This paper takes the position that creativity can be enhanced by multimedia. Computer software was designed and a study was conducted to measure that proposition. The author used participant self-analysis as a means to gather data on creativity enhancement holding to the presupposition that people can tell when they are creative and when their creativity is inhibited. The results of the study supported the belief that multimedia and the software designed for that purpose was able to enhance creativity.

Thesis (MPhil (Modern Foreign Languages))--University of Stellenbosch, 2004. / This emperical study is another addition to the expanding body of research on the effect of computer-based reading instruction on tertiary students within the South Africa context. Grounded in a sound theoretical framework and informed by practice, it identifies the importance of reading as a skill and the potential of new technology to enhance reading skills.

The purpose of this study was to evaluate the perceived effectiveness of a multimedia tutorial for first year undergraduate students (FTICs) using a university course registration system; to determine if a relationship existed between perceived effectiveness of the multimedia tutorial, gender, major, ICT usage, ICT education, ICT fluency, and ICT comfort; and to describe the transfer of learning, if any, that resulted from viewing the multimedia tutorial. The study was both quantitative and qualitative in design addressing 10 research questions. The instruments used in this study consisted of the Registration Tutorial which included: (1) an Information and Communication Technology (ICT) Fluency Questionnaire (Hilberg, 2007), (2) a multimedia tutorial designed by the researcher demonstrating the university course registration system, and (3) the Registration Video Questionnaire (RVQ) also designed by the researcher measuring perceived multimedia tutorial effectiveness. A Registration Video Tutorial Transfer of Learning Questionnaire (TLQ) was also developed by the research to measure perceived proficiency with the registration system three months after initially viewing the multimedia tutorial. The sample included 1,196 freshmen students from a large public university in the southeastern United States. Results of the study showed that students perceived the multimedia tutorial to be effective (M = 4.19, SD = .756) and seven themes emerged through qualitative analysis as to why the tutorial was or was not effective. Results also showed there was no relationship between multimedia tutorial effectiveness and gender, major, or ICT education. / There were however significant weak relationships between multimedia tutorial effectiveness and ICT usage (r = .095), multimedia tutorial effectiveness and ICT fluency (r = .286), and multimedia tutorial effectiveness and ICT comfort (r = -.133). Furthermore, transfer of learning occurred for students (n = 66) who completed the TLQ (M = 4.01, SD =.777) and as suggested by qualitative analysis of student responses. Implications of this study suggested that providing first year undergraduate students with a web-based multimedia tutorial is just the beginning and the need may be to focus upon the development of these students as adult learners so they can feel successful in the early stages of their academic career, thus building the self-confidence they need to effectively navigate the university environment. / by Merideth I. Dee. / Thesis (Ph.D.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Games, movies, television, and interactive media make use of World-Building. World-Building essentially creates an elaborate invented universe in order to give a story context. In other words it generates a back-story designed to enhance the cathartic experience and promote engagement by the reader, viewer or participant. Some examples of World-Building include Halo, World of WarCraft and Game of Thrones. Stories need context to be fully understood and experienced. One describes a situation, the environment, sensations, smells, sounds and sensory perception to give the audience a fuller, richer experience. World-Building provides context through history, textures, laws, physics and motivations. The written portion of this thesis describes the process of generating a fantasy world. The visual portion uses a character-driven narrative to examine larger themes such as psychological transformation and pursuing one’s dream against the odds. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Research on Multiple Object Tracking (MOT) has typically involved 2D displays where stimuli move in a single depth plane. However, under natural conditions, objects move in 3D which adds complexity to tracking. According to the spatial interference model, tracked objects have an inhibitory surround that when crossed causes tracking errors. How do these inhibitory fields translate to 3D space? Does multiple object tracking operate on a 2D planar projection, or is it in fact 3D? To investigate this, we used a fully immersive virtual-reality environment where participants were required to track 1 to 4 moving objects. We compared performance to a condition where participants viewed the same stimuli on a computer screen with monocular depth cues. Results suggest that participants were more accurate in the VR condition than the computer screen condition. This demonstrates interference is negligent when the objects are spatially distant, yet proximate within the 2D projection. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

This study compares the achievement in three multimedia instructed World Geography classes between two groups of community college students: those students who were U.S. educated (from primary to secondary schools) and those students who were educated outside of the U.S. (from primary to secondary schools). The research was conducted using three World Geography (GEA 2000) classes at a community college in South Florida, between August 2007 and December 2007. The selected students were divided into two groups: one of U.S. educated students and one of non-U.S. educated students, all of whom volunteered their participation at the beginning of the course. The two groups were mixed males and females. The non-U.S. educated students were educated in 17 different countries. Data were obtained by means of test scores. Statistical analysis of the data was done using SPSS statistical software. The data generated were analyzed statistically by running four t-tests. The .05 level of significance was selected for analysis of data related to the hypotheses. Overall the statistical difference between the achievement of U.S. educated and non-U.S. educated students in their achievement in multimedia instructed geography classes was non-significant as indicated by the results shown in the statistical analysis in the study. / by Edmar Bernardes Da-Silva. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship. Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works. The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.

The major challenge for multimedia designers is to create user experiences that enrich the reception of content, designer�s traditional reliance on intuition not ensuring audience�s interest or understanding. The developing philosophy of user-centred design argues that designers should begin from an appreciation of their audience. In design there are various positions on how to achieve this, ranging from traditional market research through psychological, ethnographic, anthropological and sociological research to the direct involvement of users in the design process. This study draws on established knowledge about the cognitive processes, psychological motivations and preferences of user groups to advance a model for better-targeted and more effective design. In particular, it uses Howard Gardener�s multiple intelligences theory to extend design thinking. Where a specific audience is apparent multiple intelligences theory implies that (1) the interface should match user�s perceptual tools, cognitive styles and responses and (2) there is far greater scope than presently recognized to vary the design of the graphical user interface. The research explores how interactive multimedia can harness the �language of vision� (Johannes Itten) for certain audiences, in this case Taiwanese drawing students aiming to enter tertiary art and design programs where high academic drawing skills are an important selection criterion. The high �visual intelligence� of the target audience indicates their heightened capacity to process visual concepts and elements. The application of Gardner�s ideas is a speculative one, based on hypothesis and the formulation of an experimental graphical user interface environment built around predominantly visual cues. The designed outcome incorporates knowledge and understanding that is widely applicable to GUI design, challenging designers to develop multimedia products with innovative, imaginative design approaches that cater for the different needs and interests of users where the audience is a specific and identifiable one.

In a 20-year period, AR has gone from being viewed as a heavyweight technology to a new medium for a variety of applications. As a result there has been an increasing need for tools to support AR design and development that fully address the needs of non-technologists. From my AR research, I learned that three critical components for these authoring tools are support for an established content pipeline, rapid prototyping, and user experience testing. The history of media teaches us that AR also shares underlying technologies with a variety of more mature media such as film, VR, and the web with existing workflows and tools. Therefore, we created an AR authoring tool that supported these three critical components, and whose design was informed by established approaches in these related domains, allowing developers with a range of technical expertise to explore the AR medium. In this dissertation I present four main contributions. The first was an exploration of the AR design space focused on close collaboration with designers. This work resulted in guidelines for AR authoring tools, and informed the development of the Designer's Augmented Reality Toolkit (DART). These guidelines were validated via internal and external projects. A qualitative study of long term DART use that provided insight into the successes and failures of DART as well as additional understanding of AR authoring needs. Lastly, I trace two main threads to highlight the impact of this work, the development of the AR Second Life system and the creation of the Argon AR web browser.

Interactive narratives are marked by two characteristics: 1) a space of player interactions, some subset of which are specified as aesthetic goals for the system; and 2) the affordance for players to express self-agency and have meaningful interactions. As a result, players are (often unknowing) participants in the creation of the experience. They cannot be assumed to be cooperative, nor adversarial. Thus, we must provide paradigms to designers that enable them to work with players to co-create experiences without transferring the system's goals (specified by authors) to players and without systems having a model of players' behaviors. This dissertation formalizes compact representations and efficient algorithms that enable computer systems to represent, reason about, and shape player experiences in interactive narratives. Early work on interactive narratives relied heavily on "script-and-trigger" systems, requiring sizable engineering efforts from designers to provide concrete instructions for when and how systems can modify an environment to provide a narrative experience for players. While there have been advances in techniques for representing and reasoning about narratives at an abstract level that automate the trigger side of script-and-trigger systems, few techniques have reduced the need for scripting system adaptations or reconfigurations---one of the contributions of this dissertation. We first describe a decomposition of the design process for interactive narrative into three technical problems: goal selection, action/plan selection/generation, and action/plan refinement. This decomposition allows techniques to be developed for reasoning about the complete implementation of an interactive narrative. We then describe representational and algorithmic solutions to these problems: a Markov Decision Process-based formalism for goal selection, a schema-based planning architecture using theories of influence from social psychology for action/plan selection/generation, and a natural language-based template system for action/plan refinement. To evaluate these techniques, we conduct simulation experiments and human subjects experiments in an interactive story. Using these techniques realizes the following three goals: 1) efficient algorithmic support for authoring interactive narratives; 2) design a paradigm for AI systems to reason and act to shape player experiences based on author-specified aesthetic goals; and 3) accomplish (1) and (2) with players feeling more engaged and without perceiving a decrease in self-agency.