructed subjects to stand or walk on a treadmill running at speeds of 1, 2, and 3 mile (s) per hour (MPH) while con-currently perceiving visual flickers (11 and 12 Hz). Empirical results of this study showed that the SSVEP amplitude tended to deteriorate when subjects switched from standing to walking. Such SSVEP suppression could be attributed to the walking locomotion, leading to distinctly deteriorated SSVEP detectability from standing (84.87±13.55%) to walking (1 MPH: 83.03±13.24%, 2 MPH: 79.47±13.53%, and 3 MPH: 75.26±17.89%). These findings not only demonstrated the applicability and limitations of SSVEPs recorded from freely behaving humans in realistic environments, but also provide useful methods and techniques for boosting the translation of the BCI technology from laboratory demonstrations to practical applications. (shrink)

Trait mindfulness confers emotional benefits and encourages skillful emotion regulation, in part because it helps people more deliberately attend to internal experiences and external surroundings. Such heightened attentional control might help skillfully deploy one’s attention towards certain kinds of stimuli, which may in turn help regulate emotions, but this remains unknown. Testing how trait mindful people deploy attention when regulating their emotions could help uncover the specific mechanisms of mindfulness that confer its emotional benefits. The present study aimed to determine (...) whether high trait mindfulness is associated with sustained attention biases to (i.e. longer gaze at) emotional scenes, when all participants are given the emotion regulation goal of staying in a positive mood. To measure this, we used eye tracking to assess selective attention to positive, neutral, and negative photographs. Higher trait mindfulness was associated with both a stronger attention bias for positive (vs. neutral and vs. negative) images, as well as greater success staying in a positive mood during viewing. Surprisingly, this attention bias towards the positive images did not mediate the relationship between mindfulness and maintenance of positive mood. Future work should compare visual attention to other emotion regulation strategies that may maximise positive affect for mindful people. (shrink)

Modern computer-based applications often require the user to interact with avatars. Depending on the task at hand, spatial dissociation between the orientations of the user and the avatars might arise. As a consequence, the user has to adopt the avatar's perspective and identify herself/himself with the avatar, possibly changing the user's self-representation in the process. The present study aims to identify the conditions that benefit this change of perspective with objective performance measures and subjective self-estimations by integrating the idea of (...) avatar-ownership into the cognitive phenomenon of spatial compatibility. Two different instructions were used to manipulate a user's perceived ownership of an avatar used in otherwise identical situations. Users with the high-ownership instruction reported higher levels of perceived ownership of the avatar and showed larger spatial compatibility effects from the avatar's point of view in comparison to the low ownership instruction. This supports the hypothesis that perceived ownership benefits perspective taking. (shrink)

This chapter provides an overview of the phenomenology of size perception and the use of instructions to tease apart phenomenal and cognitive aspects. It develops his own recent proposals concerning the geometry of visual space. The chapter proposes that visual space is contracted along the lines of sight. This contraction would explain the apparent convergence of railway tracks, but without invoking a “proximal mode” experience. Parallel railway tracks receding into the distance project converging lines onto the retinas. A (...) true proximal mode representation would show these lines converging as if in a vertical plane. But we experience them as converging while also receding in depth along the ground. The chapter suggests that this calls for a third geometry of visual space, intermediate between a linear perspective projection and full phenomenal constancy. The chapter attributes reports of full constancy to cognitive factors. size perception, visual space, geometry, lines of sight, proximal mode, phenomenal constancy. (shrink)