Academic literature on the topic 'OnacloV'

This 2-group quasi-experimental study was conducted to explore the following research questions: Do the fourth graders’ post-intervention scores achieved in the unit of force and motion achievement test and attitude scale toward the unit depend on being in the groups that were taught the unit either with ‘Online Advance Organizer Concept Teaching Material’ (ONACOM) integrated PBL and with ONACOM-integrated EL when we control for their respective pretest scores and their science grades in the previous semester? What are the students’ gains, achievement, attitude and retention from the two systematic applications of the ONACOM-integrated methods, PBL and EL? The sample (N=220) consisted of fourth graders at public elementary schools in Burdur, Turkey. Although there were no significant treatment effects favoring one of the methods, teaching science topics by integrating ONACOM consistently in both methods increased the students’ achievement and attitude levels and supported their knowledge retention with large effect sizes significantly. As a well-developed innovative software, ONACOM is effective on learning regardless of the course and method when it is systematically integrated into teaching methods, since it is prepared on the basis of multimedia learning strategies and is suitable for the essential structures of both teaching methods.

My argument is that documentary texts can be transformed into artworks via the processes of intertextuality and detournement, when they are exhibited as video installations. I argue that early 1920s modernist avant-garde painter-filmmakers shared with contemporary documentary video installation painter-filmmakers particular tendencies, characteristics and interests. The bodies of work in each period explore the generic properties of documentary through (primarily) abstract visual associations, rather than through a conventional linear space. Important 1920s modernist avant-garde films by Dziga Vertov, Luis Bunuel, Salvador Dali, Joris Ivens, Man Ray and others will be considered in highlighting the relationship between documentary and avant-garde cinema. I use this discussion as a basis for examining my own work: for the creative component of this thesis, I filmed and edited a three screen video installation. I interviewed 67 Australian Muslims and used these interviews to explore the use of documentary in video installation. The theoretical framework I used is based on the following: Julia Kristeva?s notion of intertextuality, derived from Mikhail Bahktin?s work on dialogism, to interpret how documentary texts take on conventions appropriate to other genres; Guy Debord?s concept of d鴯urnement to provide a theory for the reuse of pre-existing artistic elements found in documentary film; genre theory to interpret interactions between documentary texts; Ludwig Wittgenstein?s notion of ?family resemblance? to explore the indistinct boundaries of documentary; and Pascal Beausse?s analysis of how artists have hijacked documentary. I also draw on Bill Nichols?s analytical framework of documentary modes (poetic, expository, observational, participatory, performative, reflexive) to explore documentary in cinema and installation art. The documentary genre is not habitually discussed outside film, television, photography or the web. My research demonstrates that the genre has found its place in other areas of artistic practice and can also apply to medium of video installation.