Monday, February 8, 2016

Teaching History and National Development in the Third World: The Nigerian Experience

Teaching History and National Development in the Third World: The Nigerian Experience
Olusoji Samuel Oyeranmi
University of Ibadan, Nigeria


"History leads the wise man and drags the fool" "1

-G.W.F. Hegel

"If we could first know where we are, and whither we are tending, we could better judge what to do and how to do it. "2

Abraham Lincoln

INTRODUCTION

History has been recognized all over the world as a source of enlightenment and development. As a collective memory of the past of a nation, history attempts to bring to the fore the salient and significant part of events that occurred in the past, which could be utilized in building a prosperous national future. This is why every human society, no matter the level of advancement, has placed optimum priority to the bequeathing of a "useable past" from generation to generation. For instance, in ancient cultures every kingdom had its own history laureate whose task it was to remember the past. "3 Modernity has also been influenced greatly by the enhanced production of history. This is assisting nations (who have placed the needed emphasis on historical studies) in their tasks of nation building, promoting national consciousness, the flowering of moral leadership and ensuring overall national development. "4

From the above brief allusion, one can submit that history is an essential instrument for any nation that is desirous of breakthroughs in all human endeavors. Consequently, it has become a serious academic discipline, which attracts the most talented in most developed countries. "5 This is why it is most pathetic that the study of history has been relegated to the background in various schools in Nigeria. This explains why the country remains a crawling giant. More than ever before, ethnic chauvinism has become the major driving force of Nigeria's national polity. Nigerians many times (albeit, with good reasons) have not only queried the basis for nationhood, but also doubted her permanent survival. Indeed, after more than forty-five years of so-called independence, the Nigerian Union, according to Professor Adebayo Adedeji, remains largely "a co-habitation without marriage. "6

I would argue that a major reason why so much violence (physical and psychological), aggression, hatred, poverty, et cetera, dominate the day to day existence of the people in Nigeria is that, collectively, they lack historical consciousness. They tend, indeed, to act or react based on the present situation and care little about the past. It is therefore not surprising that few care about the kind of future to be built for both the people and the nation. Due to the fact that Nigerian statesmen lack a proper sense of history, the politics of the belly and that of the moment dominate the polity. Merit is consequently slaughtered on the slab of power profiteering. With all these vices, development at all levels in Nigeria remains a wild goose chase.

To escape from this seemingly inescapable quagmire, there is an urgent need to imbue Nigerians with an enduring sense of history. As Professor J. F. A. Ajayi once submitted:

The nation suffers which has no sense of history. Its values remain superficial and ephemeral unless imbued with a deep sense of continuity and perception of success and achievement that transcends acquisition of temporary power or transient wealth. Such a nation cannot achieve a sense of purpose or direction or stability and without them the future is bleak "7

It is in the light of this that a study of this nature becomes absolutely imperative as part of the ongoing efforts towards the historical awakening of Nigerians. This essay will, inter-alia, focus on the unbreakable nexus between history and national development; bring out the relevance of this link especially at this era of globalization; analyze what a country like Nigeria in search of her soul and awesome technological breakthrough could gain from such an "unattractive" and non-materialistic" discipline such as history; and lastly, will suggest how Nigerians could be imbued with an enduring and proper sense of history for national development.

HISTORY AND NATIONAL DEVELOPMENT

Arguably, Development at all levels (personal or national) in human society is a multi-faceted process. At the level of the individual, it implies multiplied skill and capacity, greater freedom, creativity, self-discipline, responsibility and material well-being. It must however be noted that the achievement of any aspect of personal development is strong tied to the state of the society as a whole. "8At the national level, development will naturally mean the pulling together of the above-stated personal virtues for the benefit and well-being of people within such a nation. More often than not, as Walter Rodney once contended, development is used in an exclusive economic sense ­ the justification being that the type of economy is itself an index of other social features. A society develops economically as its members increase jointly their capacity for dealing with the environment, which of course depends on the extent to which they understand laws of nature (science), on the extent to which they put that understanding into practice by devising tools (technology), and on the manner in which work is organized. "9

I therefore contend that for any nation to develop, the collective spirit of the people must be well nurtured and propagated. Here lies the significance of history. History, in the words Prof. Babatunde Fafunwa is:

To a people what memory is to the individual. A people with no knowledge of their past would suffer from collective amnesia, groping blindly into the future without the guide post of precedence to shape their course "10

Also writing on the intimating interaction between Nation and History, J. F. Ade Ajayi stressed that:

… History interacts with the nation. For the nation is a product of history in the sense of historical circumstances and events; and therefore the nation cannot escape from its past. At the same time, the nation is shaped by the effort of historians, among others, who try to establish the history of the nation, influence its group memory and seek to define its nationality-that is, the essence of what binds its people together, what constitutes their identity, what makes them a people distinct from other peoples. "11

Indeed, what historical understanding does essentially for any nation is to place its developmental predicament within rational time perspectives of human evolution. This is the utility value of history. History also helps people not to undervalue what they are and overvalue what they are not. It in turn provides confidence ­ building strategy to any prostrate nation that is striving to grapple with present problems. "12

Development should and must not only be conceived materially. This is because humans are not solely materialistic in nature; they are equally spiritual, artistic and creative beings. Development ipso facto is to my mind twofold. Firstly, it entails concerted efforts at satisfying basic/crucial human needs such as food, shelter and general well being through productivity. Secondly it equips citizens with enduring moral values such as, hard work, honesty, integrity, transparency, justice, and discipline. Indeed, the two are inseparable as a nation full of impoverished people cannot improve its material base and neither can a morally decadent society dream of dazzling development at any level.

A number of erudite scholars have written on the universal/ developmental nature of history, so I will not bore you with repetition of their views. "13 But for the purposes of this essay I will allude to two arguments. First is Socrates' judgment on Pericles- the Famous Athenian statesman. He stated:

The brilliant statesman had enriched and embellished the city, had created protective walls around it, had built ports and dock yards, had launched navies, had eternalized the glory of the city by temples of undying grandeur and beauty, had multiplied in Attica the feasts of arts and reason, but did not occupy himself with the problem of how to make Athenians better men and women. As a result, his work has remained incomplete and his creation caduceus "14

Writing in the same manner, B. O. Oloruntimehin aguishly contended that:

To advocate that studies in the sciences and technology should be pursued to the relative neglect [humiliation] of the humanities and social sciences is to express appetite for the materialism which technology creates rapidly, but without required for the organic growth and stability. Every one of us including the scientist and technologist has to be a citizen. Without the socializing influence of training in the humanities (especially history), the aggregation that we represent as citizens cannot be properly called a nation. A nation that lacks clear self-identity and which is structurally incoherent cannot be strong whatever its wealth and the amount of gadgetry at its disposal. "15

The developmental nature of the historical discipline is further emphasized by the fact that every discipline has its root in history. This makes it virtually impossible for any discipline not to pay attention to its history. Thus, we have the history of science, of medicine, of banking, of engineering, of knowledge, of development, and even the history of history. For example, no rational medical doctor will attend to his or her patient without perusing his or her medical history. For it is within that context that the doctor will appreciate better the patient's ailment and what medication to prescribe. History, therefore, is a key factor in all disciplines and in the training of minds. Similarly, it is a duty for any nation that is desirous of development in all its ramifications to always delve into its past achievements as well as those of other lands. With this the nation will be able to learn from the past errors, to draw inspiration from worthy past efforts, and to strategize for the future development.

All I have said is not to deny the importance of the acquisition of scientific skills and knowledge. The point of emphasis here is that those skills should be accompanied by appropriate moral values without which the society will return to the Hobbessian state of nature of battle of all against all. History tends to produce thinking men and women who are imbued with curiosity, who will not accept any view hook, line and sinker, who through questioning and reasoning will be able to come to their own conclusion, who have become full of knowledge, and who by that means would be able to contribute to the development of their society. This is the outstanding link between history and national development. But in tangible terms what could any nation in serious search for physical and psychological development (Nigeria for instance) gain from this powerful link? This shall be the next focus of this historical discourse.

WHAT COULD NIGERIA GAIN FROM HISTORY

History teaches us that the most fundamental obstacle to national development in Africa is the apparent absence of national integration. And the erosion of NATIONAL CONSCIOUSNESS occasions this. As I have lamented elsewhere, "it is quite disturbing to note that in Africa today, there is no country that is not prone to chaos and anarchy due to so many existing fissiparous tendencies."16 And Nigeria is no exception. With this, politics has permanently become public pains for private gains in Nigeria, as in most parts of Africa. The very few elite constantly exploit the seeming eternal divisions among Nigerians which cut across religion, tribe, sex and politics in their struggle for personal /egoistic socio-economic and political advantages.

In Nigeria as in other Third World Countries, national consciousness, instead of being the all-embracing crystallization of the innermost hopes of the whole people, instead of being the immediate and most obvious result of the mobilization of the people, has only become an empty shell, and frequently 'the nation' is passed over for race and tribe. "17With all these calamitous cracks in the Nigerian edifice, which of course came into being through the concerted and calculated efforts of the British imperialists and was kept alive by the failure of the national leadership to uproot colonial legacies and initiate enduring developmental strategies, the present retrogressive national effort towards national development becomes discernible. According to Frantz Fanon:

This traditional weakness, which is almost congenital to the national consciousness of under-developed countries, is not solely the result of the mutilation of the colonized people by the colonial regime. It is also the result of the intellectual laziness of the national middle class, of its spiritual penury… "18

With the above, national development also requires the transformation of people's minds, lives, and environment in such a way that will increase national consciousness. In the case of Nigeria, national development includes things as:

Increasing the degree of national consciousness of Nigerians, increasing the degree of acceptance by Nigerians of the central government as the symbol of national unity, increasing the degree of tolerance of one another by Nigerians, increasing the quantity and quality of things that make for good life in the socio-economic sectors. "19

Unfortunately, most of these virtues are either non-existent or their existence is fraught with fraud. Consequently, the influence of ethnic consciousness is still profound on Nigerian politics. Many sincere advocates are still clamoring for a genuine national conference or, better still, a conference for all Nigerian nationalities where people would jaw-jaw on the modalities for national cohesion ­ the surest initiation towards NATIONAL DEVELOPMENT. This no doubt has necessitated a new appraisal of the Nigerian nation.

As it stands today, the Nigerian nation is not yet born. And to my mind it is roundly deceptive to claim (as we do today) to be nationalistic where a nation does not exist. A number of studies on whether Nigeria is a nation or not have been written. "20 But I contend that the historical reality is that the so-called Nigerian nationhood was founded on absolute fraud. Even some of the British colonialists could not hold back the truth about the defects of the Lugardian amalgamation of 1914 that formally inaugurated a nation that was bound to fail. For example, Nicholson, a former colonial Administrator in Nigeria once declared that the most significant thing about the amalgamation was that it never took place. Thus, until Richards's constitution in 1947 (33 years after Amalgamation), the Northern and Southern representatives were not brought together in one legislative chamber. Therefore, the people in the two protectorates remained strangers to one another though co-habiting the same country!

Most importantly, the reality today is that ethnic nationalism often intrudes rudely into 21st century Nigerian politics. This is why, like most new nations, the most challenging issue facing Nigeria today is the establishment of institutional arrangements that can effectively deal with ethnic diversity and allow population groups to co-exist peacefully and productively. With the incessant chaos, disharmony and disunity, the aspiration of the people to evolve into viable nation will remain an effort in futility. The Nigerian situation is almost hopeless, as a recently released United States intelligence report "21 (though bluntly attacked) suggested. The situation is however still amenable if both the leadership and the people can return to the basics, delve deeply into the Nigerian past, draw necessary lessons and take appropriate popular actions.

Every generation must, out of relative obscurity, discover its mission and fulfill or betray it. And the surest way to fulfill Nigeria's developmental mission is for new leadership to break new ground. The foremost action will ultimately mean to extirpate the imperial legacies of political servitude and economic dependency on the mother country (Britain) and other western nations. History has shown that those African leaders (referred to by Fanon as the national bourgeoisie or national middle class) who took over power from the former colonial regimes did not replace those colonial legacies but rather built solidly on them. They conveniently (due largely to their intellectual and spiritual penury) stepped into the shoes of the former European settlers as doctors, barristers, traders, commercial travelers, general agents, and transport agents. They further insisted that all the big foreign companies should pass through their hands. Hence, "the national middle class discovers its historic missions: that of intermediary. "22 Linking this past inglorious act of the African national leadership to the present predicament Fanon stated further:

Seen through its (national middle class) its mission has nothing to do with transforming the nation. It remains the transmitting line between the nation and the mother camouflaged, which today puts on the masque of Neo colonialism. "23

Before a country can evolve into a nation, defined by Prof. Wole Soyinka as "a unit of humanity with common ideology," it must be ready to shed its entire colonial burden and supplant all its super structures such as law, economy, social structures, and politics with well self-developed structures. It must also develop the brains of its inhabitants by imbuing in them necessary skills and an enduring sense of history, which will establish long-lasting national consciousness. As I have alluded earlier: the living expression of the nation is the moving consciousness of the whole people; it is the coherent, enlightened action of men and women. "24The collective building up of destiny is the assumption of responsibility on the historical scale. Otherwise there is anarchy, repression, and the recrudescence of ethnic nationalism.

The historic place of people as a unit cannot be over-emphasized in the evolution and development of any nation. Recognizing this fact Fanon submits:

The greatest task before us is to understand at each moment what is happening in our country. We ought not to cultivate the exceptional or seek for a hero, who is another form of leader. We ought to uplift the people; we must develop their brains; fill them with ideas; change them into human being."25

All these can be realized by giving the people a dose of political education. Indeed, this is a compulsory pre-condition for the evolution of a viable nation. To educate people politically means opening their minds, awakening them, and allowing the rebirth of their intelligence. Its also entails trying relentlessly and passionately to teach the masses that everything depends on them; that if we stagnate it is their responsibility, and that if we develop it is due to them too. In summary, to educate the masses politically is to make the totality of the nation a reality to each citizen. It is to make the history of the nation part of the personal experience of each of it citizens."26

History abounds with nations that evolved and developed as the full expression of their citizens. And the commonest denominator of these nations is the exploitation and utilization of their cultural history. As a result of this unity of purpose, the nations then evolve as human communities which, when the chips are down, collectively command the loyalty of the people over the claims of lesser communities within it. As it has been established earlier, all nations are products of their past and there is no way they can move forward without taking into consideration their history and their peculiar circumstances. This is the debt all nations that seek peace, stability, and development owe to the past."27 This is because history provides the foundation on which the development of each nation is built. This explains why most developed countries in the world ensure that the discipline of history does not suffer decline and continues to retain its pride of place in their universities. More importantly, history has always been used to provide political education for leadership elites in such societies. Each nation then develops its own historiography, which is essentially nationalistic."28

This is true of British historiography as well as American historiography, Chinese historiography, French historiography, Russian historiography, Japanese historiography, and German historiography. American historiography, for instance, lauds the virtues of American institutions in impregnating Americans with the notion that to be an American is the greatest blessing God can confer on a human being."29 This aspect of history can be carried to an extreme, such as was done by Benito Mussolini and Adolph Hitler before and during WWII and George Walker Bush in the demolition of Iraq. The abuse of history is always a possibility especially during bitter contests among nations. It must however be mentioned that leaders not only exploit national feeling during crises but also during peace, especially in their collective efforts towards national development. What is clear in all this is that history is deliberately utilized for nation building. This, I strongly believe, is the major difference between the advanced nations and those that are still in their embryonic stage such as Nigeria."30

IMBUING THE PEOPLE OF NIGERIA WITH AN ENDURING SENSE OF HISTORY

The past of the people of Nigeria, like most of their African kith and kin, has placed an almost inescapable burden on them. This ugly past is characterized with successive evils ­ four hundred years of slavery and slave trade; several centuries of imperialism / colonialism; and continuing neo-colonialism. And according to EH Carr, "the past which a historian studies is not a dead past, but a past which in a sense is still living in the present."31 This naturally translates to the fact that for the people to solve the present multifaceted developmental problems bedeviling the country, the past must always be involved. This is essential because "… if men of the future are ever to break the chains of the present, they will have to understand the forces that forged them."32 To achieve this, the people must be well endowed with historical knowledge which is based on recollection, retrieval, and the reconstruction of their past. This is rooted in the fact that time past is part of time present and time present is part of time future. In other words, human society is one long continuum and to appreciate the present, one must know what happened in the past.33

It must be mentioned at this juncture that at the formative stages of modern African countries (Nigeria inclusive), history was an important factor in efforts towards national development. Indeed, some western commentators described the Ibadan school of History as a nationalist reaction to people like Trevor Roper and others who said Africa had no history. In acknowledgement of this outstanding nationalistic role, Prof. Niyi Osundare recently opined that:

The Ibadan School of History re-invented African history and African Historiography and shamed the racist notion that humanity's oldest continent was a place without a past. University of Ibadan became the Mecca for scholars of African History all over the world."34

This great school, together with very negligible percentage of Western Africanists who were more objective, began through a series of studies and writings to establish African History as a worthy part of universal scholasticism. Their writings equally provided early nationalists with not only a psychological power boost but also gave them much-needed inspiration in their struggle for political independence. Regrettably, the party did not last for long. As the Irish poet once lamented, things have changed, and changed utterly. "35Since independence, the Ibadan school of History, just like its parent the University of Ibadan, has remained shadow of its old self. As a result, the school lost the opportunity of continuing to inspire the task of nation building of Nigeria.

The problems of African historiography, Nigerian history, and particularly "the Ibadan school of history" have been subjected to in-depth intellectual scrutiny for a long time. So, rather than discussing these problems again, I will attempt to bring out new insights towards making history more relevant in Nigeria and to suggest ways to imbue her inhabitants with sense of national consciousness.

Recommendations and Suggestions

While lamenting the languishing level of the University of Ibadan, Professor Niyi Osundare submitted:

Today, our university and the evil system that has brought it to its knees need nothing but the sharp edge of excoriative word; nothing but the truth whose sharpness heals like the surgical knife "36.

Nothing short of this could rescue the visibly enfeebled discipline of history in Nigeria from imminent extinction and equally catapult history back in to national consciousness for overall development. To my mind, there are two angles to this issue, namely the Historians and Government's angles. "37

In terms of the Historians, it is necessary for history to return to its pride of place as prime motivator of national consciousness and as the bedrock of all humanities in Nigeria, and to do that Nigerian historians must braze up and chart a new course for the once ennobled discipline. One of the best ways to achieve is to stop talking and writing about the discipline of history as if it is a human being. This personification should give way to the returning of Nigerian people to their rightful place as the makers of their own history. "38This is embedded in the fact that it is humans who makes history and not vice versa, as Karl Marx once argued:

History does nothing, it does not possess immense riches, it does not fight battles. It is real living men who do all this, who possess things and fight battles. It is not "history" which uses men as means of achieving as if it were an individual person its own ends."39

As a corollary to reviving the historical discipline from its present doldrums, there must be a historical reawakening which would be championed by Nigerian historians. This must start from the minds and mouths of the Nigerian historians through constant self-criticism, for "if we could first know where we are and whither we are tending we could better judge what to do, and how to do it. "40 For instance, a critical evaluation of the history of the "Ibadan school of history" (where it all started) which is currently enmeshed in decay reveals that the school was in the past the pride of the Nation. Ever since, the seeds of discord that are currently dividing Nigerian historians have been sown. Ever since, the atrocious tradition of using history as means of achieving personal ends and later dumping it has firmly taken root. Ever since, the idea of diverting books, funds, scholarship / fellowship opportunities (especially international ones) meant for the development of the department, has been on course. Ever since, the system of exploitation of the junior colleagues, students (especially post-graduate) by senior colleagues who are too busy and too big to carry out research or to teach but have the time to pursue private contracts, international fellowships, and political appointments has been operational. Every since, the anti-intellectual idea of either fencing out the best brains or frustrating the ones within the system to the point of paralysis has been within the tradition. This clearly explains the current catastrophic dwarfism in historical scholarship in Nigeria.

The problem is not that the school has problems: the real problem is that many people in the school are not aware of those problems and the few who are are seeking sanctuary in hazy sloganeering. "41For this ugly trend to change, if the future will be great once again for both Nigerian history and historians, they must all stand up for the truth and break the yoke of tradition. One of the best ways to avoid this complicity is to stop being panegyricians or propagandists or mere chroniclers. Historians need to bring out the real lessons of history to Nigerians. The basic historical fact about Nigeria (no matter the distortions and exaltations) is that the country is not yet a nation even after forty­five years of the much touted political or flag lowering independence.

Consequently, the first and the most important work for Nigerians is to collaborate assiduously with other concerned groups on how to ensure the evolution of the Nigerian nation state where people will live first as Nigerians before remembering their ethnic affiliations. "42To achieve this two things become absolutely imperative ­ ideological and cultural revolutions, as Prof. E, A. Ayandele once admonished:

Fellow craftsmen of historical scholarship, it is our duty to convince the governments of the Federal Republic of Nigeria to take two steps as a matter of utmost urgency. Firstly, they should be told that a Nigerian nation not built on upon the cultural heritage and spiritual values of the peoples of Nigeria is necessarily a RICKETY EDIFICE; that a "development" that is primarily technological and economic, with the concomitant unregulated pulverizing Westernism; inexorably inflicts cultural hemorrhage upon the nation and constitutes a terrible homicide; that such a nation is spiritually void, possessing no soul of its own… "43 (emphasis mine).

This assertion, made twenty-six years ago, is more real today than when it was rendered. Governments must be told to revise and reverse their concept of development to a more fundamentally human-centered concept. To achieve this end, a new invigorated humanistic study of how a real Nigerian nation could evolve must be initiated and the present endangered historical studies must be the arrowhead. With this a movement towards the re-invention and rewriting of Nigerian history will be initiated in order to build a sense of belonging in the people.

The government's side of the sad story is quite understandable. As it has been established earlier in this essay, the so-called early Nigerian nationalists (as in most Third World countries) actually acted like the scions of colonial agents ­ heirs apparent to the throne vacated by the erstwhile colonialists. Indeed, they fought tooth and nail for the colonial leftovers; with this, all the legacies of the colonial rule were not only left untouched but were built upon by these short-sighted leaders. One such legacy is the deliberate distortion and devaluation of Nigerian history both as an academic discipline and as a tool for national development. As a result "The apotheosis of independence is transformed into the curse of independence. "44Thus, the colonial power—through its immense resources and the continuous installation of their stooges as leaders—condemns the evolving Nigerian state to permanent regression and the development of underdevelopment.

Nigerian unity thus descended rapidly to what Fanon called a vague formula, "45 and yet the people were passionately attached to it especially during their struggle for political independence. No sooner than this vague freedom was attained, this unity crumbled into regionalism inside the hollow shell of nationality itself. Ever since, the national leadership has remained unpardonably egoistic and outrageously irresponsive to the plight of average citizens. With the neglect of history, the leadership simply proved to be incapable of forging national unity or building up a truly viable Nigerian nation within stable and productive parameters. The National Front, which forced colonialism to withdraw, cracked up and wasted the victory it had gained. This aggressive anxiety among the early nationalist to occupy the posts left vacant by the departure of the foreigners have left scars of violence on both religious and tribal lines, and further explains why violence still constantly features in the people's day to day existence. "46

If Nigerian leaders in the past were guilty of tinkering with history to such an extent that transformation of the nation became impossible, the present crop of leaders are guilty of utilizing facts of history not only to distort Nigerian history but also to keep the country permanently a creeping giant.

CONCLUSION

In conclusion, one must avoid the tactical error of concluding that the inability of people to draw serious lessons from history is peculiar to Nigeria. In the words of Georg Hegel:

What experience and history teach is this, that nations and governments have never learned anything from history or acted upon any lessons they might have drawn from it. "47

Though many may disagree with this Hegelian philosophy of life, few will disagree with the historical fact that people do seem to have severe difficulty learning anything form history. As regards Nigeria, which is the focus of this essay, my last words will be in form of admonition to Nigerian historians: they must break away from their current inhibiting factors and work in alliance with other sincere scholars with similar ideas and intentions to dismantle the present leadership of the country and chart a new course for the emergence of new leadership. This task is not going to be easy but is definitely not impossible. Failure to do so will continue to tame not only the historical discipline but also national development.

Biographical Note: Olusoji Oyernanmi is a doctoral candidate in History at the University of Ibadan in Ibadan, Nigeria. He is also an associate lecture in History at Ibadan University and at Olabisi Onabanjo University in Ago Iwoye. He teaches and researches in the fields of African historiography, developmental history, diplomatic history, and urban, environmental, and economic history.


Endotes



1 See G.W.F. Hegel, Lectures on the Philosophy of World History, translated by H. B. Nisbet with an introduction by Duncan Forbes. (Cambridge: Cambridge University Press, 1975).

2 Carl Sandburg, Abraham Lincoln; The Prairie Years and The War Years. (New York, Dell Publishing Co.Incorporation, 1939), 13.

3 In every literate society, from the earliest times till now, there are professional historians whose responsibility is to remember and keep records of the most important happenings of the past. This is also the same in preliterate societies: for example we have the "griots" of Western Sudan; "Kwadwom" Singers of Asante; the "Arokin" of Oyo and many other specially trained traditional historians. But the difference lies in the fact that while the former relied on written evidence the latter, due to the absence of writing, depended solely on oral evidences.

4 See "The Place of History in National Development" a lecture delivered by Prof. Jide Osuntokun at a conference of History Teachers Association of Nigerian Colleges of Education at Oyo state College of Education, Oyo on Monday, 10/3/2002, p. 2.

5 Ibid.

6 See the contribution of Prof. Adebayo Adedeji, "The Nigerian Nation State. Cohabitation without Marriage?" in Olufemi Eperokun (eds), Nigeria's Bumpy Ride into 21st Century. (Ibadan, The House of Lords Nigeria, 1999), 148.

7 J. F. A. Ajayi, History and The Nation and Other Addresses. (Ibadan, Spectrum Books Ltd.), 41.

8 For Full Details on Discourse on Development and Underdevelopment in Africa see Walter Rodney, How Europe underdeveloped Africa (London: Bogle ­ L Ouverture Publishers, 1986), 9 ­ 39.

9 Ibid.

10 Professor Babatunde Fafunwa was Nigeria's former Education Minister, and this statement was quoted from The Punch 30/10/1990.

11 J. F. A. Ajayi, op.cit, 11.

12 See Osuntokun, op.cit.

13 For instance, see E. H. Carr, What is History? (Hardmonsworths, Middlesex, Penguin Books 1961); Lord Acton, "Inaugural Lecture on the study of History" delivered at Cambridge, June 1985; Fritz Stern (ed): The Varieties of history: from Voltaire to The Present. (London, Macmillan and Co Ltd. 1970); Arthur Marwick (ed), The Nature of History. (London, Macmillan, 1976); B. Olatunji Oloruntimehin, History and Society, University of Ife inaugural lecture series, 1976; Bassey W. Andah "In Search of Traditional African History," keynote address at the 28th Annual Congress of the Historical Society of Nigeria at Ilorin, 2nd March 1983.

14 Quoted from "The Debt we owe the past" a lecture delivered by Prof. G. O. Olusanya at the 1st Eminent lecture series organized by the students' Historical society of Nigeria, University of Ibadan on 28th October 1998, pp. 2 -3.

15 See B. O. Oloruntimehin, op. cit, 10.

16 See Olusoji Samuel Oyeranmi, "Ethnicity and the Crisis of Nation Building in Nigeria, 1951 ­ 1993," M. A. Dissertation, Department of History University of Ibadan, 2003, 20.

17 Frantz Fanon, The Wretched of the Earth. (London: Penguin Books, 1983), 119.
18 Ibid.

19 See the contribution of O. B. C Nwolise "The Nigerian Military in Nation Building" in Uma Eleazu (ed), Nigeria: The first 25 years, Ibadan (Heinemann Educational Books Ltd. 1989), 53.

20 For details on the authenticity or otherwise of the "Nigerian Nation" See Michael Crowder, The Story of Nigeria (London: Faber and Faber, 1972); B. J. Dudley, Politics and Crisis in Nigeria. (Ibadan: Ibadan University Press, 1973); H. C. Bretton, Power and stability in Nigeria: The Politics of decolonization. (New York: Nok Publishers, 1962); J. F. A. Ajayi, Milestones in Nigerian History. (Ibadan: Longman, 1980); Obaro Ikime, In Search of Nigerians changing patterns of inter-group relations in an evolving nation-state. (Nsukka: Impact Publishers, 1985); Ojukwu Emeka, Because I am involved, Ibadan. (Spectrum Books, 1989): Oshun Olawale, Clapping with one hand: June 12 and the crisis of a State- nation. (London: Jose Publishers,1999), 21; Dare Babarinsa, House of War: the story of Awo's followers and The Collapse of the Second Republic. (Ibadan and Lagos: Spectrum Books and Tell Communications, Ltd., 2003),12; The Historia: A Journal of the Student's Historical Society of Ibadan, University of Ibadan Chapter, 1999, 4; and John M. Mabaku et al, Ethnicity and Governance in The Third World. (London: Ashgate Publishing, 2001), 2.

21 This intelligence report was widely reported by both foreign and local media in Nigeria but the current writer obtained his fact from the United States embassy in Nigeria official website: http://abuja.usembassy.gov on June 22,2006.

22 See Frantz Fanon, op. cit, 122.

23 Ibid.

24 Ibid., 165.

25 Ibid., 159.

26 Ibid.

27 See G. O Oguntomisin and S. A. Ajayi (eds), Readings in Nigerian History and Culture. (Ibadan, Hopes Publications, 2002), 363 ­ 364.

28 See Journal of the Historical society of Nigeria Vol. 9 No. 4 (June 1979), 1- 13.

29 See the contribution of E. A. Ayandele, "The Task before Nigerian Historians today" in Journal of the Historical Society of Nigeria Vol. 9 No. 4 (June 1979).

30 See Osuntokun, op. cit., 7.

31 See E. H. Carr, op. cit., 5.

32 Barrington Moore, Social Origins of Dictatorship and Democracy; Lord and Peasant in the Making of the Modern World. (Boston: Beacon Press, 1966), 508.

33 See Frantz Fanon, op. cit.

34 See the Valedictory lecture by Prof. Niyi Osundare at the University of Ibadan on July 26, 2005, published in The Guardian August, 4, 2005, 54.

35 Ibid.

36 Ibid, 62.

37 See David Mclellan, The Thought of Karl Marx; An Introduction, Second edition. (London: The Macmillan Press), 51.

38 Quoted from G.O. Oguntomisin and S.A. Ajayi, op. cit., 36.

39 See David Mclellan, op. cit., 63.

40 The Statement belongs to Abraham Lincoln, quoted from Carl Sandburg, op. cit., 13.

41 See Niyi Osundare, op cit.

42 See Fanon, op. cit.

43 See Ayandele, op. cit., 11.

44 See Fanon, op. cit., 76.

45 Ibid.

46 See Niyi Osundare, op. cit.

47 See NAI, National Archives of Nigeria ­ its purpose and function ­ Ibadan, 1985, 21.


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Wednesday, February 3, 2016

Innovative teaching: Using multimedia in a problem-based learning environment

Innovative teaching: Using multimedia in a problem-based learning environment

Mai Neo and Ken T. K. Neo
Lecturers, Centre for Innovative Education (CINE)
Faculty of Creative Multimedia
Multimedia University, Cyberjaya, Selangor
Malaysia
Tel: +603-56357817
Fax: +603-56357817
kneo@pc.jaring.my


ABSTRACT

Presently, traditional educational approaches have resulted in a mismatch between what is taught to the students and what the industry needs. As such, many institutions are moving towards problem-based learning as a solution to producing graduates who are creative, can think critically and analytically, and are able to solve problems. In this paper, we focus on using multimedia technology as an innovative teaching and learning strategy in a problem-based learning environment by giving the students a multimedia project to train them in this skill set.

The purpose of this project was to access the students’ skills in framing and solving problems using multimedia technologies. The students worked in groups and each group had to pick a topic for their project, develop, design and present it in a CD-ROM. They were then surveyed on their attitudes toward the project and their skills as a team. Results showed that the students were very positive toward the project, enjoyed teamwork, able to think critically and became active participants in their learning process. Therefore, multimedia-oriented projects, like many other problem-based learning solutions, can be used alternatively as an innovative and effective tool in a problem-based learning environment for the acquisition of problem-solving skills.

Keywords: Problem-based learning, Interactive Multimedia, Macromedia Director, Teamwork, Problem-solving

Introduction

One of the major concerns of many countries today is that there is a mismatch between graduates’ skills, acquired from higher education institutions and the skill sets needed in industry. Many of the current graduates are found to be lacking in creativity, communications skills, analytical and critical thinking, and problem-solving skills (Teo & Wong, 2000; Tan, 2000). As such, there is much need for institutions of higher education to focus on training future graduates to be more adaptable to the needs of the industry.

Currently, many institutions are moving towards problem-based learning as a solution to producing graduates who are creative and can think critically, analytically, and solve problems. Since knowledge is no longer an end but a means to creating better problem solvers and encourage lifelong learning, problem-based learning is becoming increasingly popular in educational institutions as a tool to address the inadequacies of traditional teaching. Since these traditional approaches “do not encourage students to question what they have learnt or to associate with previously acquired knowledge” (Teo & Wong, 2000), problem-based learning is seen as an innovative measure to encourage students to “learn how to learn” via “real-life” problems (Boud & Feletti, 1999).

We would like to extend this contention further by using multimedia technologies to create a multimedia-oriented project. By doing so, we hope to further develop the students' ability to become creative and critical thinkers and analysers, as well as problem-solvers, within this multimedia-mediated problem-based learning (PBL) environment. This learning mode is constructivist in approach whereby the students participate actively in their own learning process and construct their own knowledge (Jonassen, Peck & Wilson, 1999).


Multimedia in education

The use of multimedia in industries has been extensive, as it has been effective in increasing productivity and retention rates, where research has shown that people remember 20% of what they see, 40% of what they see and hear, but about 75% of what they see and hear and do simultaneously (Lindstrom, 1994). This is especially significant in the CBT (Computer-Based Training) modules in corporations like Ernst & Young, and Union Pacific, where employees are trained in organisational procedures, and in flight simulations in the aviation industry to train pilots. It is now permeating the educational system as a tool for effective teaching and learning. With multimedia, the communication of the information can be done in a more effective manner and it can be an effective instructional medium for delivering information. A multi-sensory experience can be created for the audience, which, in turn, elicits positive attitudes toward the application. Multimedia has also been shown to elicit the highest rate of information retention and result in shorter learning time (Ng and Komiya, 2000; Hofstetter, 1995). On the part of the creator, designing a multimedia application that is interactive and multi-sensory can be both a challenge and a thrill. Multimedia application design offers new insights into the learning process of the designer and forces him or her to represent information and knowledge in a new and innovative way (Agnew, Kellerman & Meyer, 1996).

Multimedia, defined, is the combination of various digital media types such as text, images, sound and video, into an integrated multi-sensory interactive application or presentation to convey a message or information to an audience. In other words, multimedia means “an individual or a small group using a computer to interact with information that is represented in several media, by repeatedly selecting what to see and hear next” (Agnew et. al, 1996).

Multimedia is changing the way we communicate with each other. The way we send and receive messages is more effectively done and better comprehended. The inclusion of media elements reinforces the message and the delivery, which leads to a better learning rate. The power of multimedia lies in the fact that it is multi-sensory, stimulating the many senses of the audience. It is also interactive, enabling the end-users of the application to control the content and flow of information (Vaughan, 1998). This has introduced important changes in our educational system and impact the way we communicate information to the learners (Neo & Neo, 2000). The evolution of multimedia has made it very possible for learners to become involved in their work. With multimedia technologies, they can create multimedia applications as part of their project requirements. This would make them active participants in their own learning process, instead of just being passive learners of the educational content.


Problem-solving: The multimedia project in the classroom

The move towards using problem-based learning in many educational institutions has resulted in a shift in the curriculum model. The focus is moving from content towards problems to provide a more realistic approach to learning and to create an educational methodology which “emphasises real world challenges, higher order thinking skills, multi-disciplinary learning, independent learning, teamwork and communication skills” via a problem-based learning environment (Tan, 2000). However, this model can be further strengthened with the inclusion of multimedia technology into this problem-based learning environment to enhance the students’ learning experience. This reinforced model is illustated in Figure 1.


Figure 1. The multimedia-oriented Problem-Based Learning curriculum model


With the use of multimedia projects, students can utilise the knowledge presented to them by the teacher, and represent them in a more meaningful way, using different media elements. These media elements can be converted into digital form and modified and customised for the final project. By incorporating digital media elements into the project, the students are able to learn better since they use multiple sensory modalities, which would make them more motivated to pay more attention to the information presented and better retain the information.

Creating multimedia projects is both challenging and exciting. Fortunately, there are many multimedia technologies that are available for developers to create these innovative and interactive multimedia applications (Vaughan, 1998). These techologies include Adobe Photoshop and Premier to create and edit graphics and video files respectively, SoundForge and 3D Studio Max to create or edit sound and animation files, respectively. They can also use an authoring tool such as Macromedia Director or Authorware to integrate and synchronise all these media elements into one final application, add interactive features, and package the application into a distributable format for the end-user. Another advantage of creating multimedia projects in the classroom setting is that when students create multimedia projects, they tend to do this in a group environment. By working in a group, the students will have to learn to work cooperatively and collaboratively, using their group skills and a variety of activities to accomplish the project’s overall objectives.

As stated by Agnew et. al (1996, p9), “Student-created multimedia projects are beneficial, in addition, because they often involve substantial work, open-ended assignments, theme-based activities, and knowledge and experiences that the students draw from a wide variety of sources.” Multimedia-oriented projects are “a way for students to achieve high self-esteem, to increase their ability to function as self-directed learners, to learn to think effectively, and to practice problem-solving and decision-making” (Agnew et. al, 1996). Therefore, using multimedia in the teaching and learning environment enables students to become critical thinkers, problem-solvers, more apt to seek information, and more motivated in their learning processes. Multimedia is slowly gaining ground as a way for students to represent the knowledge that they acquire in class and to construct their own interpretation of the information acquired. It also fosters collaborative and cooperative learning between and among students, thus better preparing them with a skill set for real-life work situations (Roblyer & Edwards, 2000; Jonassen et. al, 1999).


Course structure of the Interactive Multimedia class

The class was structured toward creating a problem-based learning environment for the students in a multimedia design context in order to harness their abilities to use and appreciate media effectively when representing various pieces of information to convey a message to the audience. This problem-based learning environment is employed to develop the students' capabilities to solve real-life problems and to exercise analytical, critical and creative thinking in their work (Boud & Feletti, 1999; Newby, Stepich, Lehman & Russell, 2000). Thus, by designing a multimedia application that is multi-sensory and interactive, the students are challenged to learn more about their chosen subject material and to develop their abilities to analyse and draw conclusions from it. Some of the goals for a multimedia project that were adapted from Agnew et.al (1996) for use in this class included the following:

Higher-order thinking skills. Here the students were required to present their information appropriately and effectively. They were also required to select the appropriate media and to use them effectively in conveying their project’s message, theme, drama and impact.
Group and interpersonal skills. This goal requires that the students to work successfully in a group and with members of their groups in class and interacting with people outside of the classroom environment. This is especially true when the students have to interview and do research.
Content and discipline. This requirement enables the student to learn significant facts and concepts in the multimedia discipline as well as interdisciplinary topics. The students can also familiarise themselves with the vocabulary of multimedia, its terms and interpretations.
Technical skills. No multimedia project is complete without the use of multimedia software technology. Here the students will learn about project planning and acquire execution skills. More importantly, the students learn how to use a multimedia authoring tool to complete their project and incorporate interactive features into their presentations. These interactive links will work alongside the display of information in multimedia form, using text, graphics, sound, video and animations, in an effective manner. The combination of all these elements will bring about a successful final interactive multimedia application.



The Interactive Multimedia course is a course taken by second-year students of the Multimedia University who are taking their Bachelor of Multimedia (BMM) degree. In this course, the students were given interactive lectures on multimedia concepts and multimedia project development. They were also given interactive tutorials and lab sessions on Macromedia Director, which would be the main authoring tool for them to use to create their final multimedia project. Their task was to propose a multimedia topic of their choice and to design and create an interactive CD-ROM application using multimedia technology.

Part of the class consisted of lectures that dealt with multimedia and the creation of multimedia presentations. It involved providing students with the fundamental concepts of the multimedia process (see Figure 2). This included deciding on the multimedia hardware and software, what was involved in creating a multimedia project, how media elements were gathered and modified, the creation of the presentation interface, and the use of interactivity in a multimedia presentation. These students have already been exposed to multimedia and using some multimedia software packages. However, they have had no exposure to working with a multimedia authoring tool, and in creating and managing multimedia project in a group setting.




Figure 2. The multimedia process (Source: Neo & Neo, 1999)


The final project for the class involved breaking up the students into groups of 4 to 6 persons. Each group had to create and design an interactive multimedia application of their choice on a CD-ROM. The students had the option of choosing their own team members and the topic, and were given the entire 14-week semester to develop the project. The purpose of this project was to access the students’ skills in framing and solving problems using multimedia technologies. As a group, the students had to decide on the concept of the presentation, the design of the presentation interface and navigation, and the appropriate digital multimedia elements and interactive features to use to best convey their topic of interest.


Planning the application: Project proposal

The first stage in a multimedia development process is to come up with a project plan. This project plan will define the scope of the final multimedia application, the targeted market and the treatment of the presentation. After introducing the general theme to the class, the students had to submit a project proposal outlining their topic of choice and the team members and their specific functions. They had to identify the target audience and concept of their final project. Upon proposal approval, the team then had to create a storyboard. In their storyboard, the group had to outline the specific interfaces of each screen, the media elements to be used and the information that was to accompany the screen design. They also had to outline the type of interactivity that they were going to use in each screen and their navigational structure. Each screen of the application was sketched and the entire storyboard was submitted on paper.

It is also at this stage that the groups elected their group leader. The group leader would be responsible for providing the direction and objectives for the final project and to moderate any disagreements that may arise from the group’s discussions. The groups were to meet and discuss their proposal outside of class times. After the groups had been formed and the area of interest was identified, each group gave a short presentation and a brief summary of their project in class.


Research: Acquiring the resources

At this stage of the multimedia project development, materials had to be gathered from the application’s sources to be used as information in the final project. To be able to assemble the various media elements for the final multimedia projects, the groups had to collect materials from the various sources of their topics. These materials range from brochures to product information, to photographs taken at the respective sites, to video footage shot at the sites themselves. The media materials assembled were usually in analogue format. This meant that they were collected in their raw state and not yet ready to be processed in the PC. The collection of materials at this stage is critical because the groups had to make sure that they had enough material for use in their multimedia presentations. Therefore, their brainstorming and planning stage prior to this provided them with their direction and objectives for the project. The acquisition of the materials thus required the groups to visit the sites of their topics, interview the necessary people and collect data on the topic.


Converting the media elements to digital

After all the materials have been collected and assemble in their raw analogue state, they have to be converted into a standard digital format in order for the PC to be able to process them. This would entail using scanners to convert images and graphics, and digitising any analogue video footage into digital movie clips. These files were then saved as appropriate media formats and stored in the PC’s hard drive. For example, images were scanned and stored as JPEG (Joint Photography Experts Group), GIF (Graphic Interchange Format), or BMP (Windows Bitmap) files, and digital movie clips were stored as AVI (Audio Video Interleave) or MOV (Quicktime Movie) files.


Editing or creating media

Once the media elements have been digitised and stored in the PC, they can then be edited or modified in software packages. In these packages, the media elements are modified to include special effects and filters to further enhance its look and perspective. The group members who were designated as graphic designers had the responsibility to edit images in image-editing packages. Many chose to use Adobe Photoshop for this purpose. Adobe Photoshop is a sophisticated image-editing tool that is popularly used to modify and edit digital images. Other media elements like animations were digitally created in animation software like Macromedia Flash and 3D packages like Kinetix 3D Studio Max.


Multimedia authoring: Macromedia Director

Authoring is the stage where all the media elements that have been created or modified and stored digitally in the PC are brought together into one final application and integrated into a cohesive presentation for the purpose of conveying a specific message to the audience. It is also at this stage that elements of interactivity and navigation are incorporated to involve the user in the application and to create a multi-sensory experience.

Macromedia Director was chosen to be the primary authoring tool for this course. Director is currently the de facto authoring tool for creating interactive multimedia applications such as kiosks, product brochures, interactive advertising applications, and multimedia presentations. It is also very popularly used in the Multimedia University for multimedia application development and interactive presentations. Director follows a movie metaphor and has many elements of movie-making incorporated in its authoring scheme (see Figure 3). These include a Cast Window to house media elements, a Stage to showcase the production, a Score to synchronise the entire presentation, and Scripts to control each Castmember (Neo & Neo, 1999).




Figure 3. Director's interface


The students were taught the basics of Director and given tutorials in creating interactive applications using Director’s tools and features, and packaging techniques to save multimedia applications as standalone presentations for CD-ROM delivery. In particular, they were introduced to Director’s interface and working areas and taught how to create animations, incorporate interactivity using Behaviors, writing simple Lingo scripts and creating projectors to package Director movies for CD-ROMs or “shocking” the application for the Web (Neo & Neo, 1999). Students also had to incorporate design principles acquired from any of their previous classes into their interface design to be able to create screen interfaces for their final applications.


Packaging for delivery

Multimedia applications inevitably have large file sizes. Therefore, they cannot be accommodated by floppy disks, but by multimedia-capable optical storage devices. Packaging involves the physical packaging of the application and saving it onto an optical storage device. Thus, as the final step in their multimedia project development, students had to create a standalone application and“burn” their application onto a CD-ROM. A standalone application is a self-executing file that, when clicked, can be played back on an end-user's PC without a helper software programme (i.e., the authoring tool, or Director, in this case). They also had to design a CD-ROM cover for their applications. The CD cover would be a conceptual representation of their final multimedia application and would have their “production company” listed. This was to give them authentic experiences in packaging applications for market distribution.


Assessment criteria

At the end of the semester, the groups submitted their final projects on CD-ROM together with a copy of their storyboard and project proposal. They were assessed on the following criteria:



Originality: How original or creative was their concept?
Critical thinking: How well were they able to convert their concept of their topic on the storyboard into the final CD application? Was it well thought out?
Use of media: How successful were they in their use of media elements to represent their ideas?
Director: How well were they able to use the Director tools taught to them in their tutorials and lab sessions?
Difficulty: How complex were their navigational scheme and interactivity (linear vs. non-linear) and how was this accomplished?
Presentation: How well was the material presented?
Cohesion of application: How consistent were the digital materials used with the message to be conveyed.
Team work: How did the team work together to produce the application? Did everyone perform their specific functions?


Student evaluations

The groups or respondents (N=46) were also given a survey on their project and interviewed individually. The survey consisted of questions to assess their interest in group project work and whether or not they were motivated in their project development. The survey also tried to gauge their level of understanding and their critical thinking skills, as well as how they worked as a team. The survey was measured using a 5-point Likert scale, with 1 for Strongly Disagree (SDA), 2 for Agree, 3 for Undecided, 4 for Disagree and 5 for Strongly Agree (SA). These questions made up several constructs to measure the students’ problem-solving skills, collaborative efforts and team work. The results of the survey were tabulated and their corresponding means are illustrated in Table 4.



Questions asked


Mean score


%

1. I found the project challenging


4.17


91

2. The project allowed me to be creative in my thinking


4.15


91

3. We were better able to present the concept using digital multimedia


4.11


91

4. I was able to have creative input in the project


4.02


83

5. This project allowed me to think critically about the topic


3.98


83

6. The project enhanced my understanding of the subject


3.98


83

7. I felt very motivated doing the project


3.98


76

8. I understood the subject matter better after the project development


3.98


89

9. I was able to learn more working with my teammates


3.91


78

10. The team was able to create the project with the existing software


3.85


76

11. The group was able to achieve its goals


3.83


76

N = 46

Table 4. Means and percentages of students (ranked)



On the whole, the students in the Interactive Multimedia class responded very well to the course structure and were able to have a positive attitude toward this problem-solving learning environment. Based on the results of the survey, we found three areas that were significant in shaping these students' attitudes towards the project. The first is that they were very motivated, enjoyed being challenged and able to have creative input and use multimedia technology and software. This was represented by Questions 1, 2, 3, 4 and 7 with means of 4.17, 4.15, 4.11, 4.02 and 3.98, respectively. The second area is in their ability to think critically about the topic and develop a deeper understanding of the subject via the project, represented by Questions 5, 6 and 8, each with means of 3.98. The third area is the student's ability to function well as a team, represented by Questions 9, 10 and 11, with means of 3.91, 3.85 and 3.83, respectively.

Figures 5 (a), (b) and (c) illustrate some of the percentages of students who answered in the "Agree" and "Strongly Agree" category (numbers 4 and 5 on the Likert scale). As shown below, 91% of the students found the project challenging (see Figure 5 (a)), 89% felt that the project allowed them to have a better understanding of their topic (see Figure 5 (b)), and 78% were able to learn from their teammates (see Figure 5 (c)).








Figures 5 (a), (b) and (c). Percentages of responses


Showcases

The final presentations by the different groups in the class were varied. For example, one group chose to focus on the Malaysian Petronas Twin Towers as their topic and highlighted areas such as its architecture, retail shops, prominent features and information on how to get there, focusing on a more kiosk-based application (see Figures 6 (a) and (b)). As shown below, this group used customised cursors and hot spots, and combined 3D images with text and sound for a more futuristic approach. Their information was complied from brochures obtained from the company and translated into electronic form. They also had a link to the official website for users to access more information about the Twin Towers.







Figures 6 (a) and (b). A showase on Malaysia's Petronas Twin Towers


Another group chose to focus on the racial mix of Malaysians, particularly those with mixed parentage (see Figures 7 (a) and 7 (b)). They chose this topic in hopes to highlight the advantages and disadvantages of being of mixed parentage, and intended this to be an educational application. Interviews were carried out on students around campus who were racially mixed and their opinions on having mixed parentage were elicited. The interface consisted of buttons linking to the specific mixed races and their various attributes, how specific racial mixes are created and where they popularly reside in Malaysia, and statistics.

Both groups were also able to utilise a suite of multimedia packages other than the Macromedia Director, such as Macromedia Flash, Adobe Photoshop and Premier, to complete their project.







Figures 7 (a) and (b). A showcase on mixed parentage in Malaysia


Student interviews

We also conducted interviews with the groups to find out more about their problem-solving skills and team efforts. We found that the groups that did very well in their projects had very good group leaders and worked well together. Interviews showed that these groups collaborated well in their collective efforts. Many of these groups divided themselves into the general categories of Graphic Designers, Multimedia Author/Programmer (using Director), Resource Manager, and Researcher.

From the interviews we did with the students as well as the surveys that we conducted, we found that the majority of these students were very motivated and found working on their multimedia project very inspiring and challenging. Many of them enjoyed exercising their creativity and multimedia skills in visually representing their content material. Some even said that they liked doing the project because it allowed them to fully understand what it takes to create a multimedia application from the beginning to end and how to work as a team. They were able to learn more about their topic as well as creating multimedia presentations, and able to design an interactive multimedia application with active links, thus supporting the propositions made by Agnew et. al (1996) and illustrated by Table 8.






Question: What did you learn from this project?

Group 1


"We learnt more about the topic as well as the software. We also developed a positive group attitude."

Group 2


"We learnt more about multimedia, developing a CD-ROM, software, navigation and interactivity."

Group 3


"Teamwork is not so easy, but I learnt how to be a good leader. We learnt more about our topic. Fun to know everyone on the team and had fun shooting video, never done it before."

Group 4


"Learnt more about group members."

Group 5


"Learnt more about software and hardware in multimedia."

Group 6


"I can use Director for my other projects now. It was very challenging"

Table 8. Group responses from interviews



For most of the semester, the groups would work either during class times to discuss their projects, or schedule meetings outside of class times. The lecturer also met with the various groups each week to discuss their progress and to act as a consultant and a guide to these groups.

Some groups did encounter scheduling problems with conflicting class schedules and problems with deciding on which theme and topic to concentrate on during the initial stages of the project development, but they were able to resolve them as the weeks progressed. They encountered some more problems when researching the site of their topic of interest as not all groups received cooperation from their chosen topic. Therefore, they had to work around that problem by either using information publicly available or by highlighting that topic indirectly. By doing so, they exercised their creative and critical thinking toward these problems.

Groups that had good leaders and good teamwork were able to finish their projects early. Their applications had little or no problems. The translations of their storyboards into electronic presentations showed minimal changes and they made good use of many media elements. The navigational links and interactive features were also intact and the presentation ran smoothly from beginning to end. Some even went beyond what was taught in class to include a difficult component like scripting.

Some groups had good leaders but were weaker in their application of multimedia knowledge. However, they were still able to make a multimedia presentation of their topic, although the representations of their information by the media elements were simpler than the stronger groups. Groups that did not have a strong leader or were unable to cooperate did demonstrate a weakness in their overall presentations. This was due to the fact that the dynamics within the group were not colloborative or cooperative at all. Statements elicited from them include, "Don't take friends when doing groupwork," and "I will be more careful when choosing my group members next time," and "I would work individually next time." For these groups, they would schedule meetings with the lecturer to discuss their problems and present their solutions, with the lecturer acting as the facilitator in these meetings.

However, these groups were small in number and still managed to complete their project, indicating that although they were not able to fully cooperate with each other, they managed to stay as a group long enough to finish the project. Surveys taken by these individuals still indicated that they were very much motivated to doing their project but were unable to do their best because of their inability to get along as team members.

Overall, despite some problems in scheduling and personality conflicts, the students enjoyed working in teams to develop their project. As the means and percentages had shown in Table 4, over 75% of the students favourably rated team efforts (Questions 9,10, 11) and group participation as a factor in completing their project, indicating that they were able to learn from their teammates, collaborate to achieve the group's goals and collectively solve their multimedia design problems together. Specific questions on teamwork showed a lower percentage in student responses (76% and 78%) as compared to the rest of the questions. This is probably due to the fact that this is a new experience for these students who have little experience in working together to solve problems. This is also reflected in some of the statements given by the groups in Table 8. However, teamwork is still positively viewed by the students and should therefore be encouraged so that they will have the necessary problem-solving skills when they face real-life situations, particularly in the IT-oriented business environment of today.


Limitations

Although the class demonstrated a positive attitude toward using interactive multimedia in a problem-solving learning environment, there are some limitations to this study which should be addressed. Firstly, to be able to be successful in such endeavours, there must be adequate number of computers made accessible to the students and teachers, in order for the work to be properly carried out. Secondly, multimedia authoring software like Director or Authorware must also be provided. And lastly, training in these softwares should be provided to the teachers so that they can conduct these types of classes. By making the hardware and software available, such as in the Multimedia University, Cyberjaya, Malaysia, both the teachers and students can use multimedia successfully in their teaching and learning processes.


Conclusion

This paper has presented and discussed the use of multimedia in a problem-based learning environment to equip students with high-order thinking and problem-solving skills and to enable them to experience an IT-oriented learning situation. From the results, we are able to conclude that by integrating multimedia into the teaching and learning process, the conventional PBL curriculum model is reinforced and strengthened and a multimedia-oriented PBL curriculum model can be instituted. The multimedia project in this course enabled the students to exercise their creative and critical thinking skills in solving their design and development problems, work collaboratively to gain team-based experience, and to face the real-life situation of problem-solving. This is a student-centered learning approach which allows them to construct their own knowledge and understanding, and determine their own learning goals. The role of the teacher, on the other hand, changes from the “sage on the stage” to a “guide on the side,” assisting the students in the construction of their knowledge.

As such, the use of multimedia technology and project are an innovative and effective teaching and learning strategy because they motivate the students in their learning process and help them to acquire good problem-solving skills. As evidenced by this project, students became very active participants in their learning process instead being passive learners, and were able to use various digital media elements to accomplish their project. These findings are significant in that:

by using a multimedia project, we can move towards the Constructivist learning mode, which is student-centric. In this context, the students had to utilise their prior knowledge in other disciplines to breakdown the problem into component parts, and then synthesize and re-construct a possible solution. This experience is invaluable in creating a new generation of effective problem-solvers for the current industry needs.
we successfully integrated multimedia technology into the problem-based learning classroom, instilling effective “learning how to learn” and lifelong learning attitudes into the students, and
they are in line with the Tapscott's (1998) proposition that today's generation is IT-savvy and look to digital media for learning and they expect universities and other institutions of higher learning to provide IT-oriented programmes in their curriculum as well as in teaching and learning methodologies. As such, the multimedia-oriented PBL curriculum model serves as a strong framework for teaching and learning in this respect.



Multimedia-oriented projects, therefore, like many other problem-based learning solutions, can be appropriately used as an innovative and effective tool in a problem-based learning environment for the acquisition of problem-solving skills.


References

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Boud, D. & Feletti, G. (1999). The Challenge of Problem-Based Learning, (2nd Ed.), London: Kogan Page.
Hofstetter, F. T. (1995). Multimedia Literacy, New York: McGraw-Hill.
Jonassen, D. H., Peck, K. L., and Wilson, B. G. (1999). Learning With Technology: A Constructivist Perspective, New Jersey: Merrill/Prentice Hall.
Lindstrom, R. (1994). The Business Week Guide to Multimedia Presentations: Create Dynamic Presentations That Inspire, New York: McGraw-Hill.
Neo, M. & Neo T. K. (1999). Director: The Multimedia Movie, Subang Jaya, Malaysia: Meway Computec Sdn. Bhd.
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Ng, K. H. & Komiya, R. (2000). Introduction of Intelligent Interface to Virtual Learning Environment. Paper presented at the Multimedia University International Symposium on Information and Communication Technologies 2000 (M2USIC’2000), October 5-6, 2000, Petaling Jaya, Malaysia.
Newby, T. J., Stepich, D. A., Lehman, J., D. & Russell, J. D. (2000). Instructional technology for Teaching and Learning: Designing Instruction, Integrating Computers, and Using Media (2nd Ed.), New Jersey: Merrill/Prentice Hall.
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INTERNATIONAL CONFERENCE ON MULTIMEDIA FOR HUMANITIES

Methodology of Multimedia Production

Atul Pant

The 100th Monkey Phenomenon

In a Beach in Japan the favourite diet of the monkeys was an apple like fruit. The fruit tasted bad since it fell down on the sand and got covered with sand particles. One day one of the monkeys discovered that by dipping the fruit in the sea, the sand particles got washed and the fruit tasted much better. Scientists observed that the monkey taught this technique to its family, who in turn taught it to other friends. This continued and every day a few more monkeys learnt the technique.

The rate of learning kept increasing, albeit at a slow pace, till one day when suddenly all the monkeys, not only on this beach but also on a distant island, learnt the trick. When the number of enlightened monkeys reached a critical mass, the process of learning became a self-propogating chain reaction. Social change in human order also works like the 100th monkey phenomenon.

At this critical juncture in history, when the world is suffering from scepticism in faith and there is a deep void in the minds of men, India must lead the way in guiding the planet out of chaos by sharing with the world its profound wisdom of the ages.

Like the peripatetic sages and seers of yesteryears, who were the harbingers of peace and harmony, technology today is the medium to take India’s sagacious message to the world.

India can .....India must.

Introduction to Multimedia Production

After the invention of the printing press, it is the advent of multimedia that has changed the way we learn and comprehend. Integration of multiple media such as visual imagery, text, audio, video, graphics and animation together multiply the impact of the message.

Multimedia differs fundamentally from the conventional media like slides and films. While, conventional media are linear (one event follows another in a sequence), multimedia is non-linear - it has the capacity for branching in different directions and establishing linkages between different sections or components of the programme. The non-linear attribute provides the end-user the luxury of viewing the multimedia presentation at their convenience and pace.

Delivering multimedia content through internet

Websites on internet are making CD-ROMs redundant as a medium for delivering multimedia. This is because of the economies of reach that the internet offers, coupled with the facility of day to day updation and instant worldwide reach. The pace at which technological innovation is increasing bandwidth and making instant download of real audio and real video feasible, soon internet will take over CD-ROMs for delivering multimedia content.

In the field of Humanities, especially for a country with a rich heritage like India, effective use of multimedia can go a long way in preserving the ancient culture for posterity and disseminating information to sensitise the audience.

This paper is meant as a guide for people who want to accept the challenge of being a part of the multimedia industry. It explores the steps involved in the production of a multimedia application.

This Paper is divided into four sub-sections:

Part A: Introduction to Multimedia production Management

Part B: Multimedia production Planning

Part C: Managing Production and post-production

Part D: Quality Assurance and Delivering Multimedia Application

PART - A

A-1 : Introduction to Multimedia Production Managment

1968: an auditorium is full of sales managers watching a projected presentation at a large convention center. The presentation consists of filmstrips, synchronised tape recorders and overlapping slide projectors. The presentation is called multimedia.

1978: Two teenagers are engrossed pulling at an electronic game paddle, which in turn slams a tiny electronic ball across a video playing field, coupled with sounds of boops and beeps. Their game is advertised as multimedia.

1988: A pop music artist is performing a concert in which computers not only generate the music but also control the lighting and accompanying video. The bow of the artist’s violin sends digital signals that trigger the computers. The performance is described as multimedia.

1998: A family returns home and the father in his home office plugs digital pictures into a business presentation, while the mother learns a second language from an interactive software programme and the children hook on to internet seeking help with their homework. Multimedia has become part of everyday life.

2008: Virtual reality on the internet, interactive televisions ..., its Nostradamus’ guess.

The word multimedia is a very elastic term but broadly it refers to the integration of multiple media - such as visual imagery, text, video, audio, sound and animation - which together can multiply the impact of the message.

A-2: The Process of Production Management

The production of interactive multimedia applications is a complex one, involving multiple steps. This process can be divided into the following phases:

Conceptualisation
Development
Preproduction
Production
Postproduction
Documentation

A-2.1 : Conseptualisation

The process of making multimedia starts with an "idea" or better described as "the vision" - which is the conceptual starting point. The starting point is ironically the visualisation of the ending point - the multimedia experience that the targeted end-user will have. Conceptualisation involves identifying a relevant theme for the multimedia title. We, at Magic, prefer choosing themes that are socially important and exciting to work on. Other criteria like availability of content, how amenable is the content to multimedia treatment and issues like copyright are also to be considered.

A-2.2 : Development

Defining project goals and objectives

After a theme has been finalised for a multimedia project, specific goals, objectives and activities matrix must be laid down.

Goals: In multimedia production goals are general statements of anticipated project outcomes, usually more global in scope.

Objectives: Specific statements of anticipated project outcomes.

Activities: These are actions, things done in order to implement an objective. Specific people are responsible for their execution, a cost is related to their implementation and there is a time frame binding their development.

Defining the Target Audience

A very important element that needs to be defined at this stage is the potential target audience of the proposed title since, this will determine how the content needs to be presented.

A-2.3 : Reproduction

It is the process of intelligently mapping out a cohesive strategy for the entire multimedia project, including content, technical execution and marketing. Based on the goals and objectives, the three pillars of multimedia viz. Hardware, software and user participation are defined. At this stage the multimedia producer begins to assemble the resources and talent required for creating the multimedia application. The Production Manager undertakes the following activities.

Development of the budget control system
Hiring of all specialists involved in the multimedia application process
Contracting video and audio production crews and recording studios
Equipment rental, leasing and purchasing
Software acquisition and installation
Planning the research work of the content specialists
Development of the multimedia application outline, logic flow, scripts and video and audio files production scripts and schedules
Coordination of legal aspects of production

A-2.4 : Production

Once all the preproduction activities have been completed, the multimedia application enters the production phase. Activities in this phase include:

Content Research
Interface Design
Graphics Development
Selection of musical background and sound recording
Development of computer animation
Production of digital video
Authoring

Defining the Target Audience

A very important element that needs to be defined at this stage is the potential target audience of the proposed title since, this will determine how the content needs to be presented.

A-2.3 : Preproduction

It is the process of intelligently mapping out a cohesive strategy for the entire multimedia project, including content, technical execution and marketing. Based on the goals and objectives, the three pillars of multimedia viz. Hardware, software and user participation are defined. At this stage the multimedia application. The Production Manager undertakes the following activities:

Development of the budget control system
Hiring of all specialists involved in the multimedia application process
Contracting video and audio production crews and recording studios
Equipment rental, leasing and purchasing
Software acquisition and installation
Planning the research work of the content specialists
Development of the multimedia application outline, logic flow, scripts and video and audio files production scripts and schedules
Coordination of legal aspects of production

A-2.4 : Production

Once all the preproduction activities have been completed, the multimedia application enters the production phase. Activities in this phase include:

Content Research
Interface Design
Graphics Development
Selection of musical background and sound recording
Development of computer animation
Production of digital video
Authoring

A-2.5 : Postproduction

In this phase, the multimedia application enters the alpha and beta testing process. Once the application is tested and revised, it enters the packaging stage. It could be burned into a CD-ROM or published on the internet as a website.

A-2.6 : Developing documentation

User documentation is a very important feature of high-end multimedia titles. This includes instructions for installing, system requirements, developing acknowledgments, copyrights, technical support and other information important for the user.

A-3 : The Multimedia Production Team

The production of fine-quality, high-end interactive multimedia applications such as - educational applications, interactive web sites, interactive information kiosks, interactive training - is the work of a team of specialists. Typically, the team consists of:

Production Manager
Content Specialist
Script Writer
Text Editor
Multimedia Architect (or Programme Authoring Specialist)
Computer Graphic Artist
Audio Video Specialist
Computer Programmer

The organisation structure of a multimedia development team is illustrated in Figure-1.

Figure-1 : Organisation Structure of a

Multimedia Development Team





Source: Multimedia - Production, Planning and Delivery

John Villamil and Louis Mollina, Macmillan Publishing



A-3.1 : Production Manager

The role of the production manager in a multimedia production is to define, coordinate and facilitate the production of the multimedia project. Capabilities of a good production manager include, knowledge of the basic principles of multimedia authoring, skillful proposal writing, good negotiating skills, conversant with relevant legal issues, good communication skills, budget management skills, experience in human resources management and overall business management.

A-3.2 : Content Specialist

The Content Specialist is the member of the production team who is responsible for performing all necessary research concerning the content of the proposed application. Programme content can be described as the specific information, data, graphics or facts to be presented through the multimedia production.

A-3.3 : Script Writer

Video and film scripts present a linear sequence of events. In multimedia production, the medium has the capability of presenting events in a non-linear fashion by branching in different directions and establishing linkages between different sections or components of the programme. The scriptwriter of a multimedia production needs to visualise this almost three-dimensional environment and integration of virtual reality into the programme.

A-3.4 : Text Editor

The content of a multimedia production, like a book or a film, needs to flow in a logical fashion and the text must be structurally and grammatically correct. Text and narration will be integrated as part of the application and the development of documentation for the application must be considered. All of the text related elements need to be revised by the text editor.

A-3.5 : Multimedia Architect

The multimedia architect is the team member responsible for integrating all the multimedia building blocks (graphics, text, audio, music, video, photos and animation) by using an authoring programme. An authoring programme is a piece of software that allows integration of all the multimedia elements into a comprehensive presentation.

A-3.6 : Computer Graphic Artist

The computer graphic artist is responsible for the graphic elements of the programme - such as backgrounds, buttons, photo collages - and the manipulation and editing of pictures, 3-D objects, logos, animation, renderings and the like.

A-3.7 : Audio and Video Specialists

The audio and video specialists are needed when intensive use of narration and digitised video are integrated into a multimedia presentation. The audio specialist is responsible for recording and editing: narration; selecting, recording or editing sound effects; recording and editing music. (Music composition and performance is the responsibility of a musician). The video specialist is responsible for video capturing, editing and digitizing. The individual is responsible for taking pictures, scanning pictures or slides and editing.

A-3.8 : Computer Programmer

The task of the computer programmer in a multimedia development team is the programming of code lines or scripts in the authoring language. These code lines are used to code and develop special functions or capabilities of the authoring programme, such as generating random numbers for determining size and shape of video windows.

PART - B

Production Planning

"Goal Resources = Production Plan"

B-1 ; Defining the Production Schedule

A Timeline, defining the activities needed, the person responsible for each activity and the start/end time of each activity should be developed. This establishes the standard with which to compare progress, ascertain deviations from plan and take timely corrective action.

B-2 : Devising a Technical Plan

A technical plan addresses the needs of the production and the needs of the end user. It defines how an end user will experience the project and accordingly lays down the system requirement conditions like screen requirement, CD-ROM speed, memory requirement and hard disk requirement.

B-3 : Project Budgeting

Once the project timeline or schedule is ready, the next step is to prepare the project budget. This is essential as time and money are not infinite resources.

Some production costs can be estimated on the following basis:

Scanning one picture or slide and performing minor Manipulations takes approximately 10 minutes.
Developing one minute of computer animation takes approximately 10 hours
One page of text takes approximately 15 minutes to type Into a word processing application.

If the project requires the development of video footage or audio recording, a detailed budget for these two activities needs to be developed separately, as the complexities involved in the development of these two components imply taking into consideration a number of specific costs.

Typical Budgeting Heads

Cost of personnel (including part-timers)
Advisors and Consultants
Video Production
Audio Production
Equipment
Equipment Rental
Software
Graphic and Audio Material
Royalties
Materials and Supplies
Printing
Communication Expenses
Office Supplies
Legal Expenses
Travel

B-4 : Planning the Structure

It involves the following steps:

Defining the goals and objectives of the proposed multimedia title
Describing the content of the title
Developing the application script
Translating the application script into an outline
Translating the outline into a logic flow chart
Developing the storyboard for each screen

B-5 : Goals and Objectives Defined

The following critical questions need to be addressed, while formulating the goals and objectives of the multimedia application.

What is the purpose of the proposed title?
What is the team trying to accomplish?
What are the expected results?

B-6 : Programme Content

Programme Content can be defined as the specific message, data, facts or information to be presented. The content specialist provides the programme content to the multimedia architect, who in turn prepares the narration, text, bullets, charts and tables that will be presented in the title.

The potential multimedia application users have different expectations, information needs, attention spans and learning styles. The application to have the necessary impact on its varied target audience needs to effectively and logically integrate the multimedia building blocks. The integration of a variety of multimedia elements appeals to different learning styles and helps the audience comprehend and retain the information.

Multimedia building blocks include:

Text
Video
Sound
Graphics
Backgrounds
Photographs
Three-dimensional graphics
Charts (graphics)
Flowcharts

B-7 : The Multimedia Application Script

The Application Script is a written description of the proposed multimedia project. The purpose of the script is to describe the actions of all components. The script helps the development team have a clear understanding of the purpose of the programme.

B-8 : Outlining

Multimedia differs fundamentally from the conventional media like films and slide shows is conventional media are linear (one event follows another in a sequence), while multimedia is a non-linear medium - it has the capacity for branching. The simplest way to define branching is to develop an outline. The major headings in the outline become the options available to the user in the main menu of the programme. When a user selects a heading, the subheadings associated with the selected major heading are displayed.

B-9 : Logic Flowchart

The logic flow chart is very important, especially if the title is interactive. It provides a road map of the proposed application for the authoring team. The flow chart illustrates the choices that the user will have in each screen. The degree of complexity of these flow charts depends on the type of application to be developed.

B-10 : Programme Storyboard

The storyboard is a graphic representation of the proposed multimedia project. It is an extension of ideas presented in the script.

B-11 : Production Script for Text, Audio and Video

The next step in the production of the interactive multimedia application is the development of specific and detailed scripts (descriptions) for text, audio (narration, music or sound effects) and video.

B-12 : Hardware Issues

For any multimedia production it is imperative to consider and finalise the "tools" and equipment necessary to develop and play back the application. Hardware issues include deciding, securing the fastest CPU and RAM and largest monitors that is affordable, sufficient disk storage for all working files and records, file sharing for collaborative work via networks or e-mail and establishing a file back-up system.

B-13 : Authoring Software Selection

Selection of appropriate authoring software depends on what is the in-house team expertise, what are the funds required to acquire new software and to train the manpower and what are the demands of the new title being developed. For e.g. for a business or training related application it would be better to use an authoring programme that has built-in spread sheet and chart capabilities. Two most widely used authoring applications today are Macromedia. Director and Macromedia Authorware.

PART - C

Managing Production and Post Production

This involves managing the production process and planning and managing content acquisition.

C-1 : Managing the Production Process

The prime role the production manager is to keep the project on-time and on-budget. For this detailed Timeline/PERT charts need to be developed and an effective tracking system needs to be designed and implemented to keep constant track of what is going on. A good tracking system should monitor and keep record of the following project development aspects :

Project Financial Accounting System
Project Building Blocks filing and record system
Artwork and applications screens and interfaces
Programming code filing and documentation system
Project revision and testing records

C-2 : Managing Content Acquisition

C-2.1 : What is Content

Content is the "stuff" around which an application is developed. It is the text, narration, graphics, colors, backgrounds, videos and animation. In other words, content are all the elements that compose a multimedia application.

Content has a value and a cost. Cost refers to the monetary price incurred to acquire or develop content, while value refers to its merit, usefulness, importance, or significance. A balance has to be struck between the value and cost of the content against the production budget and the desired outcomes.

Content acquisition is one of the most time-consuming and budget intensive activities during the development of a multimedia application. The multimedia producer has to determine if it is feasible to incorporate the suggested content based on its cost and value; determine the alternatives; evaluate the legal implications of using proposed content; and, determine the best strategy to develop or modify the desired content.

C-2.2 : Content Identification, Selection, Development and

Acquisition

Content either has to be sourced or if it is not available then it has to be created. This implies that the source must be identified, selected and the content acquired, or it must be developed. Mostly, budgetary constraints define whether content is developed, purchased or borrowed. Copyright issues are the next most important constraint that influence content generation.

The main responsibility of content development lies with the Content Specialist, Script Writer or Computer Graphic Artist. The content specialist undertakes the following tasks:



Content research
Identifying document sources
Identification of the building blocks like colours and graphics representative of the theme, time or period to be presented in the application
Identifying individuals to be interviewed
Location to be videotaped

The responsibilities of the Script Writer are the following:

Content evaluation
Adaptation of the content to the goals and objectives of the application
Development of the application script and storyboard based on the content
The computer graphic artist is responsible for the development of the following:
Developing line art necessary for the application
Scanning and editing of photos, backgrounds, and other Graphic elements
Chart development
Maps preparation
Text manipulation
3-D graphics and walkthrough
Computer animation

If content is not readily available then it needs to be developed. The creation of story, graphics, or the composition of music are examples of content development. Sometimes content needs to be adapted to meet the needs of the application. This includes editing and manipulation of existing graphics, photos, video, sound or text.

C-2.3 : Copyrights

Producers and users of multimedia programmes need to be aware of and abide by the copyright law. Multimedia productions, by definition, combine a variety of elements from varied sources. It is essential to know how the use of these materials is affected by legal constraints. It is also important to acquire copyrights for own production, after its completion.

PART-D

Testing and Delivering Multimedia Application

D-1 : The Evaluation Process

Testing of a multimedia title is essential so that the final application adheres to international quality standards and is not infested with bugs, technical snags, inaccurate information or simple grammatical or typographical errors.

The process of evaluating (testing) and revising a multimedia application project is dynamic and constant. It involves both internal and external evaluation.

D-2 : Internal Evaluation

The happens within the multimedia development group, through internal discussions for evaluating the aspects of the application:

Application design : is it logical and facilitates learning
Project goals and objectives : are the established goals and Objectives being met
Content is the acquired content represented accurately
Text and narration : are the text and narration grammatically Correct
Application graphics : are the application graphics adequate To fulfill the goals and objectives
Sound : is the background music, effects and other sounds well recorded
Application navigation : are the navigational structures and Aids effective
Programming code : is it working as originally planned
Delivery : can the application be delivered via the proposed medium
Time and budget : is the project on-time and on-budget
Legal considerations: have all licenses and other copyrights Been procured

The prime responsibility of this function lies with the production manager and can be most effective if the team members are open to positive criticism of their peers.

D-3 : External Evaluation

The following are the components of external evaluation:

Alpha Testing
Focus Group Testing
Beta Testing

D-3.1 : Alpha Testing

Alpha testing takes place when the project is considered a working model i.e. it is not finished but it is functional. The purpose of Alpha testing is to determine if the general direction and structure are adequate and what changes are necessary. Members of the Alpha-testing group should include a balance of friends and critiques.

D-3.2 : Focus Group Testing

After revising the application based on the feedback of the Alpha test, another possible strategy is to present the application to a focus group. These groups are composed of individuals who represent the expected audience of the project. Standardized forms should be used for requesting comments and suggestions from the Focus Group.

D-3.3 : Beta Testing

Once the project is in a final draft form, copies should be made available to a group of potential users called a beta-testing group. Here again, standardised questionnaires should be used for collating feedback.

Quality Assurance (QA) is the formal name given to the process of beta testing. When the beta version of a multimedia application is released and the functionality testing starts, the QA process has formally begun. Beta testers check all possible paths of navigation and log all events that strike them as unusual. In addition they do things that users will not usually do like multiple mouse clicking, dragging things around and entering unneeded keystrokes. The idea is to look for things that do not work. Beta testing can be done in-house or it can be outsourced to a professional lab, depending on financial resources and product secrecy issues. Beta testing includes:

Compatibility Testing
Functionality Testing
Functional Localisation Testing
Install Testing
Performance Testing
Stress Load Testing
Load Testing

D-4 : Project Revision

After the tests are over the production manager and the multimedia architect should discuss the merits of each of the comments and suggestions offered by the evaluating group. Based on the feedback the application should be revised, incorporating the valid changes suggested. The application revision sequence is presented in the Figure-2 below:

Figure-2 : Multimedia Application Revision



Source : Multimedia – Production, Planning and Delivery

John Villamil and Louis Mollina, Macmillan Publishing



D-5 : Developing Documentation

User documentation is a very important feature of high-end multimedia titles. While designing the application documentation, the following information should be provided :

Instructions for installing the application
Information about what files to install in the computer

Operating system
Notice about system requirements
Warnings about potential extension conflicts
Content Development Acknowledgment
Copyright Acknowledgment
Notes for trainer, if it is a CBT application
Directions for navigating into the application
An e-mail address for sending comments and suggestions
Contact details for technical support

This information can be provided to the user in the form of a Read-Me file, which is a self-contained read-only document contained in the application itself. The other way is to develop a printed User's Manual for the information to the user.

D-6 : Delivering the Multimedia Application

High-end multimedia applications that are text and graphic heavy are best delivered on a CD-ROM. The other effective way of delivery is on an internet website.

D-7 : Burning a CD-ROM

Before recording a CD-ROM, it must be ensured that the application and supporting Files after they are recorded on the CD-ROM. Read and Write CD-ROM drives will allow editing in the near future. The process of burning a CD-ROM is similar to recording on any type of drive hard disc or floppy diskette.

The issue of which CD-ROM format should be used has to be considered before burning a CD-ROM. Formats to choose from include-ISO 9660 Standard, Hierarchical File System (HFS) Hybrid, Global Hybrid Mixed Mode. Of these the standard format standard format sanctioned by the International Standards Organisation is ISO 9660. This standard has several file structure variations to accommodate the needs of different operating systems and file types.

D-6.2 : Delivery through internet website

Multimedia content is being widely disseminated through internet. Although currently bandwidth problems, requirement of a number of plug-ins to play real audio and real video, long download time and other problems exists that hamper the delivery of multimedia applications through internet, the pace of technological improvement will soon pave the way for easy and effective delivery.

One major advantage that internet will have over CD-ROMs is that are amenable to continuous updation and hance the content does not get outdated.

D-6.3: Integration of CD-ROM and Internet

The relationship between CD- ROM and internet is similar to the relationship between computer’s hard drive and ROM. On the ROM, the information once recorded cannot be changed, while on the hard disc information can be written over and over again.

A more effective way of delivering a multimedia application is an integration of the two mediums of CD-ROM and Internet. A particular application if developed on the CD-ROM, has an embedded link to a website where regular updates are available. Vice-versa, if the application is developed as a website where information keeps accumulating, then as the archive becomes substantial it can be reproduced on a CD-ROM for convenience viewing.

Concluding Remarks

Building the Technology Bridge

Interactive multimedia technology is the ideal medium for an exciting voyage of rediscovering our roots. An understanding of our country’s ancient and rich heritage provides a perspective for the present. This leads to an appreciation of the "whole" and helps build bridges of understanding with the past and a conduit for improving the future.

A word about Magic Software. Established in 1990, Magic is today a young team of fifty professionals from a wide spectrum of disciplines like – visual communications designers, animation designers, editors, social science specialists, engineering and software professionals and even musicians. Deeply fascinated by Indian philosophy, over the years we have pioneered blending India oriented content and state-of-the-art technology, to create CD-ROMS titles like indiaMystica, indiaMusica, indiaFestiva and Mahabharata. We are now launching a series of websites around the mystique of India. Our website hindiguru.com is a high-end interactive website for teaching Hindi on-line. Excitement of innovation is our driving force.

Visionaries at Indira Gandhi National Center for the Arts (IGNCA), deserve all praise for organising the timely conference on "Multimedia in Humanities". On behalf of the young team at Magic Software, I would like to express our sincere gratitude to Dr. Kapila Vatsyayan and Mrs. Neena Ranjan, for giving us this chance to make this presentation.

IGNCA has undertaken a colossal task in digitally preserving the culture and heritage of India. It would be our privilege to be associated in their endeavour to creatively use electronic technology for generating awareness about the wisdom of our ancient heritage and preserving it for posterity.

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Chapter 2. Mass Communication Effects: How Society and Media Interact Study


Chapter Summary

With the rise of mass society and the rapid growth of the mass media starting in the nineteenth century, the public, media critics, and scholars have raised questions about the effects various media might have on society and individuals. These effects were viewed initially as being strong, direct, and relatively uniform on the population as a whole. After World War I, critics were concerned that media-oriented political campaigns could have powerful, direct effects on voters. This view, though still widespread, was largely discredited by voter studies conducted in the 1940s and 1950s. These studies found that the voters with the strongest political opinions were those most likely to pay attention to the campaign and hence were least likely to be affected by the campaign. More recently, research has expanded to move beyond looking just at the effects that media and media content have on individuals and society to examinations of how living in a world with all-pervasive media changes the nature of our interactions and culture.

Understanding the effects of media on individuals and society requires that we examine the messages being sent, the medium transmitting them, the owners of the media, and the audience members themselves. The effects can be cognitive, attitudinal, behavioral, and psychological.

Media effects can also be examined in terms of a number of theoretical approaches, including functional analysis, agenda setting, uses and gratifications, social learning, symbolic interactionism, spiral of silence, media logic, and cultivation analysis.

Our understanding of the relationship among politicians, the press, and the public has evolved over the past half-century. Recent studies have supported interactional approaches to understanding campaign effects, including the resonance and competitive models.

Many people claim that the media are biased toward one political view or another. Conservative critics argue that there is a liberal bias arising from the tendency of reporters to be more liberal than the public at large. The liberals’ counterargument is that the press has a conservative bias because most media outlets are owned by giant corporations that hold pro-business views. Finally, some critics argue that the media hold a combination of values that straddle the boundary between slightly left and right of center. The press in the United States began as partisan during the colonial period, but adopted a detached, factual, objective style in the 1830s to appeal to a broader audience.

Learning Objectives

Explain how new media tools such as YouTube have changed the political process in the United States.
Discuss the history and development of the theories of media effects.
Name and define the four types of effects the mass media can have.
Define and explain the usefulness of the following mass communication theories: functional analysis, agenda setting, uses and gratifications, social learning, symbolic interactionism, spiral of silence, media logic, and cultivation analysis.
Name and explain two ways in which political campaigns affect voters.
Explain the debate and evidence about bias in the news media.
Name and define each of Herbert Gans’ eight basic journalistic values.