No / This paper introduces multimedia design guidelines for browsing large volumes of e-mail data. These software design guidelines derived from two sets of experiments under a prototype version of a multimedia e-mail tool. The experiments tested various forms of audio-visual communication metaphors. For example, the auditory stimuli consisted of musical sounds (earcons), compositional sounds, environmental sounds (auditory icons), stereophony, pitch, synthesised and recorded speech as well as other sound effects. The first set of experiments involved the multimedia browsing of simple and complex sets of e-mail data. The second set of the experiments involved the communication of e-mail categories and other related e-mail information such as the presence or absence of an attachment, priority status and subject of an e-mail. The results of these two sets of experiments are described and linked with other experiments in the literature. The paper integrates and discusses all these experimental results, the incorporation of auditory stimuli and the suitability of different types of multimedia metaphors for the design of audio-visual browsing techniques of large volumes of e-mail data. The totality of the multimedia design appeared to offer a meaningful, easily understood and recognised interaction mechanism and therefore demonstrated a potential way to maximise the volume of information that could be communicated to users. The application of synthesised and recorded speech, earcons and auditory icons as well as sound effects are also discussed in the light of the experimental results with emphasis upon issues of synergy, synchronisation, consistency, structure, classification and presentation of different types of communication metaphors as an integral part of the software design process. Furthermore, the suitability and use of compositional sounds are also discussed. The paper concludes with a set of practical guidelines for software and multimedia designers and a design approach for this type of data browsing.

This thesis is an example of creative practice that uses contemporary transmedia storytelling techniques to build a fictional environment that content creators can collaborate in and contribute to with their own fictional works. Within this thesis, I refine my methodology and identify new methods and processes that apply to the context of the creative project example – the fictional world of Chaos Reborn. The most notable of these are 1) making use of invented and real mythology to project depth into the work 2) presenting information to other contributors so they can switch roles as creators and consumers of the franchise content and 3) Identifying the ways in which my creative work interacts with other elements of the transmedia narrative of Chaos Reborn. This thesis also identifies issues around continuance of production for this franchise after an initial raft of publications and suggests a consistent way to approach further development of content. The main creative component of this thesis is a novel set in the world of Chaos Reborn. This is Dreams of Chaos (2016), the first of a planned trilogy entitled The Death of Gods, which tells the story of how the world of Chaos Reborn came about from its alternative history root in Earth’s 14th century. This operates as the background to the game world and anchors the fantasy genre context to a version of our own history. This work is only a part of the writing undertaken to build the world of Chaos Reborn. There is additional material in appendices which contain the other associated writing from this work and from my previous science fiction case study on Elite Dangerous to illustrate the progression and development of my methodology across the genres of science fiction and fantasy.

This study investigated the ways in which college algebra students watch mathematics instructional videos with the goal of answering the following research questions: (1) How are student responsibility frames similar or different among students within a particular video? (2) How do the various video design principles support or constrain the uses of particular responsibility frames? This research was guided by the cognitive theory of multimedia design and the theory of didactic situations. The cognitive theory of multimedia design outlined principles for video creation and design that could impact student learning from video watching. The theory of didactic situations defined implicit teacher and student responsibilities within the context of the face-to-face mathematics classroom and was applied in this study to students watching mathematics instructional videos. Participants were recruited from five college algebra classes at a university in the northeastern United States and were asked to attend two semi-structured interviews. During the first interview, participants were pretested to determine their prior knowledge about how to solve quadratic functions and to measure their mathematics-related beliefs. During the second interview, participants watched three different videos about solving quadratic equations by completing the square and were asked questions about the mathematics that they viewed in the videos. Transcriptions of audio recordings of these interviews were coded thematically using categories previously identified by the didactic contract for the face-to-face classroom and expanding the types of student responsibilities identified specifically for video watching as needed. This study found that participants, regardless of overall prior knowledge or mathematics-related beliefs, but who had prior knowledge of completing the square, held a responsibility to use the specific set of steps they were taught by their teacher to solve problems. Additionally, participants at some levels of prior knowledge expressed a responsibility to not watch videos that showed a visual representation of the mathematics. Findings also suggested a student heuristic for the selection and use of mathematics instructional videos that may be useful to both mathematics teachers and video creators. / Math & Science Education

Made available in DSpace on 2016-08-10T10:36:43Z (GMT). No. of bitstreams: 1 MARCIO ALVES DA ROCHA.pdf: 3084818 bytes, checksum: c90a83ab6083d52610046527d60dd8c1 (MD5) Previous issue date: 2006-06-30 / The proposal of our work is to deffend the use of internet as a essential midiatic channel to the spreading of scientific research, acting specifically on archeology and pre-history sites. We intend, with it, to question the positioning of the designer towards the new technologies, in the creation processes and in the search of the meaning construction. Discussing the importance of the use of websites in the Cultural Property Management in a wider context, related to a more complex and vast system of perceptions ahead the potentialities and tools brought by internet. Using elements of peircian semiotics to the analysis of websites that consider the duty of scientific information and of their dimensions as products, we want, from this point, to raise ways that might lead our project: the construction of a scientific website, about the archeologic practic in Serranópolis GO. / Nossa proposta dissertativa se constitui em defender o uso da internet, como canal multimidiático imprescindível para a divulgação de pesquisas de caráter científico, atuando especificamente sobre sites de arqueologia e pré-história. Pretendemos com isso, questionar o posicionamento do designer frente às novas tecnologias, nos processos de criação e na busca da construção dos sentidos. Discutindo a importância do uso de websites na Gestão do Patrimonio Cultural dentro de um contexto mais amplo, e relacionado a um sistema maior e mais complexo de percepções, diante das potencialidades e ferramentas disponibilizadas pela internet. Utilizando-se de elementos da semiótica pierciana para análise de websites que se propõem a tarefa de divulgação científica e de suas dimensões como produtos, queremos a partir disso, levantar caminhos que possam nortear nosso projeto: a construção de um site científico, sobre a prática arqueológica na região de Serranópolis - GO.