M.Ed. / Students exhibit misconceptions or deviations from universally accepted concepts. Constructivists trace these misconceptions back' to the unique conceptual frames of reference of students. Ausubel (1985:82) named prior knowledge as the single most important factor influencing learning. New teaching strategies were designed to prevent or eliminate these misconceptions. The strategies are based on guidelines postulated by researchers such as Posner and his co-workers (1982:211). Several strategies use media to motivate students or provide a more concrete base for concept formation. The side effects of the utilization of media are important to designers and users of media. An empirical investigation was launched to determine whether media could also stimulate the formation of misconceptions. The investigation indicated that two dimensional representations of atoms, molecules and ion lattices can lead to misconceptions. Greater care should be taken in the selection of illustrations for textbooks and other media. If these side effects are taken into account by media designers and teachers, media can play a major role in the prevention and elimination of misconceptions.

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Post-apartheid South Africa is witnessing an education crisis of significant proportions. The new outcomes-based education system has failed to deliver and universities are suffering the consequences of under-preparation of learners for tertiary studies especially in mathematics. The educator corps is lacking and it has become common practice for universities to deploy augmented programmes in mathematics for secondary school learners in the surrounding areas. This thesis describes a particular approach of blended learning, devised for the Incubator School Project (ISP), an initiative of the Nelson Mandela Metropolitan University (NMMU) in the Eastern Cape of South Africa. The defining feature of this blended approach is that it incorporates DVD technology, which offers an affordable and accessible option for the particular group of learners and the schools they attend. The thesis poses the research question: How did the use of the DVD approach within a blended learning environment support the learning of mathematics? This case study explores the particular blended approach and reports six fold on the approach – qualitatively based firstly on a questionnaire completed by learners and secondly on interviews of learners, thirdly on the facilitators reports, fourthly quantitatively on learner performance before and after the intervention. Fifthly six schools are used as a case study where the mathematics performance of the learners who participated in the ISP is compared to those who did not participate in the ISP. Finally the scope of blending of this model is evaluated by means of a radar chart, adapted from an existing radar measure. This research revealed that using the DVD approach within a blended learning environment did lead to an improvement in learners perceptions about mathematics, an improvement in the manner in which they learned mathematics, an extension in their mathematics knowledge and provided learners with a supportive environment in which to learn mathematics. The elements which supported learning in this approach are presented. The findings of the study suggest that this approach impacted favourably on the mathematics learning and enhanced the mathematics learning and performance of these learners. Recommendations are offered for practice, teachers and schools and for further research possibilities.

This study examined and compared the effect of two feedback methodologies (visual and traditional) on the degree of skill acquisition for the two field hockey skills, Indian dribble and moving drive. Forty-seven female physical education students, ages 12 to 14 years, practised two basic field hockey skills for four consecutive classes. The experimental group was presented with a prototypic example, video feedback (VF), and checklist analysis while the control group was taught by traditional feedback methods which included teacher and student demonstrations in conjunction with verbal feedback. Performance evaluations were made by comparing scores on the Russell (1989) Field Hockey Checklist of Critical Behaviours. Motivational and attitudinal aspects were compared by the use of a Learning Perceptions Questionnaire. An ANCOVA of the Indian dribble performances did not reveal a significant difference between the methodologies. Analysis of the degrees of improvement was made using two comparisons (a) percentage improvement calculations revealed a mean of 27% for the control group and 31% for the experimental group, (b) the Hale and Hale (1972) procedure indicated means of 7.42 and 7.24 for the control and experimental groups, respectively. The ANCOVA of the moving drive indicated a significant difference (F=5.75, p<.05) between the methodologies in favor of the experimental group. The improvement comparisons revealed (a) mean scores of 10% for the control group and 32% for the experimental group, (b) the Hale and Hale procedure results revealed mean scores of 5 and 13 for the control and experimental groups, respectively. The analysis of the Learning Perceptions Questionnaire revealed that the subjects in the experimental group perceived that the checklists helped them to focus on the correct and incorrect behaviours and that watching the prototypic example in conjunction with personal performances helped to improve their skill level, thus providing a motivational element. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

M.Ed. (Subject Didactics) / The ideal in education is that the curriculum provided (by the teacher) and the curriculum received (by the pupil), as originally drafted by the designers, should agree. However, there are indications that this ideal is often not achieved in the teaching of Mathematics, the reason being, inter alia, the backlog in the subject arising from inadequate knowledge as a result of misconceptions in regard to certain basic concepts. Misconceptions among pupils indicate that the shaping of understanding and mastering the concepts have been inadequate. It should be kept in mind that frame of reference and world view are peculiar to each pupil and will be utilized by him for interpreting and processing new concepts. It is therefore essential that the world view of the pupil should be investigated as being the factor which is probably basic to the problem of misconception. The point of departure is therefore that pupils have divergent world views, which invariably affect their understanding of Mathematics. Throughout the ages misconceptions were inextricably part of natural science in general and Mathematics in particular. During modern times, since the 1960s, Boyd has paved the way for reflection regarding misconceptions in natural scientific teaching by using the term "unfounded beliefs", and the attention was actively drawn to the problems surrounding misconceptions. Terms now mostly used as synonyms for misconceptions are conceptual framework, alternative frameworks, and alternative conceptions...

The aim of this work is to describe history of audio-visual technology and to analyse the influence of digitalization. The text describes the history of cinematography, television and also the introduction of audio-visual technology to people's homes. It contains information on present situation as well as new trends and the influence of the Internet on audio-visual making. There is a comparison of past and present technologies. The new technologies are accessible even for amateur creators which helps them to open new possibilities. This work is also focused on the influence of audio-visual technologies on the final look of the film. In practical part of this paper, author recommends specific technology suitable for certain target groups accordingly to their budget.

The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T18:01:31Z (GMT). No. of bitstreams: 1 Age_AlessanderHenrique_M.pdf: 860700 bytes, checksum: bf90f16240cbd731e21ec17603d9de3f (MD5) Previous issue date: 2006 / Resumo: A presente dissertação de mestrado aborda a inserção da música na linguagem publicitária e sua influência no processo de comunicação. Através de um levantamento histórico e analítico, procura-se entender como a música atuou dentro do contexto publicitário nas décadas de 1950 e 1960. Para tanto, com base na teoria da publicidade e música de cinema, foram analisados filmes publicitários e anúncios de rádio produzidos nas cidades de São Paulo e Rio de Janeiro nesse período / Mestrado / Mestre em Música

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T08:56:07Z (GMT). No. of bitstreams: 1 Hosni_CassiaTakahashi_M.pdf: 6735968 bytes, checksum: 0cf70d146a084d5f759ce85ce7eff2cf (MD5) Previous issue date: 2014 / Resumo: O presente trabalho aborda o conjunto de obras do artista visual e cineasta Cao Guimarães, percorrendo panoramicamente sua trajetória de 1986 a 2013. A pesquisa se propõe a entender quais são as linhas de pensamento do artista e de que modo elas influenciam seus métodos e processos autorais. Para isso, seus longas e curtas- metragens, séries fotográficas, instalações e produções textuais foram elencados como num inventário cronológico. A descrição analítica desse inventário pretende descobrir elementos poéticos constantes no interior da pluralidade de linguagens que permeiam a produção do artista / Abstract: This research discusses the collection of works of the visual artist and filmmaker Cao Guimarães, panoramically going over its trajectory from 1986 to 2013. The research aims at understanding which are the lines of thought of the artist and how they influence the author's methods and creative process. For this purpose, his feature and short films, photographic series, art installations and textual production have been listed in a chronological inventory. The analytical description of this inventory intends to unveil the poetic elements contained within the plurality of languages that permeate the artist's production / Mestrado / Multimeios / Mestra em Multimeios

Orientador: Marcius Cesar Soares Freire / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T08:42:32Z (GMT). No. of bitstreams: 1 Silva_IsabelAndersonFerreirada_D.pdf: 2443528 bytes, checksum: da3f0d83f8a03b8b910bbfd027bd7f26 (MD5) Previous issue date: 2014 / Resumo: Este trabalho se dedica a explorar os diferentes conceitos, estilos e procedimentos audiovisuais envolvidos na realização de documentários que se constroem a partir de material de arquivo. Para tanto, são apresentadas sete obras que resultam da compilação de imagens e sons produzidos nos tempos da Segunda Guerra e cuja postura ideológica é antinazista. Apesar de similaridades temáticas e formais, tais filmes se utilizam de estratégias narrativas e de recursos narrativos de maneiras tão diversificadas que se prestam a apresentar contribuições singulares para a linguagem do filme de não ficção. O trabalho dispõe de três grandes capítulos. O primeiro, bastante conceitual, aposta em uma vasta contextualização do material abordado, tanto do ponto de vista formal ¿ o fato de os documentários se definirem como compilações de produtos audiovisuais ¿ quanto do narrativo ¿ seu tema geral (documentário de guerra) e específico (antinazista). Nele, cotejamos conceitos, como "filme de arquivo" e "filme de compilação"; mencionamos diferentes pontos de vista de autores que se dedicam a analisar esta forma de prática documental e apresentamos alguns aspectos relacionados a este tipo de material, como o seu valor historiográfico, sua presença na televisão ou a sua relação com as vanguardas audiovisuais. Mais adiante, já no segundo capítulo, chegamos às análises fílmicas de fato. Observamos no que consiste cada filme, como se deu a sua realização e o que ele representou para a sociedade na qual estava inserido bem como aquilo que, para nós, representa ainda hoje. Também explicitamos as suas particularidades enquanto produtos midiáticos a fim de estabelecermos os diferentes estilos de seus discursos. Por último, no capítulo seguinte, nos atemos aos procedimentos audiovisuais tal como eles aparecem nas construções narrativas dos documentários abordados. Esse capítulo surgiu da necessidade que sentimos de abordar características dos filmes de maneira mais entrosada e, de até certo ponto, comparativa. Englobamos recursos como o som, o narrador e a utilização de fotografias em meio às imagens em movimento. O que nos fica é uma sensação de que a pluralidade, o que nos leva a inferir que uma realização audiovisual é sempre muito individual, mesmo se for feita, em grande parte, a partir do mesmo material de arquivo e a fim de atingir um objetivo ideológico / Abstract: This work is dedicated to the exploration of the different concepts, styles and audiovisual procedures documentaries that are constructed with found footage. For this, we presented seven non-fiction films compiled through images and sounds of the times of World War II and whose ideological stance is anti-Nazi. Although formal and thematic similarities, such films uses narrative strategies and narrative features as diverse ways that lend themselves to provide unique contributions to the language of nonfiction film. The text has three main chapters. The first, very conceptual, makes a wide contextualization of the material covered in both the formal point of view - the fact documentaries define themselves as collections of audiovisual products - as the narrative - his general subject (war documentary) and specific (anti-Nazi). In this chapter, we compare concepts like "found footage" and "compilation film"; mentioned different points of view of authors who are dedicated to analyzing this form of documentary practice and presents some aspects related to this kind of material, as its historiographical value, its presence on television and its relationship with the audiovisual vanguards. Later, in the second chapter, we present the filmic analysis. We observe what is each movie, how was your realization and what he represented to the society in which was inserted as well as what, for us, is today. We also comment their particularities as a media product in order to establish their different styles of communication. Finally, in the next chapter, we focus on audiovisual procedures as applied in narrative constructions of documentaries. This chapter arose from the need we have to address characteristics of the films in a comparative way. We included features like sound, the narrator and the use of photographs together with moving images. What we realize is a sense that the plurality, which leads us to infer that an audiovisual product is always very individual, even if made, in large part, from the same archival material and to achieve the same ideological goal / Doutorado / Multimeios / Doutora em Multimeios