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SHIN-DA LEE
DOI 10.2466/24.PMS.120v14x2
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Research goal 2. To assess whether audio-visual aids improve students' listening scores and reduce listening test anxiety, as well
as reinforce short-term and long-term retention of information
through listening.
METHOD
Participants
A total of 177 English-major college students in a university in Taiwan
ranging in age from 20 to 22 years participated in this study (control 73 women, 21 men; experimental 63 women, 20 men). The participants included
sophomore (36 control, 27 experimental), junior (36 control, 33 experimental), and senior (22 control, 23 experimental) students who took English literary stories as a required course, which was taught by the same instructor.
There was no dierence in the learners general English proficiency between
the control and experimental groups on average grades in required English
courses (control M = 79.88, SD = 11.46; experimental M = 81.41, SD = 10.05;
t = 0.90, p = .37). Participant groups did not dier on sex (control 73 women, 21
men; experimental 63 women, 20 men) or age (control M = 20.6 yr., SD = 1.6;
experimental M = 20.6 yr., SD = 1.3; t = 0.08, p = .94). After being approved by
the Medical Research Ethics Committee of Asia University, the procedure
was described to all participants without informing them what kind of aids
would be provided in the content they were given. All participants signed a
written informed consent before their participation. The experimental group
was given audio-visual aids, and the control group was not.
Measures
All the variables measured by instruments in this study were self-report surveys, except that the reading and listening comprehension tests
were measured through multiple-choice content questions. The original
questionnaires were applied and back-translation methods were supplemented in translating survey items from English to Chinese except the
State-Trait Anxiety Inventory.
General anxiety and general foreign language anxiety.Refers to the anxiety level measured 2 weeks prior to the test and includes the STAIT (general anxiety), the FLCAS (general foreign language classroom anxiety), the
FLRAS (general foreign language reading anxiety), and the FLLAS (general foreign language listening anxiety).
Trait anxiety.The Trait Anxiety Scale (STAIT) was used from the
State-Trait Anxiety Inventory (STAI; Chung & Long, 1984; Chinese version
with permission). The STAIT consists of 20 items, each accompanied by
a 4-point scale with anchors 1 = Rarely and 4 = Always. Items 1, 6, 7, 10, 13,
16, and 19 were reverse scored. Scores could range from 20 to 80. Higher
scores indicate greater anxiety. Cronbach's in the current sample was .85.
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The former is a fable written by James Thurber (1940) about a husband and wife. The
husband wakes the wife up and tells her that he saw a unicorn in the garden eating roses.
However, the wife believes that her husband is crazy and therefore calls the police and the
psychiatrist. When they arrive, they ask the husband if he saw a unicorn in the garden. He
replies, The unicorn is a mythical beast. They take the wife away. The second text, by Shel
Silverstein (1964), tells a story about giving and receiving between a tree and a boy. In his
childhood, the boy likes to play on the tree. He comes to the tree to eat her apples, swing
from her branches, or slides down her trunk. The tree is happy to have the boy. When the
boy grows older, he wants more from the tree: he sells her apples for money, cuts down her
branches for a house, and cuts her trunk for a boat. The tree is nothing but a stump, which
provides the boy (now an older man) a place to rest, and the tree is happy.
3
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Procedure
At the beginning of the fall semester in 2010, the researchers went to
six classes to administer the survey at prearranged times and to explain to
the participants the nature and the purpose of this study. After the explanation, the researchers recruited volunteers, who signed a written informed
consent, and provided instructions on how to answer the questionnaires.
The questionnaires used to measure general anxiety and general foreign
language anxiety were the STAIT, the FLCAS, the FLRAS, and the FLLAS.
The participants were given as much time as required to complete the selfreport sections of the questionnaires. When all were finished, the volunteers were told which computer labs were to be used for the comprehension tests two weeks later.
In the reading comprehension test, each participant of the control
group (n = 94) read the printed text (The Unicorn in the Garden) for 30 min.,
while the experimental group (n = 83) read the printed text for 20 min. and
then was allowed to watch the video of the same story, The Unicorn in the
Garden, which took 10 min. After reading, all participants were asked to
answer 15 multiple-choice content questions within 10 min.; the printed
story text was available to both groups. After the reading test, the reading
state anxiety (STAIS for reading) was assessed.
In the listening comprehension test, the control group read the printed story text while they listened to the second story (The Giving Tree)
via audio (the audio track from the video watched by the experimental
group) for 10 min. The experimental group watched the video for 10 min.,
but without captions or the printed story text. After listening to the audio
(with text, control) or watching the video (without text, experimental), the
participants were asked to complete the 15 multiple-choice content questions within 10 min. The listening state anxiety (STAIS for listening) was
assessed immediately after the listening comprehension test.
The tests of short-term retention for information in the reading and listening tests were followed by the reading and listening state anxiety questionnaires. Tests of long-term retention for information in the reading and
listening tests were administered four weeks after exposure to the experimental material. The participants were required to recall the two stories.
Their descriptions should include the plot, main characters, time, and place.
Statistical Analysis
Sex ratio, year in school, age, and general English proficiency of the
control and experimental groups did not dier significantly. The participants were randomly assigned to the control and experimental groups.
Dierences in general anxiety (STAIT), general foreign language anxiety
(FLCAS, FLRAS, and FLLAS), state anxiety (STAIS) in the reading and listening comprehension tests, test anxiety scales in the reading and listening
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comprehension tests (STAIS minus STAIT), test scores in reading and listening comprehension, and short-term and long-term retention of information in reading and listening (all dependent variables) were analyzed by
Students t test to assess the eects of audio-visual aids on the experimental
group vs. the control group. In all cases, a dierence at p < .05 was considered statistically significant.
RESULTS
Table 1 shows comparisons of the two groups on general anxiety
and general foreign language anxiety assessments using the STAIT, the
FLCAS, the FLRAS, and the FLLAS. General anxiety mean scores (STAIT,
FLCAS, FLRAS, FLLAS) were similar in the two groups.
Mean reading test anxiety in the experimental group was significantly
lower than in the control group. Although reading comprehension scores
were similar, short-term and long-term retention scores in the reading test
in the experimental group were significantly higher than those of the control group. The audio-visual aids had a significant eect on reducing students' reading test anxiety, as well as short-term and long-term retention
of information, but were not beneficial in improving students' reading
comprehension.
In the listening test, listening test anxiety was significantly lower in
the experimental group. Also, the mean listening comprehension score in
the experimental group was significantly higher than that of the control
group. However, mean short-term and long-term retention scores for listening were not significantly dierent between the groups. Audio-visual
aids were found to be helpful in enhancing students' listening comprehension and reducing students' listening test anxiety, but were not beneficial
to short-term and long-term retention of information through listening.
DISCUSSION
Audio-visual aids helped to diminish reading test anxiety and improve short-term and long-term retention of information through reading,
but did not influence reading comprehension test scores assessed through
multiple-choice questions. Audio-visual aids greatly reduced students'
listening test anxiety and improved students' listening comprehension
test scores, but had no influence on retention of information through listening tasks.
On reading comprehension scores, there was no significant dierence
with audio-visual aids, consistent with Secules, et al. (1992), who found
no significant dierences in test scores between groups using video and
groups not using video in reading comprehension tasks. Both groups
were provided with the printed story text (The Unicorn in the Garden) during the reading comprehension test, so when students did not know the
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TABLE 1
CONTROL AND EXPERIMENTAL GROUPS GENERAL ANXIETY AND GENERAL FOREIGN
LANGUAGE ANXIETY; READING SCORES, READING TEST ANXIETY, SHORT-TERM RETENTION, AND
LONG-TERM RETENTION THROUGH READING; LISTENING SCORES, LISTENING TEST ANXIETY,
SHORT-TERM RETENTION, AND LONG-TERM RETENTION THROUGH LISTENING
Scale
Control
Group (n = 94)
M
SD
Experimental
Group (n = 83)
M
SD
Cohens
d
STAIT
43.98
8.50
45.11
6.86
0.96
.34
0.15
FLCAS
101.86
10.98
100.48
13.34
0.76
.45
0.11
FLRAS
59.59
8.17
59.86
8.55
0.22
.83
0.03
FLLAS
56.32
7.31
58.59
8.18
1.95
.05
0.30
47.84
10.29
45.23
8.90
1.79
.07
0.27
3.86
8.07
0.12
7.69
3.15
.002
0.48
Reading test
STAIS for reading
Reading test anxiety
Reading scores
80.11
17.69
81.85
12.64
0.75
.46
0.11
Short-term reading
retention scores
7.17
2.82
8.54
2.56
3.37
.001
0.51
Long-term reading
retention scores
6.21
3.15
7.94
2.39
4.07
< .001
0.62
47.93
9.81
45.13
9.42
1.93
.06
0.29
Listening test
STAIS for listening
Listening test anxiety
3.96
5.88
0.02
7.99
3.76
< .001
0.57
83.05
13.71
88.35
9.59
2.94
.004
0.45
Short-term listening
retention scores
6.59
2.54
6.80
2.44
0.56
.58
0.09
Long-term listening
retention scores
5.00
2.48
5.42
2.33
1.16
.25
0.18
Listening scores
Note.STAIT = Trait Anxiety Scale; FLCAS = Foreign Language Classroom Anxiety Scale;
FLRAS = Foreign Language Reading Anxiety Scale; FLLAS = Foreign Language Listening Anxiety Scale; STAIS = State Anxiety Scale; Reading test anxiety = STAIS minus STAIT for reading; Listening test anxiety = STAI-S minus STAIT in listening.
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Accepted March 23, 2015.
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DOI 10.2466/24.PMS.120v17x6
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CHUNKING IN DRAWINGS
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together following the smoothest path), closure (i.e., items are perceived
as complete figures even when parts of the information are missing) and
symmetry (i.e., items are perceived as symmetrical that can be divided into
an even number of symmetrical parts) (Wertheimer, 1923). Bartlett (1932),
Egan and Schwartz (1979), Karmilo-Smith (1990), and Palmer (1977) offered another approach. They reported that when people draw, they retrieve graphical components in groups of elements sharing similar functions akin to chunks (Bartlett, 1932; Palmer, 1977; Egan & Schwartz, 1979;
Karmilo-Smith, 1990). These functions serving similar purposes are not
necessarily consistent in terms of the characteristics described by Gestalt's
perceptual principles. This means the elements of a chunk do not have
to belong to a strictly Gestalt principle of groupings, such as whether all
members of elements for a chunk share a symmetry pattern. For example,
Egan and Schwartz (1979), who sought to provide evidence of expertise
between skilled and unskilled participants on symbolic diagram reading,
reported that experts recalled symbols based on functional units sharing
related operations, rather than if the appearance of the symbolic representation look similar. The study reported in this paper describes an experiment that supports the second approach. Elements retrieved in chunks of
figures obtained from graphical material may be derived from an organized schema such as that described in a hierarchical structure (Palmer,
1977; Koedinger & Anderson, 1990).
Van Sommers (1984) investigated the strategies used by adults when
copying simple patterns. He developed a cognitive model of drawing positing that the process of drawing consists of an interaction between two
hierarchical systems: the visual perception and the graphical production
systems. Gurin, Ska, and Belleville (1999) accepted van Sommers' (1984)
model as a comprehensive cognitive model of graphical production that
incorporated principles governing drawings from a mechanical (i.e., action) and cognitive (i.e., perceptual) point of view. Van Sommers (1984)
proposed that drawing processes are influenced by graphic rules. One of
the rules van Sommers (1984) described suggests that participants adopt
common principles such as a preference for drawing in a counterclockwise
direction when drawing a circle at a starting point above a virtual axis (e.g.,
the top half of the circle such as going from 11 o'clock to 5 o'clock), whereas
they use a clockwise movement when a starting point is on the lower half
of the circle. This approach indicates that drawers commonly employ strategies that improve motor eciency (i.e., the movement of the hand and
fingers that influence drawing behavior), because the frequency of hand
movements decreases with temporal and spatial accuracy. In response to
this notion, Burke and Roodenrys (2000) and Vinter and Perruchet (2002)
further proposed that in relation to learning from drawings, the factors that
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CHUNKING IN DRAWINGS
539
man). This eect shows that younger children often perform whole parts
of their drawings before they continue drawing a dierent part of a figure.
Hence, with respect to drawings, the study reported by Karmilo-Smith
(1990) suggests that drawing in chunks of elements sharing similar characteristics could have been guided by the individual's knowledge of the
world, based on personal experience and principled understanding of a
particular concept or event (i.e., a schema). Vinter and Picard (1996) reported similar findings. According to Vinter and Picard (1996), the eects
of chunks were apparent when children (both younger and older) decomposed the objects into basic components (e.g., a house consists of a body,
a roof, windows, and a door). Each of the components is formed by an integration of several elements. The errors in the drawings were: change of
size, deletion, replication, changes of position or orientation of elements,
modification of whole shape, assimilation to another object, and the ability to adopt a cross-category change (e.g., drawing wings belonging to
the animal domain to the side walls of the house domain) from dierent
domains in the middle of their drawing activity (i.e., inter-representation
change). Younger children were more commonly observed to demonstrate
intra-representational element-based changes, a condition where drawings occur within categories and within chunks (i.e., complete their drawings of
all elements associated with the animal domain before they begin drawing elements associated with the house domain). In contrast, older children tended to show inter-representational whole-based changes, which indicate that they integrate and access components from dierent categories.
Therefore, older children could manipulate the drawings by integrating
dierent components from distinct categories more flexibly than only elements within a specific component from a single category.
Although Palmer (1977) suggested that while a simple graphical diagram consists of three levels, the potential number of hierarchical levels in
a complex diagram is unclear. Furthermore, no studies (Palmer, 1977; van
Sommers, 1984; Karmilo-Smith, 1990) have investigated the selection and
order of execution of parts from the whole figure in drawing strategies for
dierent types of drawing tasks, such as tracing, copying, and recall from
memory. It is important to discover how these drawing tasks facilitate a
drawer's learning from diagrams. The drawing mode, whether tracing or
copying, which facilitates learning the most is still unknown (Gonzalez,
Anderson, Culmer, Burke, Mon-Williams, & Wilkie, 2011). Improved understanding will enable proper complexity of graphical materials used for
learning, particularly in educational subjects such as physics and chemistry. In addition, at present little is known about how graphical elements are
stored mentally and retrieved with respect to drawing mode. Although van
Sommers (1984) successfully demonstrated that common drawing practic-
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es (i.e., a sequence of graphical productions such as the anti-clockwise approach when writing the letter O' among right-hand writers) are generally
applied among individuals regardless of age, sex, and cultural background,
it is presently uncertain if this generalizes to relatively complex diagrams.
The main purpose of this study is to determine if drawings based on
dierent modes (i.e., tracing, copying, immediate recall from memory, and
delayed recall from memory) are more likely driven by strict perceptual
patterns or by an influence of chunks and schemas. The previously discussed research (Cheng, et al., 2001) used simple and straight-line figures
as stimuli. In this study, a more complex figure was employed as a stimulus to compare drawing strategies to those used for simpler diagrams
(Palmer, 1977; van Sommers, 1984). The goal was to investigate the types
of strategies (i.e., order of elements drawn) used to reproduce the complex
figure in dierent drawing modes. Data from 10 adult participants who
reproduced the Rey figure in four modes of drawings across ten sessions
producing a total of 400 trials were analysed. As previously discussed,
the participants may adopt any or a combination of the following potential strategies: (1) drawing patterns in an arbitrary order based on Gestalt
principles, e.g., selection of drawn elements based on symmetry before
those elements in close proximity; (2) drawing lines that maximize motor eciency; and (3) using some kind of hierarchical structure. Finally, if
a hierarchical structure is used, it was of interest how the elements of the
figure would be represented in the hierarchy. Hence, the motivation is further developed by investigating which of these strategies show the strongest influence in the drawing protocols.
Hypothesis 1. Drawers will recall and reproduce graphical elements of a figure in chunks that are derived from an organized
schema in the form of a hierarchical structure.
Hypothesis 2. If chunking strategies are adopted, the production of
the drawings will be more consistent, demonstrated by regular
patterns of chunks (i.e., each chunk consists of the same collection of elements), and will reduce the number of transitions between elements as compared to higher transition counts when
no chunking strategies are used (i.e., elements were drawn
randomly) or if irregular chunk patterns are drawn.
METHOD
Participants
Ten adult (6 men, 4 women) undergraduate and postgraduate university students participated in the experiment. Their ages were between 21
and 30 years (M = 22.2 yr., SD = 4.1). Eight of them were right-handed and
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two were left-handed. Eight participants had normal vision, while two of
them had corrected-to-normal vision. All had sucient fundamental experience with drawing scientific figures, as all of them had science education backgrounds. There were no specific criteria for the selection of their
participation. However, the pool of participants was focused on trained
drawers (i.e., university students) since the authors were interested to investigate their research aims among normal and healthy adults. Thus, the
university community serves as an ideal choice for this. None of them
had memory, drawing, or motor impairments as demonstrated by successful drawing of simple shapes prior to the experiment. All participants
received a small monetary reward for their participation.
Material
All drawings were performed on a Wacom Intuos3 graphics tablet
with a special inking pen. An A4 paper was taped on the graphics tablet in
a landscape orientation and participants were required to draw a large figure on the blank sheet. A specially written program, TRACE (Cheng & Rojas-Anaya, 2004), was used to capture all drawing actions, extract pen positions, and compute pause durations between the drawn elements. The
single stimulus adopted from the original Rey figure as shown in Fig. 1(a)
was printed in black ink on a white sheet for all tasks in this experiment.
Modifications such as blank spaces introduced at the ends of all lines were
used to enable recording of the pauses that occur during the transitions
between drawing strokes.
Measures
Four types of tasks were chosen. A Tracing task was administered to
assess the eects and extent of chunking employed in drawings when little eort was necessary during retrieval. A possible approach taken in the
Tracing task is to draw consecutive elements based on the nearest-neighbor strategy as an economical drawing method. To test whether parts of
a figure are drawn in groups of related elements based on Gestalt principles, a Copying task was used to evaluate whether the process of copying
parts of a figure would change over time or the retrieval of the elements
would exhibit a recurring and consistent pattern between and within individuals. An immediate recall task was used to study the eects and accuracy of retrieval from memory after recent exposure to the stimulus. A delayed recall task was used to study how coherently and precisely a figure
could be reproduced following a delay of as long as 24 hours.
As shown in Fig. 1(a), the Rey-Osterrieth Complex Figure (hereafter
called the Rey Figure) was adopted with a few modifications (i.e., gaps in
between lines, break longer lines into shorter ones) for the technique called
Graphical Protocol Analysis (Cheng & Rojas-Anaya, 2008). The method
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FIG. 1. (a) Modified Rey Figure, (b) Default pattern, (c) L1 and L2 pauses
measures the pause durations between the drawn elements, i.e., the time
between the end point of the last drawn line and the starting point of the
successive line. Graphical Protocol Analysis was employed, as this method
uses pauses as an indication of chunk boundaries, similar to other methods
such as the standard reaction time, qualitative scores of drawings, and verbal protocol analysis (Egan & Schwartz, 1979; Karmilo-Smith, 1990; van
Mier & Hulstijn, 1993). The Rey Figure was chosen because of its extensive use in established empirical psychological studies related to memory
tests. This relatively complex figure comprising 56 lines in various putative
groups of elements is a suitable stimulus to assess the hypotheses.
Graphical Protocol Analysis is an improved method of analyzing
drawing behavior compared to the standard reaction time technique, as
data recording is accurate and the analysis is simpler: drawings are done
on a graphics tablet to capture natural drawing actions, with accurate
measurement of drawing and pause timing. A number of writing studies employing Graphical Protocol Analysis have demonstrated a coherent temporal pattern indicating the structure of chunks in memory during
tasks such as writing number sequences, word phrases, and mathematical formulae (Cheng & Rojas-Anaya, 2005, 2006, 2007). The chunk patterns
are indicated by statistically significant dierences between the duration
of the pauses at dierent hierarchical levels, and were observed in all of
the above tasks (Cheng & Rojas-Anaya, 2008). Specifically, in drawings
this method is adequate for the investigation of the internal mental representations when drawing simple geometric patterns (Cheng, et al., 2001).
The present study applies the Graphical Protocol Analysis method for all
drawing activities obtained from more complex graphical stimuli.
As shown in Fig. 1(c), the two types of pauses examined in this experiment were coded as (a) L1-element within patterns, defined as the
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participants may develop a regular strategy applied in all the drawing activities if the same stimulus ordering were given in all 10 sessions. The Delayed and Immediate recall tasks were not counterbalanced, as the authors
were particularly interested to find if recall performance was statistically
dierent prior and after executing both the Tracing and Copying tasks.
In all drawings, participants began by writing a hash (#) to enable recognition of the time at which the figure was begun and to ensure drawing
and thinking processes were underway. There was no time restriction for
the duration of the drawings. The participants drew until they had nothing
else to draw. They were given an option to end the session for the particular drawing task after being asked if they had anything else to draw. Most
participants did not recall more elements. There was a delay of at least one
day, but no more than two days, between the Immediate recall task and the
Delayed recall task in the subsequent session. The inclusion of 10 sessions
was meant to provide an opportunity for the participants to complete their
learning process, so as to be able to perform chunking eectively.
RESULTS
Pause Analysis
During drawings, a few of the participants made mistakes by drawing
broken lines. The frequency of this kind of mistake was recorded as errors
at the time of data pre-processing. The errors were divided into three categories according to the level and type of errors committed. For example, a
structure error was defined as a type of error that was made when a participant produced lines that were too short or too long, or misplaced elements
that could occur at the level of the entire pattern (i.e., drawing the eye pattern in the wrong location) or a single element of a pattern (i.e., drawing a
single short line for the box pattern). However, the frequencies of these errors
were very few (e.g., less than five in each session when aggregated across the
participants) to qualify for a statistics test. Thus, given that these data were
removed from the other data for analysis, the pauses used for analysis were
due to changes between elements and not the broken lines of a particular element. This coding is based on the experimenter's observation as the participants did the drawings. For example, the participants correctly traced over
the original faded lines, as can be seen in the hardcopies of the tasks. Thus,
the pauses the participants established were due to changes from one element to another and not during the drawing of that particular element.
As shown in Fig. 2, across all modes of drawing for all participants and
sessions, the L1-within pattern pauses were shorter (within the range of 387
649 msec.) than the L2-between patterns pauses (6951833 msec.). The L2
pauses were more variable. A test of equal variance on the pauses showed
that the variances were unequal for the L1 and L2 pauses (F1, 718 = 78.1, p < .001).
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