World Class Communication Skills - Accessible to Everyone CRACKING THE COMPLEXITY CODE To optimise...

World Class Communication Skills - Accessible to Everyone

CRACKING THE COMPLEXITY

CODE

To optimise learning


INTRODUCTION

BACKGROUND Have you ever been to a really boring or

confusing lecture?

Did you learn a lot from these lectures?

BACKGROUND But there are probably other lectures which

you found really interesting!

And you probably learnt a lot more!

BACKGROUND So what makes the difference?

BACKGROUND So what makes the difference? There are some well known factors

The Presenter

Subject Matter

Presentation Aids

Delivery(Style, Pace, Engagement,

etc.)

A lot has been written about these

BACKGROUND For lectures and presentations And for eLearning (and other documents)

The Presenter

Subject Matter

Presentation Aids


etc.)

The Presenter

Subject Matter

Media


etc.)

There is a lot of commonality

ATTENTION

ATTENTION

The Presenter

Subject Matter

Media


etc.)

BACKGROUND And there is a key feature that underpins

all of these aspects

The Presenter

Subject Matter

Presentation Aids


etc.)

How much attention is generatedTHIS IS CRITICAL

ATTENTION

ATTENTION

The Presenter

Subject Matter

Media


etc.)

BACKGROUND Because attention is a primary key to

learning

The Presenter

Subject Matter

Presentation Aids


etc.)

Source: Oades & Sartory, 1997; Choi, Seitz & Watanabe, 2009

ATTENTION

ATTENTION

COMPLEXITY

COMPLEXITY

The Presenter

Subject Matter

Media


etc.)

BACKGROUND And a key factor in creating attention is

complexity (which is often poorly understood)

The Presenter

Subject Matter

Presentation Aids


etc.)

Source: Bruner & Kumar, 2000; Stevenson, Bruner & Kumar, 2000; Geissler, Zinkhan, Watson, 2006

But it affects all of these factors

COMPLEXITY

COMPLEXITY

The Presenter

Subject Matter

Media


etc.)

WHY IS COMPLEXITY IMPORTANT?

The Presenter

Subject Matter

Presentation Aids


etc.)

Research has shown that there is a link between complexity and attention

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

Source: Underlying attention model adapted from information at : Geissler, Zinkhan & Watson, 2006; Singh, Dalal & Spears, 2005; Carneiro, 2000; Donderi, 2006; Dale & Arnell, 2010; Sanders & Astheimer, 2008 ; Parmentier, Maybery & Elsey, 2010, Van der Stigchel & Theeuwees, 2007; Gibson, 1979; Ahissar, 1997

BOGGLE CLIFF

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH


Clearly our aim should be to build lessons with this level of complexity!


BOGGLE CLIFF

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH


But how do we find this ‘sweet spot’?


ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

WORKING OUT OPTIMUM COMPLEXITY

Research has been conducted in a range of different fields


ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH


For example, a lot of work has been done in the fields of biopsychology and psychophysics

Eye Eye

OpticNerves

OpticNerves

LGN LGN

VisualCortex

VisualCortex

FrontalCortex

VisualCortexEye

LGN

Hippocampi


Formulae have been created to measure the effects (For example these are for visual complexity)

Source: Solomanoff, 1986; Van der Helm, 2000; Lee (2003)

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

P(S I I,K)=P(S I I,K)x P(S,K)/P(I,K) (Heuristic Bayesian Model - S=Scene, I=Image, K=Prior Knowledge -Shows the effects of Top Down & Bottom Up)

P(H/D)= [p(D/H) x p(H)/p(D) (Algorithmic Information Theory – H=Perceptual Hypothesis, D=Sensory input data – Likelihood principle of sensory input leading to perception)

I(H/D)= I(H) +I(D/H)-I(D) (Simplicity Approach – H=Percept, D=Sensory input data – Possible percept + conditional complexity of D minus the complexity of the data)

But in their own right these types of research aren’t very useful for real world development


But this type of research formed a good foundation

To create a system that is useful in real world L&D

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

This journey started in 1983

And it is continuing through


Today I will introduce you to some core concepts And I will give you more information in later sessions

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

These will be approaches you can use immediately

WHAT CREATES COMPLEXITY?


In its simplest form complexity is about the balance between:

The complexity of the input

The ability of the brain to handle the input

When the right balance is found - attention should

typically be high


If there is low complexity people may find the lesson boring and switch off (look for gratification elsewhere)

Low complexity of the input

The brain engages in gratifying activityLOW ATTENTION


The input is too complex

The brain focusses on agratifying activity

If the input is too complex the brain can focus on other things (that will generate gratification)

LOW ATTENTION


Clearly different people have different mental capabilities (and this will affect the boggle cliff)

But there is enough commonality to generate useful approaches that will work for most people (For example)

Baker, E., 1981, ‘Everyday Reasoning’. Prentice Hall, Englewood Cliffs, New Jersey, and Black, M., 1952, ‘Critical Thinking: An Introduction to Logic and Scientific Method’. Prentice Hall, New York, and Cederblom, J., 1991, ‘Critical Reasoning: Understanding and Criticising Arguments and Theories’ 3rd Edn. Wadsworth Publishing Co. Belmont, California, and Dauben, J., 1995, ‘Abraham Robinson: The Creation of Nonstandard analysis: A personal and mathematical odyssey’. Princeton University Press, Princeton, and Dauer, F., 1989, ‘Critical Thinking: An Introduction to Reasoning’. Oxford University Press, New York, and Flesch, R., 1951, ‘The Art of Clear Thinking’. Harper, New York, and Fraenkel, A., 1961, ‘Abstract Set Theory’ 2nd Edn. North-Holland Publishing Company, Amsterdam, and George, R., 1977, ‘Precision Language and Logic’. Pergamon Press, New York, and Giannini, R., Rackwitz, R., and Pinto, P., 1991, ‘Action Scenarios and Logic Trees’ Zurich, Switzerland, and Hallett, G., 1984, ‘Logic for the labyrinth: A Guide to Critical Thinking’. University Press of America, Lanham, and Harris, E., 1987, ‘Formal Transcendental and Dialectic Thinking: Logic and Reality’. State University of New York Press, Albany, and Josephson, J., and Josephson, S., 1994, ‘Abductive Inference: computation, philosophy, technology’. Cambridge University Press, New York, and Mander, A., 1936, ‘Clearer Thinking. Logic for Everyman’. Watts Publishing, London and Missimer, C., 1990, ‘Good Arguments: An Introduction to Critical Thinking’. Prentice Hall, Englewood Cliffs, New Jersey, and Piatelli-Palmarini, M., (Translated by Piatelli-Parlmarini, M., and Botsford, K.), 1994, ‘Innevitable Illusions: How Mistakes of Reason Rule our Minds’. Wiley, New York, and Porn, I,. Holmstrom, G., Jones, A., 1985, ‘Action Logic and Social History’. Philosophical Society of Finland, Helsinki, and Rock, I., 1983,

‘The Logic of Perception’. M.I.T. Press, Cambridge Massachusetts, and Salmon, M., [Ed. Fogelin, R.], 1984, ‘Introduction to Logic and Critical Thinking’. Harcourt Brace Jovanovich, San Diego, and Smith, D. and McIntyre, R., 1982, ‘Husserl and Intentionality: A Study of Mind, Meaning and Language’. D. Reidel Publishing Company, Dordrecht, Holland, and Thouless, R., 1953, ‘Straight and Crooked Thinking’. Pan Books, London, and Weinberg, J., 1965, ‘Abstraction, Relation and Induction: Three Essays in the History of Thought’. University of Wisconsin Press, Madison.


The challenge has been to merge these (and

many others) to create a useful working solution

This is where the complexity model I will be describing can be very useful for practical L&D

This begins by identifying 4 fundamental factors 4


The first of these factors is Content Content relates to the complexity of the information It is affected by:

Extent of the input (How much is being provided)

Structure of the input (Is it logical and easy to understand)

Abstraction of the input (Is it concrete or abstract information)

CONTENT

As an

Example

CLT


CONTENT

ABSTRACT SYMBOLS

SOUND ONLY

SIGHT ONLY

SIGHT ANDSOUND

SIMULATEDEXPERIENCE

ACTUALEXPERIENCE

Passive Single Channel Input that needs to be decoded effectively for storage in Long Term Memory

RecordingsRadio/Telephone

Speaker Only

TextSymbols

Still PicturesDiagrams/Charts/Maps etc.

Silent Motion Pictures

Illustrated lecturesVideos

Directive Demonstrations

Audience Inclusive DemonstrationsRole Playing (Dramatised Experiences)

Workshops and Group Design Process with output

Direct Experience (e.g. building/operating/doing)

Passive Single Channel Input stimulating hearing only

Passive Single Channel Input stimulating sight only, but using graphical or iconic input

Passive Dual Channel Input

Active Multi-Channel Experience in simulated situation

Active Multi-Channel experience in real situation

COMMUNICATIONS CHANNELSCONTENT

AB

STR

AC

TC

ON

CR

ETE

AC

TIVE

PASS

IVE

LIKELY RETENTION OF INFORMATION(The broader the tier the more information is typically remembered)

Source: Adapted from information at Dale, E., 1969, ‘Audiovisual Methods in Teaching’. 3rd Edn. Holt Rinehart and Winston, Inc., New York, pp. 107-140 and Mayer, R., and Moreno, R.,1998, ‘A split-attention effect in multimedia learning: Evidence for dual information processing systems in working memory.’ Journal of Educational Psychology, 90, pp. 312-320 and Sloan, P., and Latham, R., 1981, ‘Teaching Reading Is….’ Nelson, Melbourne, p. 90 and Wiman, and Meirhenry, 1960, ‘Educational Media’. Charles Merrill, New York, and Paivio, A, 1991, ‘Dual-coding theory: Retrospect and current status’. Canadian Journal of Psychology, 45 93, pp. 255-287 and Cole, P., and Chan, L., 1994, ‘Teaching Principles and Practice’. 2nd Edn. Prentice Hall, Sydney, p. 151 and Sinatra, R., 1986, ‘Visual Literacy Connections to Thinking, Reading and Writing, Charles C. Thomas, Springfield Illinois, p. 157


CONTENT

ABSTRACT SYMBOLS

SOUND ONLY

SIGHT ONLY

SIGHT ANDSOUND

SIMULATEDEXPERIENCE

ACTUALEXPERIENCE

Passive Single Channel Input that needs to be decoded effectively for storage in Long Term Memory

RecordingsRadio/Telephone

Speaker Only

TextSymbols

Still PicturesDiagrams/Charts/Maps etc.

Silent Motion Pictures

Illustrated lecturesVideos

Directive Demonstrations

Audience Inclusive DemonstrationsRole Playing (Dramatised Experiences)

Workshops and Group Design Process with output

Direct Experience (e.g. building/operating/doing)

Passive Single Channel Input stimulating hearing only

Passive Single Channel Input stimulating sight only, but using graphical or iconic input

Passive Dual Channel Input

Active Multi-Channel Experience in simulated situation

Active Multi-Channel experience in real situation

COMMUNICATIONS CHANNELSCONTENT

AB

STR

AC

TC

ON

CR

ETE

AC

TIVE

PASS

IVE

LIKELY RETENTION OF INFORMATION(The broader the tier the more information is typically remembered)

Source: Adapted from information at Dale, E., 1969, ‘Audiovisual Methods in Teaching’. 3rd Edn. Holt Rinehart and Winston, Inc., New York, pp. 107-140 and Mayer, R., and Moreno, R.,1998, ‘A split-attention effect in multimedia learning: Evidence for dual information processing systems in working memory.’ Journal of Educational Psychology, 90, pp. 312-320 and Sloan, P., and Latham, R., 1981, ‘Teaching Reading Is….’ Nelson, Melbourne, p. 90 and Wiman, and Meirhenry, 1960, ‘Educational Media’. Charles Merrill, New York, and Paivio, A, 1991, ‘Dual-coding theory: Retrospect and current status’. Canadian Journal of Psychology, 45 93, pp. 255-287 and Cole, P., and Chan, L., 1994, ‘Teaching Principles and Practice’. 2nd Edn. Prentice Hall, Sydney, p. 151 and Sinatra, R., 1986, ‘Visual Literacy Connections to Thinking, Reading and Writing, Charles C. Thomas, Springfield Illinois, p. 157

CONTEXT

Context is the complexity of the new information in relation to what they already know:

Affected by a range of factors such as: Knowledge (What they know & does this align to what they know) Paradigm (Is this knowledge acceptable) Conventions (Does the input conform to what they already know)

CONTENT

We will talk about this more tomorrow

PersonalityType

Agendas(Internal/External)

Knowledge(Subject/Situation)

Culture(Societal/Organisational)

Human Nature(Universal)

CONTINUITYCONTEXT


Continuity is the complexity of the input flow. Affected by a range of factors such as:

Linkages (Does the information fit together and are the linkages clear) Gaps (Has something important to them been missed) Flow from previous lessons (Is there cross-lesson continuity)

CONTENT

CLUTTER

CONTINUITYCONTEXT


Clutter is the complexity related to the clarity of the input.

It is affected by the clarity of: Key information (how clear is the key – germane – message) Extraneous information (is there too much of the

wrong information)

CONTENT

To

demonstrate

this

CLT

It is much more involved than just the

information – it applies to all inputs

together


This model therefore: fills some key gaps in other frameworks merges a range of frameworks to deliver a

single solution

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITYIN THE REAL WORLD

USING COMPLEXITY We will show you tomorrow how you can apply this

(in really practical ways)

To rapidly develop very effective teaching and learning systems (e.g. lectures or eLearning)

CLUTTER

CONTINUITYCONTEXT

CONTENT

Increase

Comprehension

~40%

Increase

Retention up to

200%

From independent research conducted by RTIO and UWA

USING COMPLEXITY In the next session (B8: 11:00AM – P3)

You will see how to use cognitive templates

To find the optimal complexity for your message

CLUTTER

CONTINUITYCONTEXT

CONTENT

CLUTTER

CONTINUITYCONTEXT

CONTENT

RA SO P

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITY In the last session (B9: 11:45AM – P3)

You will see how to use powerful visual techniques

To optimise the perception of the message

CLUTTER

CONTINUITYCONTEXT

CONTENT

These are based on the latest research

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITY Use them together to help hit the optimal complexity

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

CLUTTER

CONTINUITYCONTEXT

CONTENT

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITY To improve comprehension and shape impressions

for your trainees

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITY Whether you are using

face-to-face learning

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITY Or eLearning

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

CLUTTER

CONTINUITYCONTEXT

CONTENT

USING COMPLEXITY Or any other type of learning

ComplexityLOW HIGH

Att

en

tio

n /

Inte

rest

LOW

HIGH

CLUTTER

CONTINUITYCONTEXT

CONTENT


CONCLUSION

CONCLUSION In this session we have only provided a high

level overview

For a critical teaching & learning element that is universally applicable (use it with any approach, delivery system, or framework)

To substantially improve learning outcomes

We will drill down into these concepts in the following sessions

CONCLUSION If you want to learn more:

I can send out handouts to you

Please feel free to come and chat

Go to my web site for more information www.seahorses-consulting.com

Come along to the sessions tomorrow

Pick up a copy of the book (this explains the practical approach for message development – proceeds to the Clown Doctors) – or go to: http://woodslaneonline.com.au/title.aspx?isbn=1921606665

http://www.seahorses-consulting.com/

http://woodslaneonline.com.au/title.aspx?isbn=1921606665


THANK YOU

Thank you very much for your attention and input

World Class Communication Skills - Accessible to Everyone CRACKING THE COMPLEXITY CODE To optimise...

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