Icon effects Essay Example | Topics and Well Written Essays - 500 words

Icon effects - Essay Example Is it just a matter of gaining money from tourism, or is there more to it than that? Idea of the cultural capital in the sense of a store of valuable ideas that means something to locals and to visitors. Who buys iconic objects and why? Key concepts: souvenirs, history, memory and pride. Four cities to be chosen (initial thoughts are London, Edinburgh, Cardiff and Liverpool). Think about criteria for selection, and amend choice if necessary. Plan a journey to each of the four cities, in such a way as to minimise costs. Devise a small budget to pay for travel and buy icons from 4 tourist shops in each city. Idea: ask shopkeeper what item under  £5.00 people buy most, note down the answer. Repeat in 4 shops in each city (budget maximum  £80 for icons, possibly less if the item is the same in two chosen shops, since there no need to buy twice). Take digital photographs of city’s main iconic objects or locations. Gather tourist brochures on each city for case study analysis. On return from field trips, prepare a case study of each city, describing the icons and discussing how each city uses them. When all four case studies are complete, compare and discuss them drawing out similarities and differences. In the conclusion, write up what the impact of the icons has been for each

Noble Prize Economist Amartya Sen Term Paper Example | Topics and Well Written Essays - 1500 words

Noble Prize Economist Amartya Sen - Term Paper Example He is widely regarded as the Mother Teresa of economics because of his contributions to the poor. He is currently serving in two universities; in Thomas W. Lamont University as the Professor of Economics and in Harvard University as the Professor of Philosophy. Apart from that he is a distinguished fellow in many other famous universities and institutions like Harvard Society of Fellows, All Souls College, Oxford, Trinity College, Cambridge etc. This paper briefly analyses the contributions of Amartya Sen as an economist to the world. â€Å"Amartya Sen was born on 3 rd November 1933 in Santiniketan, West Bengal, India. His ancestral home was in Dhaka, Bangladesh. His family migrated to India following the partition of India in 1947†(Amartya Sen). The meaning of ‘Amartya’ is immortal. The renowned scholar of Indian literature, Rabindranath Tagore was the one who proposed the name of Amartya Sen. Rabindranath Tagore was one of the best friends of Amartya’s fa ther. Sen started his school education in Dhaka; however, the division of India forced Sen and his family to migrate to India in 1947. The latter part of his school education was in Visva-Bharati University school. He has joined Presidency College, Kolkata, for his college education and completed his First Class First in his B.A. (Honours) in Economics. He left the Presidency College as the most eminent student of the 1953 batch. He has continued his higher studies in Trinity College, Cambridge, and completed a First Class BA (Honours) from there in 1956. He has enrolled for a Ph.D. in Economics in Trinity College itself after the completion of BA (Honours) from there. During the same period itself, he was appointed as the Professor and Head of the Department of Economics at Jadavpur University, Calcutta. Later he returned to Trinity College and completed his Ph.D. in Economics. Within economics, he has made original and critical contributions to development theory, planning, capita l and growth theory, investment appraisal, the study of technology and employment, welfare economics, social choice theory, poverty and inequality measurement, issues in the causes and redressal of famines and destitution, and population policy (Subramanian). Amartya Sen is well known for his works for the poor. As mentioned earlier, he is currently regarded as the Mother Teresa of economics. The theory of social choice was developed by Amartya Sen. In his book â€Å"Poverty and famines† published in 1981, Amartya argued that famine occurs not only because of shortage of food, but also because of the inequalities built in to the mechanisms for distributing food (Amartya Sen). Masny of the earlier economists cited the food shortage as the major reasons for famine. However, Amartya was able to prove that even the produced food is not used up properly because of the problems in the distribution system. For example, in India, the government is distributing food to the poor people with the help of rationing system. However, because of the delays in completing the administrative procedures in supplying the food from the food go-downs to the ration shops, a substantial portion of the food items wasted. In other words, the bureaucracy is causing problems in the safe transport of the food items from the ware-houses to the ration shops in India. The increased percentage of corruption in bureaucracy is delaying the paper works. Thus, Amartya was able

The first act in Hobsons Choic Essay Example for Free

The first act in Hobsons Choic Essay Willies speech tells the reader that Will is now a successful businessman and that he is able to control his own business. The playwright shows us this change by making the character use more complex speeches. In the fourth act, Willies responses towards Hobson a much more lengthy than they were and they is not the same as his limited, one word answers in the first act. This shows the reader that he has become more confident to talk to people in a class higher than his own, and he has a larger vocabulary and he is much more fluent. He tells Hobson how he expects his business to go on into St.Annes square in the future. In act four, the reader also finds out how much Willie has changed from the way he talks to Hobson about the new name of the boot shop. Willie tells Hobson that the name of the shop shall be, William Mossop, late Hobson. Maggie does not agree and Hobson realises that Willie is trying to take over the whole business. At this point, Hobson says, Just wait a bit. I want to know if Im taking this in alright. Im to be given a half-share in my own business on condition I take no part in running it. Is that what you said? Willie replies, Thats it, as if to imply that Hobson is not to have any part in the business. This portrays Willies confidence in speaking to people like Hobson and shows the reader how much his attitude has changed. In act four, Willie is much more fluent with his words and his new vocabulary suggests that he has been educated well by Maggie. He talks about things in a more serious manner. He does not speak in a comical way, or use any phrases that would make him look dim-witted. Also, the way in which he controls his business in Oldfield Road suggests his education has improved dramatically. Maggies education and influence on Will have had a positive effect on him. Unlike the first act, he is now clear about his ambitions and his future. This is shown by his attitude towards his business and the way he handles Hobsons offer of partnership. At the end of act four, Maggie and Will show their love towards each other. In the first act Will Mossop is a reluctant player in Maggies game plan. By the end of act four, he loves her and can appreciate what she has done for him. The last phrase in act four, shows that Will Mossop still hasnt completely grown out of his comical attitude, by saying, Well, By gum! This ends the play. In contrast to the early scenes, I chose to show Willie Mossop as a confident, successful businessman. Firstly, I used a different costume and I wore a three-piece suit with a top hat under my arm. Secondly, when I spoke to Mr Hobson I was fluent and I looked him in the eye. In this act, I changed my timorous attitude to a confident attitude. I proved this by having my shoulders back and being in a closer space. I even deliberately placed Maggie behind me on stage, to show that I was now the person in charge.

Representation of Power in Marvels Daredevil

Representation of Power in Marvels Daredevil Kimmy Huynh How are the characters in Marvel’s â€Å"Daredevil† Netflix series portrayed as powerful? Introduction The portrayal of power in fictional media often reflects connotations and assumptions made in the real world. By using the theoretical framework of semiology to analyse how Marvel’s Daredevil constructs the notion of power, an insight into what elements audiences see as power and how media creators materialise power in their work can be brought to light. Ideologically, the idea of power has been at the very core of capitalist societies such as the one we live in, it would therefore be insightful to pursue academic research in the area through deconstructing its representation. Marvel’s Daredevil series is an origin story created for the on-demand platform of Netflix. As a piece of media that exists within the modern superhero genre, power is a key theme. From a media studies perspective, Daredevil is a noteworthy text for analysis. Much like other Netflix series, its release on the digital platform saw the entire season of Daredevil released at once. This creates a pressure free form of storytelling for the media creators as it allows for characters and other elements of the Daredevil world to develop naturally over time without taking into consideration whether an audience member has watched the show sequentially each week. It would therefore be insightful to analyse how power is developed and represented in this new structure of storytelling. Methodology (strengths and weaknesses) In order to analyse the representation of power in the Daredevil show, a semeiotic analysis will be used to answer the question. A semiotic analysis of elements within the episodes will be used in order to deconstruct how power is represented. A semiotic analysis is a form of media research originally coined by the theorists Charles Sanders Pierce and Ferdinand De Saussure in the early twentieth century. Widely meaning the study of signs, Pierce stated that a sign is â€Å"something which stands to somebody for something in some respect or capacity† (Pierce 1955: 99) while Saussure describes semiology as â€Å"a science that studies the life of signs.† (Saussure 1959: 16) Media texts, such as television shows, are seen as constructs of meaning. Theorist Stuart Hall (1997) suggests that meanings are encoded within the media by its creators and then decoded by audiences who actively react to it based on personal experiences, lifestyles and social norms at the time of viewing. Fiske describes denotation as being what is photographed and connotation as how the photo has been taken (Fiske, 1990). By deconstructing the representation of power in Daredevil through semiotic analysis, the underlying symbols used by media authors to create power can be brought to light. To analyse semiotics is to analyse the symbolic meaning of signs in a media text. De Saussure suggested that signs consist of two inseparable aspects: the signifier and signified. The signifier often exists in the material world in the form of letters, objects and images and is interpreted through our senses of touch, sight, sound etc. The signified is the mental concept or meaning attached to the signifier. Essentially, the equation for signs is as follows: The Signifier + Signified = Sign The purpose of a semiotic analysis, then, is to understand how meanings are formed by reviewing how texts are constructed by using the above equation. In employing this methodology, it would be beneficial for a researcher to understand the strengths and limitations of semiology. Theorists such as Robert Hodge and Gunther Kress advocate the notion that â€Å"semiotics offers†¦a systematic, comprehensive and coherent study of communications phenomena as a whole† (Hodge Kress, 1988:1). Furthermore, Semiotics provides scholarly research with conceptual framework and a set of tools and terms to analyse many forms of communication. On the other hand, semiology is often critiqued as being almost imperialistic, since some theorists see it as being applicable to anything and everything, infringing on almost every theoretical and ideological discipline. As a result of the breadth in which semiology is applied, it is said to be difficult to offer a critique on a theoretical framework that changes so much depending on its application. This is emphasised by John Sturrock in Structuralism (1986) where he illustrates this infringement as a â€Å"dramatic extension†¦Ã¢â‚¬  that would â€Å"include the whole of culture†¦Ã¢â‚¬  (Sturrock, 1986:89). Literature Review Literature surrounding semiotic analysis often suggests that there are not many who work as ‘semioticians’, however it is rational to accept that everyone utilises semiotic methodology to some extent in their everyday lives. In an article written by Arthur Asa Berger, it is suggested in the section titled ‘People Watching and Facial Expression’ that curiosity is a driving force for why people may make a semiotic analysis, stating that â€Å"we often watch people [and] scrutinise them† (Berger, 2013:23), he continues to state that semiotic analysis is exercised when a person wonders where someone is going or what they are doing, â€Å"†¦body structure, body language, clothing, brands†¦Ã¢â‚¬  (Berger, 2014:23) are some of the elements that are scrutinised in order to make an informed guess in answering those questions. While both key thinkers, De Saussure and Ferdinand, did not originally develop semiotics and semiology respectively for analysing media, it has since been a pioneering force in analysing contemporary media texts. In The Consumer’s Stake in Radio and Television, theorist Dallas Smythe suggested that television texts should be analysed as a â€Å"group of symbols† that â€Å"serve as a medium of exchange between the mass media and the audience† (Smythe, 1954:143), the ideas of semiotics and semiology coincide with Smythe’s statement. Smythe’s statement can also be applied to genre studies in the sense that genre is essentially a group of symbols that create a medium in which recurring codes and conventions allow a media text to be â€Å"classified and organised† (Casey, 2002:135). Listed under the superhero, action and adventure genres on Netflix, Daredevil will inevitably adhere to those specific genre conventions, it can therefore be said that signifiers that link to the signified ideas of superheroes, such as having extraordinary powers, a moral code and a secret identity will be used in the show. In terms of the ideological stance on power, Marxist literature focuses on the argument that mass media, such as television, is significantly influenced by the needs of the upper class in capitalist society. Marxist theory regarding the base and superstructure reinforces the idea of upper class dominance through mass media (Marx Engels, 1947). However a more culture orientated Marxist approach to media lies in Gramsci’s theory of hegemony. In Gramsci’s Prison Notebooks (1995), Gramsci rejected ideas of crude materialism and instead offered a more humanist form of Marxism that focused on human subjectivity and the power of media. He used the term hegemony to describe the predominance of one social class over the other (Gramsci, 1995). The media therefore prescribes, through signs, the dominant norms, values and tastes, political practices and social relations. (Sassoon, 1982) Analysis As mentioned before, signifiers often take form in the materialistic world of production. These catalysts for meaning can range from anything in the mise-en-scene, such as performance, lighting and costume, to the cinematographers choice of angles and camera shots. These verbal and visual elements then become the signified in which audiences draw links between an object and an idea. The two major characters in Daredevil, the antagonist and protagonist, will be analysed to understand how the idea of power has been encoded within them. The characters, Fisk and Murdock, can be seen as mirrors of one another. In literary terms they would be labelled as foils, the term is used to describe two characters that have comparative traits but are contrasted by their actions. Both characters believe they are saving the location of Hell’s Kitchen and exercise their power to do so. Power is therefore denoted in their actions, whether it’s violently interrogating criminals to find out where hostages are being kept or violently making an example of someone in order to keep the criminal underworld in line, both characters use their violent power to achieve their objectives. This is emphasised in Fisk’s dialogue in which he says â€Å"I want to save this city, like you. But only on a scale that matters†. This acts as a verbal signifier and indicates his exercise of power, even if innocent lives are lost in the process. In Episode three, titled Rabbit in a Snow Storm, the audience are introduced to a painting of the same name which symbolically represents more than just a simple painting. On one hand it denotes how the characters get caught up and lost in the bigger picture just as the rabbit is caught in the snowstorm. On the other hand, Fisk’s obsession with this piece of art soon brings out one of the major themes of the entire show: What kind of man or woman do you want to become? Fisk’s power over monetary wealth and the criminal underworld is at the core of this concern and the painting acts as a signifier for this idea. Moreover, this idea of power and the responsibility that comes with great power is applicable to the character of Murdock. Fisk is repeatedly shown to have struggled with what kind of man he wants to become and this is seen when he stares at the painting over and over again, which in turn signifies his increasing power as different events occur. Conversely, Murdock also struggles with who he is and what he may become as a result of his power. Murdock finds himself in the confession booth seeking guidance from Father Lantom. Through this faith, an iconic signifier which emphasises power is revealed. The juxtaposition between the iconic symbols of the church and Daredevil connotes the power of both good and evil existing within Murdoch. Faith plays a central part in the original Daredevil comic book story and it is what drives him to constantly question his own morality. The show has been widely praised for its violent and gritty fight scenes, however as a media construct, Murdoch’s fighting prowess in these scenes act as obvious signifiers for him being a powerful character as he is often pitted against insurmountable odds. Another symbol of power is seen through Murdoch’s questioning of his morality, this is seen in episode three where he confronts Fisk’s hired killer. While his own life is at risk, he still struggles with the notion of murder. This also reflects the superhero genre conventions of morality and its idea of killing one villain to save the many innocent. In the final scenes of episode thirteen, Daredevil obtains his most symbolic costume from the comic books. Reminiscent of the devil, his attire symbolises his identity as the Daredevil. Murdoch eventually adopts this identity as his alias as it has the power to instil fear. As an iconic sign, the media creators of Daredevil construct this verbal signifier in the dialogue where criminals often call Murdoch â€Å"the devil† in fear. Fear is therefore a sign used in representing the character of Murdoch as powerful. On the other hand, Murdoch’s foil, Fisk is not a character revealed until the third episode. And other characters often state that â€Å"we don’t say his name.† Furthermore, characters who end up revealing his name state that â€Å"he will find me†¦and everyone I’ve ever cared about†¦and make an example†. An element of the mise-en-scene, the performance and dialogue of other characters, are therefore used as verbal signs to imply how powerful the character of Fisk is. This element of fear derives from merely saying the character’s name and again, parallels Murdoch’s use of fear. Connotations that represent power are seen in the character of Wilson Fisk through his attire. Episode eight, titled Shadows in the Glass, illustrates this well by beginning with a montage of Wilson Fisk’s typical morning routine. A number of visual signifiers take shape in this opening sequence to connote power. His choice of clothing acts as a symbolic sign, reflecting what society has deemed a stereotypical rich man to look like. His suits, mainly black, therefore symbolise economic wealth and power respectively as the colour of black is widely associated with power and strength. Power is also encoded through the use of non diegetic sound. Classical music is inserted by the media creators in order to reinforce this idea of Fisk being a powerful member of the upper class in which the ‘finer things in life’ such as classical music and Fisk’s skills in the culinary arts as he makes breakfast is underlined. Politics and media, and more specifically power and media has always had an ambiguous relationship. Gross (1991) suggested that the powerful can often â€Å"influence† their own portrayals as well as others. The show takes this idea and illustrates it within episode six, titled Condemned, in a scene where the antagonist coerces the media, police and other public institutions into making the Murdoch the scapegoat for bombings that occur in Hell’s Kitchen, hence the episode name being Condemned. The representation of power is highlighted here as the media is influenced by the antagonist. Fisk’s control over the media is therefore another symbolic sign of him being a powerful character. A visual signifier for power used effectively throughout the season is body language; the positioning of Fisk often underlines him as a powerful character. The actor casted in the role, Vincent DOnofrio, stands at 6ft4 and weighs 130kg. While a man of this build already visually connoted as being powerful, the cinematography in Daredevil emphasises this by using low angles. By viewing the character from a low angle, Fisk is positioned above the audience and looks down on them, just as Fisk is framed in such a way that causes the audience to look up at the character, connoting a sense of power as he towers over the viewer. Conclusion In closing, the makers of the Daredevil Netflix series evidently employ signifiers that create the idea of power in order to truly illustrate how powerful a character is. A semiotic analysis of the two characters, Murdoch and Fisk, allow for an understanding of what elements have been used in order to create the impression of power a hero or villain. Most notable is the performative element of the mise-en-scene. Just as it is suggested by Berger in his analysis of applied semiotics in Semiotics and Society (2013), â€Å"body structure, body language† and facial expressions acts as strong signifiers in Daredevil. The performance of the actors who play Wilson Fisk and Matthew Murdoch therefore play a major role in creating verbal and visual signifiers for the notion of power. Furthermore, this is empowered by the character foils in which their parallels work to empower their different powers, be it supernatural as Murdoch or economic and coercive as Fisk. Media texts such as television and film are essentially signs containing other signs, and while some signifiers may not be obvious, a semiotic investigation aims to make these implicit signals, explicit. The employment of a semiotic analysis was insightful in regards to how ideas are constructed. The representation of power corresponds with Marxist ideology in which the powerful, such as Fisk, control the superstructure (Marx Engels, 1947) in the show. As stated at the beginning of the research report, the idea of power often reflects assumptions made in the real world. It is therefore informative to see how verbal and visual signs in actions, performances and costume present the idea of power to the audience. Bibliography BERGER, A.A. 2014; 2013, Semiotics and Society, Society, vol. 51, no. 1, pp. 22-26. CASEY, B. (2002). Television studies: the key concepts. London, Routledge. FISKE, J. (1990). Introduction to communication studies. London, Routledge. GRAMSCI, A. (1995).Futher Selections from the Prison Notebooks. U of Minnesota Press. GROSS, L. P., KATZ, J. S., RUBY, J. (1988). Image ethics: the moral rights of subjects in photographs, film, and television. New York, Oxford University Press. HALL, S. (1997). Representation: cultural representations and signifying practices. London, Sage in association with the Open University. HODGE, B., KRESS, G. R. (1988). Social semiotics. Ithaca, N.Y., Cornell University Press. MARX, K., ENGELS, F., ARTHUR, C. J., MARX, K. (1947). The German ideology. [New York, United States of America] International Publishers. PEIRCE, C. S., BUCHLER, J. (1955). Philosophical writings of Peirce. New York, Dover Publications. SASSOON, A. S. (1982). Approaches to Gramsci. London, Writers and Readers. SMYTHE, D.W. 1951, The Consumers Stake in Radio and Television, The Quarterly of Film Radio and Television, vol. 6, no. 2, pp. 109-128. SAUSSURE, F. D. (1959). Course in general linguistics. New York, Philosophical Library. STURROCK, J., WINTLE, J. (1986). Structuralism. London, Paladin. Page 1 of 6

The Laptop Computer :: Mobile Computing Portable

"Alan Kay has remarked that had Vannevar Bush enjoyed working in all-night coffee shops, he would have invented the portable computer." (Press, 1993, p.31) The laptop computer has had a tremendous impact in the areas of business, education, government, and personal use. The emergence of portable computing and the laptop computer can be traced to the introduction of the personal computer itself. In 1975, the MITS Altair 8800 was introduced. The Altair is recognized as being the first commercially successful personal computer and the launching point for the personal computer revolution (Sysop, n.d.). Almost simultaneously, the idea of portability (in particular for the business-person) became a major focus in the industry. This new desire for computing portability introduced a number of new challenges. Factors such as cost, weight, power source, screen & keyboard size, overall size, and included software presented great challenges to computer system designers. There is some debate regarding which machine holds claim to being the first portable computer, as portable was a relative term used quite liberally. The earliest portables, while heavy by today’s standards, shared the common characteristic of integrating a keyboard, memory, processor(s), display, and expandability potential into a single unit able to be transported. In 1975, about one month after the Altair’s debut, IBM introduced the 5100 – dubbed the IBM Portable PC. There were few personal computers available around this time, making the powerful 5100 very attractive as a complete portable system (Sysop, n.d.). At almost 60 pounds and a cost of $9,000-$20,000 however, it was attractive to a small audience. It was designed specifically for professional and scientific problem-solvers. Several years later saw the introduction of what most historians refer to as the first truly portable computer, the Osborne 1 (Bellis, 2005). Released in 1981, the Osborne 1 weighed about 24 pounds and sold for $1795. While the unit itself was still rather bulky, it contained a fold-out keyboard, 5 inch monitor, and two floppy disk drives. Its biggest value however, was the $1500 worth of software that came with it. Unlike the IBM 5100, the Osborne 1 optionally ran on battery packs, enabling true portability. Advances in technology sa w the decrease in size of portable computers, as well as an increase in computing power.

The Chinese Literati Painting Tradition :: Art History Papers

The Chinese Literati Painting Tradition One can not help but marvel at the beauty of the Chinese landscapes, the vast space, the intricacies, the imaginative structures, the subtle colorations. To a western eye they are beautiful but to the Chinese they are far more. The paintings embody or portray all aspects of Tao. The caligraphy and imagery in each painting take on spiritual significance. The artist-scholar can spend years searching for understanding in each work. This understanding he seeks is not just of the scene he sees but of universal structure and himself within it. In turn, his discoveries surface in his brushwork, composition, and the spirit of his mountains, trees, water, and sky. It is no wonder, that the cannon for Chinese art remained among the literati painters over so many centuries. Through painting, one could reach a further understanding of Tao or rather repossess his ancestors knowledge of Tao. The Tao, with its associated notions of oneness of "spirit and matter," the external flux of all things, the resolution of opposites, and the significance of the nonexhistant, was the cornerstone on which Chinese based theirpainting and their theories of painting It is the search for understanding that drives the artist-scholar to paint. Shen Chou, an artist from the Ming Dynasty tells of his new found knowledge and cleansed mind which he has reached through only experiencing nature. His words are translated from the calligraphy in Night Vigil (above, center). Through mental abstinence and by sitting alone by the light of the flickering candle long into the night, I must pursue both the [outer] principals of things and the wondorous [inner] workings of the mind. By using this method for self-cultivation and responding to things, I shall posess understanding. The Literati were generaly of the beurocracy. They were well mannered in Confucian traditions, well educated, and well off. They were first scholars before they were painters. In fact painting was generally concidered an outlet for scholars. Scholar-painters were greatly respected, their work was part of high culture. The great artist-scholars wrote at length, advising techniques for painting and calligraphy. They formed different schools of thinking across China. Their names and spirits were remembered through vast literature and in the paintings themselves. Every succeeding generation of artist scholars rekindled the spirit of their ancsestors through their own works of art and literature. And so it continued until the fall of Dynastic China. Unfortunately though, literati remains difficult for Westerners to fully comprehend and appreciate.

Importance Of Note Taking In Colleges Education Essay

IntroductionNote-taking is a really of import larning tool in college schoolroom. Boyd ( 2004 ) found that pupils who take notes perform better on tests than pupils who merely highlight text. Most teachers besides wonder whether supplying press releases to pupils is truly utile for pupils or non. A study by Isaacs in 1994 shows that 43 % of academic staff frequently or ever use press releases in the schoolroom, and they feel that press releases help pupils to take notes and let them to listen and take part more in talk. The issue of note taking makes college professors use presentation package, such as Microsoft PowerPoint and its related press releases. Although Microsoft PowerPoint is more popular in colleges, it besides has negative impact on instruction and acquisition. For case, Tufte ( 2003 ) argues that PowerPoint and other presentation package have reduced the quality of presentations and represent hapless teaching method. This paper presents two surveies which determine if supplementing Microsoft PowerPoint lectures with press releases of the slides improve test-taking public presentation in an undergraduate homo development class. In the first survey, it was expected that pupils who received the press releases would execute significantly better on tests than pupils who did non. Students were surveyed about their usage of the PowerPoint press releases and perceptual experiences of the grade to which the notes helped with exam public presentation. The 2nd survey assessed the acquisition manners of pupils in order to find whether the acquisition manners with PowerPoint presentation press releases may impact pupil larning results. It looked at the three acquisition manners: lingual, visual-spatial, and bodily-kinesthetic.MethodFor the first survey in the autumn semester, pupils in two subdivisions of an upper degree Human Development class at a little Midwestern university participated in the current survey. Each subdivision had 50 pupils who were demographically similar across subdivisions. In the autumn semester, the class was divided into tierces, with an test given at the terminal of each 3rd. Students were required to take one of the first two noncumulative tests, but the lower class of the two was non computed into the concluding class. The concluding cumulative test was required of all pupils. At the beginning of category, Section 1 pupils were given hard-copy press releases to attach to the Power Point lectures for the 2nd test and the concluding ; they were instructed non to demo these press releases to pupils from Section 2. Section 2 pupils were given the press releases for the concluding tierce of the semester merely. In the spring survey, the process of the survey was similar to the autumn semester. However, pupils in both subdivisions were asked to look into as many points in the checklist of Multiple Intelligences Inventory for grownups ( Harper, 2005 ; Lazear, 1991 ) , wh ich characterized the ways they learned stuff.ConsequencesFor both surveies, there were no important differences between the two subdivisions on the trial scores with the usage of the PowerPoint press releases. As clearly seen, the average test mark of the pupils given PowerPoint press releases is rather similar to the average test mark of the pupils without PowerPoint press releases.Survey Results and Qualitative AnalysesResponses to the study show most pupils ( 79 % ) used the notes for analyzing for the concluding, 21 % were really attentive to the PowerPoint projections along with the notes, 25 % indicated that they had paid a batch of attending to the talk along with the press releases, and 39 % often wrote extra notes on the press releases. Similar to the autumn semester survey, the spring semester pupils were for the most portion rather positive about having the press releases, as 75 % indicated that the press releases were by and large helpful, 75 % felt that they were utile in fixing for trials, and 50 % indicated that the press releases improved their hearing to the talks.DiscussionSome findings show that the function of presentation press releases is truly utile for pupils to heighten the trial public presentation, but some do non. Although the findings seem to be strong, many factors to measure the usage of this instruction technique. One factor is class content which may act upon the acquisition results in categories utilizing PowerPoint. Another is that the consequence that PowerPoint slides has on larning results is non matched by studentsaa‚Â ¬a„? intuitive beliefs. Finally, the format of press releases does non supply complete sets of notes for pupils. Future research should analyze such teacher effects in the usage of PowerPoint press releases, every bit good as whether PowerPoint slides may be more effectual for certain class content and non others. In some respects, the usage of presentation package in the college schoolroom is one of those old contentions encased in new technological wrapper. Yet, it forces those of us who are actively involved in bettering instruction and acquisition in higher instruction to joint our premises and beliefs about what happens in and out of the schoolroom. To that terminal, there decidedly is something to be gained in the continued usage of the package and empirical geographic expedition of its effects.MentionsBoyd, C. H. ( 2004, May ) . Comparison of foregrounding and note-taking during a PowerPoint talk on trial public presentation. Poster session presented at the one-year meeting of the American Psychological Society, Chicago, IL. Harper, W.S. ( 2005 ) . Course stuffs for Plant and Soil Science. Unpublished papers, University of Vermont. Retrieved October 1, 2005 from hypertext transfer protocol: //pss.uvm.edu/pss162/learning_styles.html Isaacs, G. ( 1994 ) . Lecturing patterns and note-taking intents. Surveies in Higher Education, 19, 203-217. Lazear, D. ( 1991 ) . Seven ways of cognizing. Teaching for Multiple Intelligences ( 2nd edition ) . Palatine, IL: Skylight Publication. Noppe, I. , Achterberg, J. , Duquaine, L. , Huebbe, M. & A ; Williams, C. ( 2007 ) . PowerPoint presentation press releases and college pupil larning results [ Electronic version ] . International Journal for the Scholarship of Teaching and Learning, 1 ( 1 ) . From hypertext transfer protocol: //www.georgiasouthern.edu/ijsotl Tufte, E. R. ( 2003 ) . The Cognitive Style of PowerPoint. Cheshire, Connecticut: Artworks Press LLC.IntroductionNote-taking is a really of import larning tool in college schoolroom. Boyd ( 2004 ) found that pupils who take notes perform better on tests than pupils who merely highlight text. Most teachers besides wonder whether supplying press releases to pupils is truly utile for pupils or non. A study by Isaacs in 1994 shows that 43 % of academic staff frequently or ever use press releases in the schoolroom, and they feel that press releases help pupils to take notes and let them to listen and take part more in talk. The issue of note taking makes college professors use presentation package, such as Microsoft PowerPoint and its related press releases. Although Microsoft PowerPoint is more popular in colleges, it besides has negative impact on instruction and acquisition. For case, Tufte ( 2003 ) argues that PowerPoint and other presentation package have reduced the quality of presentations and represent hapless teaching method. This paper presents two surveies which dete rmine if supplementing Microsoft PowerPoint lectures with press releases of the slides improve test-taking public presentation in an undergraduate homo development class. In the first survey, it was expected that pupils who received the press releases would execute significantly better on tests than pupils who did non. Students were surveyed about their usage of the PowerPoint press releases and perceptual experiences of the grade to which the notes helped with exam public presentation. The 2nd survey assessed the acquisition manners of pupils in order to find whether the acquisition manners with PowerPoint presentation press releases may impact pupil larning results. It looked at the three acquisition manners: lingual, visual-spatial, and bodily-kinesthetic.MethodFor the first survey in the autumn semester, pupils in two subdivisions of an upper degree Human Development class at a little Midwestern university participated in the current survey. Each subdivision had 50 pupils who were demographically similar across subdivisions. In the autumn semester, the class was divided into tierces, with an test given at the terminal of each 3rd. Students were required to take one of the first two noncumulative tests, but the lower class of the two was non computed into the concluding class. The concluding cumulative test was required of all pupils. At the beginning of category, Section 1 pupils were given hard-copy press releases to attach to the Power Point lectures for the 2nd test and the concluding ; they were instructed non to demo these press releases to pupils from Section 2. Section 2 pupils were given the press releases for the concluding tierce of the semester merely. In the spring survey, the process of the survey was similar to the autumn semester. However, pupils in both subdivisions were allowed to look into as many points in the checklist of Multiple Intelligences Inventory for grownups ( Harper, 2005 ; Lazear, 1991 ) , which characterized the ways they learned stuff.ConsequencesFor both surveies, there were no important differences on the trial scores with the usage of the PowerPoint press releases. Table 1 shows the average test tonss for two subdivisions of the class. As clearly seen, the average test mark of the pupils given PowerPoint press releases is rather similar to the average test mark of the pupils without PowerPoint press releases.Survey Results and Qualitative AnalysesResponses to the study show most pupils ( 79 % ) used the notes for analyzing for the concluding, 21 % were really attentive to the PowerPoint projections along with the notes, 25 % indicated that they had paid a batch of attending to the talk along with the press releases, and 39 % often wrote extra notes on the press releases. Similar to the autumn semester survey, the spring semester pupils were for the most portion rather positive about having the press releases, as 75 % indicated that the press releases were by and large helpful, 75 % felt that they were utile in fixing for trials, and 50 % indicated that the press releases improved their hearing to the talks.DiscussionSome findings show that the function of presentation press releases is truly utile for pupils to heighten the trial public presentation, but some do non. Although the findings seem to be strong, many factors to measure the usage of this instruction technique. One factor is class content which may act upon the acquisition results in categories utilizing PowerPoint. Another is that the consequence that PowerPoint slides has on larning results is non matched by studentsaa‚Â ¬a„? intuitive beliefs. Finally, the format of press releases does non supply complete sets of notes for pupils. Future research should analyze such teacher effects in the usage of PowerPoint press releases, every bit good as whether PowerPoint slides may be more effectual for certain class content and non others. In some respects, the usage of pres entation package in the college schoolroom is one of those old contentions encased in new technological wrapper. Yet, it forces those of us who are actively involved in bettering instruction and acquisition in higher instruction to joint our premises and beliefs about what happens in and out of the schoolroom. To that terminal, there decidedly is something to be gained in the continued usage of the package and empirical geographic expedition of its effects.