This thesis aimed at examining the impact of decorative pictures, defined as pictures which make an instructional material aesthetically appealing rather than conveying information for learning. In research, the use of decorative pictures was considered to be detrimental for learning for a long time. In contrast, recent research revealed that the impact of these pictures is moderated by a number of variables. In a series of experiments which were based on cognitive-affective theories of learning with media, a selected number of theoretically derived moderators were examined in a series of experiments. A first experiment (N1 = 82) investigat-ed the effectiveness of different levels of emotional charge (positive vs. negative) and the impact of different contexts (learning context vs. leisure time context) shown in decorative pictures. Results showed that learning performance was higher for positive than negative pictures, while the measured pleasure of students mediated this effect. Decorative pictures showing a learning context were also found to enhance learning while the students’ assessments of arousal and dominance were raised for these pictures. In a second experiment (N2 = 81), design features of anthropomorphism, defined as features which elicit the tendency to attribute human characteristics to non-human objects, were implemented in decorative pictures. Based on a two-factorial design with the inclusion of human faces (present vs. absent) and personalized labels (present vs. absent), both human faces and personalized labels were found to foster learning. In comparison to a control group without decorative pictures (experiment 3; N3 = 102), the inclusion of both mentioned anthropomorphic features in decorative pictures led to a higher learning performance. In contrast, decorative pictures without anthropomorphic features decreased learning. Both features additionally enhanced the mental effort and intrinsic motivation of students, although a task-irrelevant cognitive load was increased by the inclusion of decorative pictures. The emotional charge (positive vs. negative) and the degree of text-picture connectedness (weakly vs. strongly) of decorative pictures were additionally examined in three other experiments (N4 = 108, N5 = 86, N6 = 162). Moreover, these groups were compared with an additional control group without decorative pictures. All three experiments revealed that decorative pictures with a strong connection to the learning topic of a text and a positive charge increased learning. In comparison with the control group, positive, strongly connected pictures mainly enhanced and negative, weakly connected pictures mainly impaired learning. Results can be explained by significant differences among the assessment of cognitive processes of learners. In conclusion, decorative pictures may be used in order to enrich an instructional material if boundary conditions like the context-relatedness, the degree of anthropomorphism, the text-picture connectedness, and the emotional charge are taken into account.:Zusammenfassung 4 Summary 6 1 Introduction 8 2 Theories of Learning with Text and Pictures 8 2.1 Cognitive Load Theory 8 2.2 Cognitive Theory of Multimedia Learning 9 2.3 Integrated Model of Text and Picture Comprehension 11 2.4 Cognitive-Affective Theories of Learning with Text and Pictures 12 3 The Role of (Decorative) Pictures in Learning with Media 15 3.1 Picture Taxonomies and the Function of Decoration 16 3.2 Decorative Pictures and Learning 18 3.3 Moderators of Decorative Pictures in Learning 18 3.4 Main Hypotheses 20 4. Methods 22 4.1 Participants and Experimental Designs 22 4.2 Pre-Studies and Instructional Materials 24 4.3 Learning Measures and Further Questionnaires 24 5 Results 26 5.1 Learning Results 26 5.2 Additional Results 28 6 General Discussion 29 6.1 Implications 30 6.2 Limitations and Future Directions 31 7 References 32 Article 1: „Decorative pictures and emotional design in multimedia learning” 38 Article 2: „Anthropomorphism in decorative pictures: Benefit or harm for learning?” 48 Article 3: “How affective charge and text-picture connectedness moderate the impact ….. of decorative pictures on multimedia learning” 64 Curriculum Vitae 116 Danksagung 119 Selbstständigkeitserklärung 120 / Die vorliegende Dissertation untersucht den Einfluss dekorativer Bilder, welche per Definition ein Lernmaterial eher ästhetisch schmücken als lernrelevante Informationen zu vermitteln. In der Forschung wurden solche Bilder bisher vorrangig als lernhinderlich betrachtet. Neuere Befunde weisen jedoch darauf hin, dass der Einfluss dieser Bilder einer Reihe von moderierenden Einflüssen unterliegt. Auf der Grundlage von verschiedenen Experimenten, welche auf kognitiv-affektiven Theorien des Lernens mit Medien beruhen, wurde eine ausgewählte Anzahl theoretisch abgeleiteter Moderatoren näher untersucht. In einem ersten Experiment (N1 = 82) wurden Einflüsse der emotionalen Ladung (positiv vs. negativ) sowie des dargestellten Lernkontexts (Lernkontext vs. Freizeitkontext) von dekorativen Bildern analysiert. Die Ergebnisse zeigen, dass sich das Lernergebnis durch positive Bilder im Kontrast zu negativen Bildern verbesserte, während dieser Effekt durch die Zufriedenheit der Studenten mediiert wurde. Auch dekorative Bilder mit einem Lernkontext erhöhten die Lernleistungen, während Lernende durch diese Bilder eine höhere Aktivierung sowie Dominanz angaben. Ein zweites Experiment (N2 = 81) bestimmte den Einfluss anthropomorphisierter Bestandteile von dekorativen Bildern, welche die Tendenz zur Attribution menschlicher Charakteristiken auf nicht-menschliche Objekte auslösen können. Auf der Grundlage eines zwei-faktoriellen Untersuchungsdesigns, gekennzeichnet durch die Einbettung von menschlichen Gesichtern (vorhanden vs. nicht-vorhanden) und personalisierter Beschriftungen (vorhanden vs. nicht-vorhanden), konnten menschliche Gesichter und personalisierte Beschriftungen die Lernleistungen erhöhen. Im Kontrast zu einer Kontrollgruppe ohne dekorative Bilder (Experiment 3, N3 = 102), erwies sich der Einsatz anthropomorphisierter Bilder als lernförderlich, wohingegen dekorative Bilder ohne anthropomorphisierte Bestandteile lernhinderlich waren. Beide Bestandteile erhöhten außerdem die wahrgenommene mentale Anstrengung sowie intrinsische Motivation der Lernenden, obwohl sich die lernirrelevante Belastung durch die Hinzunahme dekorativer Bilder erhöhte. Die emotionale Ladung (positiv vs. negativ) sowie der textliche Bezug (gering vs. hoch) von dekorativen Bildern wurden in drei weiteren Experimenten (N4 = 108, N5 = 86, N6 = 162) zusammen mit einer zusätzlichen Kontrollgruppe ohne dekorative Bilder untersucht. Jedes der drei Experimente ist ein Beleg für den lernförderlichen Einfluss dekorativer Bilder mit positiver Ladung und hohem Textbezug. Im Vergleich zur Kontrollgruppe, erweisen sich dekorative Bilder mit positiver Ladung und hohem Textbezug als lernförderlich, wobei dekorative Bilder mit geringem Textbezug und negativer Ladung also lernhinderlich nachgewiesen wurden. Einen Erklärungsansatz liefern zusätzlich gemessene kognitive Variablen. Zusammenfassend zeigt sich, dass dekorative Bilder durchaus lernförderlich beim Design von Lernmaterialien eingesetzt werden können, wenn moderierende Einflüsse, wie der dargestellte Lernkontext, der Grad der ausgelösten Anthropomorphisierung, der Textbezug, sowie die emotionale Ladung dekorativer Bilder beachtet werden.:Zusammenfassung 4 Summary 6 1 Introduction 8 2 Theories of Learning with Text and Pictures 8 2.1 Cognitive Load Theory 8 2.2 Cognitive Theory of Multimedia Learning 9 2.3 Integrated Model of Text and Picture Comprehension 11 2.4 Cognitive-Affective Theories of Learning with Text and Pictures 12 3 The Role of (Decorative) Pictures in Learning with Media 15 3.1 Picture Taxonomies and the Function of Decoration 16 3.2 Decorative Pictures and Learning 18 3.3 Moderators of Decorative Pictures in Learning 18 3.4 Main Hypotheses 20 4. Methods 22 4.1 Participants and Experimental Designs 22 4.2 Pre-Studies and Instructional Materials 24 4.3 Learning Measures and Further Questionnaires 24 5 Results 26 5.1 Learning Results 26 5.2 Additional Results 28 6 General Discussion 29 6.1 Implications 30 6.2 Limitations and Future Directions 31 7 References 32 Article 1: „Decorative pictures and emotional design in multimedia learning” 38 Article 2: „Anthropomorphism in decorative pictures: Benefit or harm for learning?” 48 Article 3: “How affective charge and text-picture connectedness moderate the impact ….. of decorative pictures on multimedia learning” 64 Curriculum Vitae 116 Danksagung 119 Selbstständigkeitserklärung 120

In this essay I study how humans and nature are portrayed in three Swedish picture books: Sprätten satt på toaletten(1970) by Annika Elmqvist, En blommas liv (2008) by Stefan Casta and Sara Lundberg and Naturen (2020) by Emma Adbåge. This is done based on the concept of ecomimesis from Timothy Morton's Ecology without Nature: Rethinking Environmental Aesthetics (2007) and other ecocritical terms such as: anthropocentrism, anthropomorphism and nature. In order to analyse the picture books I also use relevant ideas from Maria Nikolajeva’s Bilderbokens pusselbitar (2000). In addition to this, I discuss environmental literature for children and examine the didactic and aesthetic properties of the works.  Finally, I conclude that the books portay humans and nature differently but that they all have the message that we should cherish nature. Sprätten satt på toaletten has an anthropocentric worldview with humans shown as both the problem and the solution to the environmental crisis. En blommas liv gives a clear example of ecomimesis and anthropomorphism with its romantic illustrations of a conscious flower. Naturen ridicule antopocentrism and makes an attempt to redefine the concept of nature. All the works have both aesthetic and didactic qualities. They contain thought-provoking illustrations and stories but they also have clear messages. In other words, they are created based on the idea that literature can change the world. I question the phenomenon that adults, which cause the environmental crisis, speak for other peripheral groups. That we think we know what nature is and needs and hand over the responsibilities to the children. / I denna uppsats undersöker jag hur människa och natur gestaltas i tre svenska bilderböcker: Sprätten satt på toaletten (1970) av Annika Elmqvist, En blommas liv (2008) av Stefan Casta och Sara Lundberg samt Naturen (2020) av Emma Adbåge. Detta görs utifrån begreppet ekomimesis från Timothy Mortons Ecology without Nature: Rethinking Environmental Aesthetics (2007) samt andra ekokritiska termer såsom: antropocentrism, antropomorfism och natur. Till grund för bilderboksanalysen ligger relevanta begrepp från Maria Nikolajevas Bilderbokens pusselbitar (2000). Utöver detta för jag även en diskurs kring miljömedveten litteratur för barn och undersöker de nämnda verkens didaktiska och estetiska egenskaper.   Slutligen kommer jag fram till att verken gestaltar människa och natur på olika sätt men att de alla har budskapet att vi ska värna om naturen. Sprätten satt på toaletten visar en antropocentrisk världsbild med människan som både problemet och lösningen till miljökrisen. En blommas liv ger ett tydligt exempel på ekomimesis och antropomorfism med sina romantiska bilder av en tänkande blomma. Naturen förlöjligar antopocentrismen och gör ett försök till att omdefiniera naturbegreppet. Samtliga verk har både estetiska och didaktiska egenskaper. De innehåller tankeväckande illustrationer och berättelser men har också tydliga budskap. Med andra ord är de skapta utifrån idéen om att litteratur kan förändra världen. Jag ifrågasätter företeelsen att vuxna, som orsakar miljökrisen, för andra perifera gruppers talan. Att vi tror oss veta vad naturen är och behöver och lägger över ansvaret på barnen.

There is abundant anecdotal evidence substantiating Mori’s initial observation of the "uncanny valley", a point at which human response to non-human entities drops sharply with respect to comfort (Mori, 1970), and the construct itself has a long-standing history in both Robotics and Psychology. Currently, many fields such as design, training, entertainment, and education make use of heuristic approaches to accommodate the anticipated needs of the user/consumer/audience in certain important aspects. This is due to the lack of empirical substantiation or, in some cases, the impossibility of rigorous quantification; one such area is with respect to the user’s experience of uncanniness, a feeling of "eeriness" or "wrongness" when interacting with artefacts or environments. Uncanniness, however, continues to be defined and measured in a largely subjective way, and often after the fact; an experience or product’s uncanny features are pointed out after the item has been markedly avoided or complained about by the general public. These studies are among the first seeking to determine a constellation of personality traits and physiological responses that incline the user to have a more frequent or profound "uncanny" reaction when presented with stimuli meeting the criteria for a level of "eeriness". In study 1, 395 adults were asked to categorize 200 images as uncanny, neutral, pleasant, or other. In Study 2, physiological and eye-tracking data was collected from twenty two adults as they viewed uncanny, neutral and pleasant images culled from study 1. This research identifies components of the uncanny valley related to subjective assessment, personality factors (using the HEXACO and Anthropomorphic Tendencies Scale), and biophysical measures, and found that traits unique to Emotionality on the HEXACO inventory, compounded with a form of anthropomorphism demonstrates a level of relationship to the subjective experience of uncanny stimuli. There is evidence that HEXACO type and forms of anthropomorphic perception mediates the biophysical iv expression and the subjective perception of the stimuli. In keeping with psychological hypotheses, stimuli to which the participants had greatest response centered on death, the threat of death, or mismatched/absent facial features.

This assignment aims to explore and analyze the picture books I skogen by Eva Lindström, Furan by Lisen Adbåge, Om dagen tar slut by Lisa Hyder and Naturen by Emma AdBåge, through an ecocritical study of subjekt formations. The studying of children's literatre, in relatoin to both the anthropocene and environmenantal discourse, gives an insight into the way man and nature are narrated and how subject positions are challenged. When analyzing such subjects this essay uses The Nature in Culture Matrix, created by the research group Nature in Children's Literature and Culture. The main concepts presented throughout this text include anthropocentrism, ecocentrism, celebrated nature and problematasing nature. This thesis examines how modern picture books protest against the former independent, free and courageous child that was encouraged to put themselves before others. Such a chliche is evident when characters defy a common pattern of action and how anthropomorphizations of nature can highlight the ecocritical way of thinking. It is further evident that pictre books, through intrigue, problematize the human subject and draw parallels to everything that is living. To conclude, the results show that the child as a subject either is challenged or replaced by nature.

The purpose of this study is to examine how the severed hand in the animated film I Lost My Body (2019) is presented as its own character, based on Jens Eder character analysis: the clock of character. This study aims to answer the question: How is the severed hand in a specific scene in the animated film I Lost My Body (2019) presented as both an artifact and fictional character according to the clock of character ? Through the application of Jens Eder character analysis model, a specific scene in the film was captured through screen shots, described, and analysed. The theoretical framework of this study includes characterization theories on anthropomorphism, body form, body language, and emotions in fictional characters as well as a cognitive theory examining the connection between hand and mind. The study’s result suggest that the severed hand is conveyed as a character due to its behaviour, characteristics, and body movement, which place it on the border between animal, human and a fictional creature. The human intelligence of the hand, along with its animal-like reactions and luck in navigating its environment, lends credibility to it as an independent, conscious character. Furthermore, this study discusses ways that this research could be expanded on and how it can be used by filmmakers and animators. This paper also includes a design documentation after page 43 called “Familjens Förmedlare”, which is part of the degree project that this paper was part of at the Visual Communication program at Malmö University.“Familjens Förmedlare” is a short film that highlights problems that arise when children are given the responsibility to interpret for their parents.

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