Multimedia in the wild: Testing the validity of multimedia learning principles in an art exhibition

Schwan, Stephan; Dutz, Silke; Dreger, Felix A.

doi:10.1016/j.learninstruc.2017.10.004

Cited by 35 publications

(20 citation statements)

References 30 publications

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“…Besides its overall spatial position in a gallery (Eghbal‐Azar, Merkt, Bahnmueller, & Schwan, 2016; Turgay Zıraman & Imamoğlu, 2018), size and attractivity of other exhibits in the immediate surrounding may strongly influence how much attention visitors pay to a particular authentic object (Turgay Zıraman & Imamoğlu, 2018). More importantly, providing labels and explaining texts has been shown to prolong the visitors' inspection time, guide their attention, and foster a deeper understanding of an object (Schwan, Dutz, & Dreger, 2018). Similarly, functional models and digital media may evoke complementary cognitive processes of causal reasoning and explanation if added to an authentic object (Eberbach & Crowley, 2005).…”

Section: Introductionmentioning

confidence: 99%

How do Visitors Perceive the Role of Authentic Objects in Museums?

Schwan¹,

Dutz²

2020

Curator The Museum Journal

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The study investigated visitors’ notions of authentic objects across nine different German museums, three science and technology, three natural history, and three cultural history. The findings build on prior studies into visitors’ conceptions of authenticity of artifacts in science museums, indicating a nuanced role of authentic objects for museum exhibitions from the visitors' perspective. The results were generally consistent across all three museum types. Visitors emphasized cognitive effects of authentic objects, wanted authentic objects to be accompanied by additional information, and considered replicas to be legitimate substitutes. Visitors indicated that they accept that authentic objects could include modifications or improvements if the original object contained elements that were fragile or subject to harm from their use in an exhibition setting.

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Section: Introductionmentioning

confidence: 99%

How do Visitors Perceive the Role of Authentic Objects in Museums?

Schwan¹,

Dutz²

2020

Curator The Museum Journal

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“…While previous research has shown that accompanying verbal explanations help laypersons take notice of particular details of a painting (Glaser & Schwan, 2015;Schwan, Dutz & Dreger, 2018), the present study extends this line of research by investigating the role of concurrent verbal explanations on becoming aware of conceptual relations between picture elements in paintings. Based on theories of multimedia learning, we assume that the notion of "becoming aware" should not only be manifest in viewing behaviour but also in subsequent memory for pictorial details.…”

Section: Introductionmentioning

confidence: 66%

“…In order to help lay viewers to perceptually and cognitively link distant picture elements, an accompanying verbal explanation (e.g., an audio or personal guide in a museum) may be used in which the picture elements are named, described, interpreted, and related to each other. If such a text is appropriately formulated, it will guide the viewers' attention through the painting, helping them to notice particular elements and to establish semantic and formal relations (Schwan, Dutz & Dreger, 2018;Webb & Mann, 2014).…”

Section: Temporal Distance Between Naming Related Picture Elementsmentioning

confidence: 99%

The closer, the better? Processing relations between picture elements in historical paintings

Glaser

Knoos

Schwan

2020

JEMR

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The present eye-tracking study investigated how audio explanations influence perception and the cognitive processing of historical paintings. Spatially close and distant pairs of picture elements and their semantic relations were named in an audio text either immediately after each other or with descriptions of other elements in between. It was assumed that the number of backward fixation counts on the first of the two mentioned related picture elements should be higher if they are spatially close rather than spatially distant. There should also be more backward fixation counts if the elements are named temporally close rather than temporally distant. Similar predictions were made for the retention of these picture elements and their relations. A 2x2x2 within-subject design (n=36) with spatial distance (close vs. distant), temporal distance (close vs. distant) and painting (Leutze vs. West) revealed more background fixation counts for spatially close compared to spatially distant elements but just for the Leutze painting. Accordingly, the relations between the spatially close pairs were retained better than between the spatially distant pairs in the Leutze painting but vice versa for the West painting. The results are discussed with regard to the spatial contiguity principle of multimedia learning and research on text coherence.

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“…The great majority of this research has focused on learning processes in formal educational contexts (Lowe & Boucheix, ; Ploetzner & Lowe, ; Schnotz & Lowe, ; Tversky, Morrison, & Betrancourt, ). Only a few studies have been dedicated to animated presentation in other areas, such as art exhibitions and transport situations, involving informal or out of school learning and decision making processes (Groff et al, ; Paire‐Ficout, Saby, Alauzet, & Boucheix, ; Schwan, Dutz, & Dreger, ).…”

Section: Introductionmentioning

confidence: 99%

Can animation compensate for temporal processing difficulties in deaf people?

Laurent

Boucheix

Argon

et al. 2020

Applied Cognitive Psychology

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Summary This article addresses the issue of animation as an aid for temporal processing difficulties in deaf people learning the Highway Code. A decision‐making task involving static or animated road situations was performed by 21 deaf and 24 hearing participants. They were confronted with four types of driving situations (overtaking, negotiating roundabouts, highways, and intersections) and had to decide whether or not to proceed. Participants were presented with two different formats (static vs. animated) and two levels of difficulty (simple vs. complex). Results showed that deaf participants had poorer performances in the static condition than hearing participants. Performance was better in the animated condition than in the static condition, especially in deaf participants. The benefits of animation were greater in complex situations for all participants. Decisions made on dynamic road situations were facilitated by the presence of spatiotemporal dimensions. These proved helpful to deaf candidates who have difficulties in this particular area.

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Multimedia in the wild: Testing the validity of multimedia learning principles in an art exhibition

Cited by 35 publications

References 30 publications

How do Visitors Perceive the Role of Authentic Objects in Museums?

How do Visitors Perceive the Role of Authentic Objects in Museums?

The closer, the better? Processing relations between picture elements in historical paintings

Can animation compensate for temporal processing difficulties in deaf people?

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