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Rhetorical considerations for innovative approaches to performance and audience engagement
Abstract
This research explores how digital media could be used to enhance engagement between an audience and a presenter, orator, or lecturer. Our aim is to think creatively about what a presentation could become and how the use of digital media technologies could form an intrinsic part of the presenter/audience experience. To help anchor this concept, we devised a development framework, which is briefly described. The framework was used to develop a potential component element of a performance presentation: the use of multiple video projections that would supplement a presentation and form a connected but non-linear narrative to produce an element of a performance presentation. To contextualize the framework and assess its effectiveness, an evaluation study of a multiple video projection project was evaluated. The study revealed the importance of audience priming within the rhetorical considerations of the development framework.
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How can we help students to understand scientific explanations of cause-and-effect systems, such as how a pump works, how the human respiratory system works, or how lightning storms develop? One promising approach involves multimedia presentation of explanations in visual and verbal formats, such as presenting computer-generated animations synchronized with computer-generated narration or presenting illustrations next to corresponding text. In a review of eight studies concerning whether multimedia instruction is effective, there was consistent evidence for a multimedia effect: Students who received coordinated presentation of explanations in verbal and visual format (multiple representation group) generated a median of over 75% more creative solutions on problem-solving transfer tests than did students who received verbal explanations alone (single representation group). In a review of 10 studies; concerning when multimedia instruction is effective, there was consistent evidence for a contiguity effect: Students generated a median of over 50% more creative solutions to transfer problems when verbal and visual explanations were coordinated (integrated group) than when they were not coordinated (separated group). Finally, in a review of six studies concerning for whom multimedia instruction is effective, Attribute x Treatment interactions indicated that multimedia and contiguity effects were strongest for low prior knowledge and high spatial ability students. Results are consistent with a generative theory of multimedia learning in which learners actively select, organize, and integrate verbal and visual information.
While being shown footage recently of a live audio-visual performance of mine an abstract visualization of a piece of electro-acoustic music a colleague asked me the fateful question, Yes, but what is it about? He was asking, essentially, What does it mean that these images and sounds are occurring before me, what is the status of this audio-visual material, and what kind of spectator am I, how can I read this, how can I make sense of this? Despite a complex and interrelated set of artistic traditions and technological lineages, there is still little scholarship on the current state of live audiovisual production and performance. Writings on VJ culture are beginning to appear in various forums, and the number of festivals dedicated to this art form is steadily increasing, yet live media performance remains under-theorized, in part because it sits eternally in between traditional modes of production and performance and there is conjecture as to how to understand it, and in part, perhaps, simply because it remains a relatively new form of new media. In this article I will synthesize some of the existing writings on live media and VJ culture. My overall aim through this is to suggest some answers to the question of how live media performances can be understood to make sense: not only how live media performances make sense as meaning, as conceptual sense, but also how live media performances make a new kind of perceptual sense.
The paper describes a programme of research and practice in which the evaluation of interactive artworks in a public space is undertaken as part of the creative process. It explores the different perspectives involved in the research process of Beta_Space, a public exhibition and evaluation facility in the Powerhouse Museum Sydney. The three viewpoints presented, of artist, evaluator and curator, add up to much more than each one can offer on its own. The three roles can be taken by one, two, three or more people in any particular case but teamwork across disciplines is strongly implied by the approach that we have described. The paper reflects upon the different concerns and approaches and the ways in which they are entwined.
Dual-system models of reasoning attribute errors of judgment to two failures: the automatic operations of a 'System 1' generate a faulty intuition, which the controlled operations of a 'System 2' fail to detect and correct. We identify System 1 with the automatic operations of associative memory and draw on research in the priming paradigm to describe how it operates. We explain how three features of associative memory--associative coherence, attribute substitution and processing fluency--give rise to major biases of intuitive judgment. Our article highlights both the ability of System 1 to create complex and skilled judgments and the role of the system as a source of judgment errors.
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