Through the use of a case study methodology, this research presents a qualitative analysis of Eureka! The Creative Arts Series, an instructional art education television series from 1995. In recognition of the reality that no lesson in the field is value-neutral, the study seeks to determine the implicit and explicit messages about art education communicated through the various features of the series. The dominant art educational message is established with the use of an essential tool: a 2008 list of 45 puropses for art education. Using this list, the study distills the eight epsiodes of Eureka! down to their central, most frequently espoused messages. This information is then used to enhance understanding of how an effective art educator presents material, as well as how a successful art education television program may function. / text

This paper compares the different approaches to programming taken by KERA--TV Instructional Services Division and by Israel's Instructional Television Center This study first examines the historical development of instructional television in the United States, particularly in Dallas, and in Israel, Next examined are the differences and the similarities between the stations' programming processes. Finally, the study examines the perceived achievements of programming goals set by each station. This report concludes that the stations' differences in their approach to programming are rooted in their historical developments, and discusses the opposite directions which the stations' programming processes are currently developing,

The primary purpose of the study was to determine the level of teacher competence concerning instructional television and the need for university training for future teachers. The secondary purpose of the study was to determine the availability, accessibility and utilization of instructional television equipment in elementary and secondary schools in the State of Utah. The principals of 400 elementary and secondary schools were the respondents in this study. A questionnaire was designed to acquire information on the following: (1) What degree of sophistication and types of television equipment are presently available in schools in the State of Utah; (2) what major problems are encountered by teachers using television; and (3) are the universities in the state adequately preparing teachers in the use of instructional television as an instructional medium. The results of the survey suggest that universities should offer prospective teachers hands-on experience in television utilization and production. An overwhelming majority of school principals (91 percent) indicated that universities should be doing this job. The results indicated what type of and how much equipment Utah schools presently have. In addition the survey showed the type of productions and programs that teachers are presently doing with television equipment. The results also identified several specific problem areas teachers now have.

This inquiry focussed on a single unit of analysis: TeleTuks Schools, a community outreach initiative of the University of Pretoria, South Africa and is classified as a case study. It sought to explain why despite technology that permits bi-directional oral communication during televised instruction, learner participation was poor. The exploration of literature related to instructional television (ITV) and social communication, ensured a richer understanding of ITV as delivery mode as well as potential reasons for low responsivity during telelessons. It also raised awareness of the particular challenges of utilising ITV in a developing country context. This inquiry was informed by an interpretivist paradigm and the theoretical stance related to a synthesis of several communication models designed for mass media while the concept interaction as a key element of instructional communication was also dissected. Initially, a small-scale quantitative approach, established how prevalent poor participation was while rich experiential interview and video data identified why learners refrained from participating overtly. The use of Atlas.tiTM to systematically analyse the volume of unstructured data as a single unit, not only facilitated analysis but also enhanced the validity of the inquiry. An inductive analysis of the research data generated three significant and interrelated themes: Paradoxical perceptions, Presenter nescience, and Problematic practicalities and partnerships. These accounted for why learners did not respond as expected during televised instructional episodes. Key findings suggested that the rate of learner participation during telelessons was not influenced by an isolated factor as initially anticipated, but by a combination of variables. Technical and methodological design limitations were complicated by ineffective communication skills on the part of both presenters and viewers. Incongruence between the findings and initial suppositions added to an overarching sense of mismatch and led to the proposal of a theory linked to instructional dissonance i.e. the ignorance or denial of distortions that negatively affect communication between the instructor and student. Instructional communication is successful but not meaningful as a mismatch of sense or utility occurs. Recommendations for theory and practice are deemed applicable to mediated instructional contexts. Research avenues for further exploration relating to interaction in blended learning environments have been suggested. / Thesis (PhD (Curriculum Studies))--University of Pretoria, 2005. / Curriculum Studies / unrestricted

The problem of this study was a comparison of attitudes toward and achievement in biology between students enrolled in an introductory biology course taught using instructional television and as taught at Tarrant County Junior College South Campus in the spring semester of 1982.

This thesis is about how space technology is experienced in the social domain and how its purpose is recast from different viewpoints. The author is an artist and the approach taken foregrounds qualities of experience and viewpoint in which artists have a particular investment. This approach opens up the ways that affect, agency and authorship cross social domains that are directly and indirectly associated with the production of space technologies. A key focus is a group project led by the author that was initiated in response to the launch in October 2008 of the Chandrayaan-1 spacecraft by the Indian Space Research Organisation (ISRO). The project took place in Bengaluru, India where the spacecraft was built. Taking the ambivalence that surrounds the uses and purposes of space technologies as a starting point, a description of the spacecraft is developed from a number of viewpoints, including the mission scientists, public media and the participants of the artist-led project. The interventionist strategies of the project shed light on the ways that technologies can be accessed through their imaginaries and this has significance for large-scale technologies, such as spacecraft, for which physical access is delimited and much of the infrastructure is invisible or hidden from public view. The thesis proposes ways of reinstating missed qualities of viewpoint and experience within the affective spaces of space technology through the imperative to articulate first-person engagements with the world that is bound into artistic interpretation. What is further proposed is that by picturing the interrelations and flows of space technology in social domains through the lenses of experience and viewpoint, a 'technographic picture' is created that then becomes available as a tool with which to re-imagine spacefaring. This is a crucial addition to discussions about the interplay between science, technology and society that recognises the intimate spaces at the core of such large-scale concepts. It offers a new transdisciplinary modality that incorporates an artistic approach with which to make sense of the structurally ambivalent pursuits of spacefaring.