The problem of this study is a description and analysis of the process used by a consortium in the development of college credit courses by television. The purposes of the study are to delineate objectives for the development by a consortium of the American Government telecourses, to describe the process used, to analyze that process relative to the objectives stated, to make recommendations for reformation of the process, and to develop a guideline model for future consortium produced telecourses. The description, analysis, and recommendations for reform are based on the experience of the author as the content editor-writer for the project. Analysis is also based on the related instructional design and telecourse development literature. Further analysis is based on the process evaluation observations of other key consortium team members involved in the development of the American Government telecourses.

The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera. / Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.

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What remains after digitalization? Audio-visual documents are today at risk of deteriorating because of the fragilematerial they consist of, and although the process of transferring the information onto a digital format is oftenused to preserve the data they contain, the question of what becomes of the remaining analogue data carrier isnot raised in modern research.This thesis has examined how old and fragile sound recordings are kept and managed in an archive afterthey have been digitized. A case study was used to investigate how an archival institution view the remainingdata carriers and what becomes of them today when the information they carry is available on another format.The fragility of the recording was of importance for the study, because it means that it is not possible to play iton an analogue play back device without damaging it, and its status as an archival document can be questioned.The archive which this thesis investigated consisted of the Institute for Languages and Folklore in Uppsala,Sweden, which houses a great deal of old and fragile sound recordings which were collected on a phonograph asearly as 1896. This makes these recordings the oldest ones in Sweden that has been collected for recordkeepingpurposes. By examining the role, function and value of the recordings, this study investigated whether they holdan importance for the archive as historical objects, or as functional documents. The study consisted of a triangulationmethod, where interviews, a document analysis as well as an object biography method were combined tocompare and analyze the empirical findings in conjunction with each other. The results indicated that althoughsome documental properties still existed, the old sound recordings kept in the archive were mostly seen as historicalobjects. However, a theoretical analysis indicated that the recordings could be seen as a hybrid of both documentand artefact. This is a two years master’s thesis in Archival Science.

The purpose of this study is to evaluate certain phases of the use of motion pictures in the teaching of American history in the secondary schools of Dallas, Texas.

The purpose of this study is to determine the possibilities of visual aids as an aid to the learning process in the social studies of the intermediate grades of the Denton public schools, with particular emphasis on the moving picture films and film strips available for use as visual aids in the social studies subjects.

The following study was undertaken as an investigation in the field of visual education for those teachers who may be interested in applying this form of visual aids to instruction.

Individuals with autism spectrum disorder (ASD) display deficits in communication and social interaction that can impact their ability to function in daily environments. To remediate these deficits, it is critical for professionals to use effective interventions. While there are many evidence-based practices (EBPs) identified for ASD (e.g., video modeling), the adoption of these EBPs may not occur automatically. Existing research suggests professionals have a generally favorable impression of video modeling. However, little research has examined opinions and applied use of video modeling, which was the purpose of the present study. Using survey methodology, data were collected from 510 professionals in various disciplines (e.g., special educators, speech-language pathologists [SLPs], and behavior analysts [BCBAs]). Data were analyzed primarily via factor analysis and multiple regression. Factor analysis was used to examine the underlying structure of the instrument, revealing two predominant factors: (1) interest in and (2) perceived accessibility of video modeling. Multiple regression was used to examine which demographic characteristics (e.g., age and years of experience) were associated with each factor. Results indicated that BCBAs and SLPs perceived video modeling as more accessible. In terms of interest, professionals who worked with preschool-aged students, who worked in a suburban location, and who had an extended family member with ASD showed higher interest in video modeling. Implications for practice and future research are discussed.

This thesis advances the field of efficient knowledge transfer and adaptation in the realm of speech processing. It is structured to address the limitations of transfer learning in dynamically evolving audio and speech processing contexts, particularly through novel approaches for class-incremental learning, parameter-efficient adaptation, and multimodal modeling. First, we provide a comprehensive framework for class-incremental spoken language understanding, allowing models to incrementally learn new intents and entities while retaining previously acquired knowledge. Using knowledge distillation and rehearsal-based strategies, we enhance robustness against catastrophic forgetting, a key limitation in continual learning. We also introduce a unique approach to class-incremental audio classification, utilizing mutual information optimization. Second, given the prohibitive computational costs of traditional model adaptation (i.e., full fine-tuning), this thesis introduces a comprehensive framework for parameter-efficient fine-tuning of audio and speech foundation models. Furthermore, we propose new adapter designs to achieve effective transfer learning with minimal computational overhead. Finally, extending beyond unimodal settings, we propose Llama-AVSR, a new multimodal large language model with strong audio-visual speech recognition (AVSR) abilities. Llama-AVSR leverages pre-trained audio and video encoders along with a large language model to achieve state-of-the-art accuracy on the major AVSR benchmark. Notably, this model adapts pre-trained language models to the multimodal AVSR domain while keeping the core model parameters frozen, ensuring computational efficiency. Overall, this thesis provides a comprehensive framework and empirical findings that advance the application of continual learning, efficient fine-tuning, and multimodal models for speech processing tasks. These contributions pave the way for adaptive, resource-efficient speech understanding systems.

This research project reports on an empirical study on the suitability and feasibility of audio cassette lectures in solving the study problems of adult distance education students. Having reviewed relevant literature on the subject the researcher collected data through: (a) Empirical investigation by contituting a two-group (experimental/control) design. (b) Questionnaires to find out opinions of students on audio cassettes. The study reveals that there is a significnt difference between the academic achievement of students who study via audio cassette lectures in addition to textbooks and face-to-face lectures and those who study through textbooks and face-to-face lectures only. The study therefore validates audio cassette lectures in an integrated study package. Other outcomes of the study are: (a) Suggestions to l.E.M.S. authorities to introduce audio cassette lectures on l.E.M.S. part-time courses. (b) Suggestions to course organisers at 1.E.M.S. to liaise with distance education institutions to adopt their instructional strategies. / Teacher Education / M. Ed. (Didactics)