Republic of the Philippines

UNIVERSITY OF EASTERN PHILIPPINES

University Town, Catarman, Northern Samar
Web:http://uep.edu.ph
Email: uepnsofficial@gmail.com

PURPOSIVE COMMUNICATION
Module 3
Week 3

COLEEN T. PUJANTE
Course Instructor
 Module 3
Communication Aids and Strategies Using Tools of Technology

Whatever your filed and whatever your job, make meaning and presenting them the right
audience are the things that you need to pull through ;ti succeed as an individual, a student, a
professional, or an entrepreneur.
These representation, wether spoken or written and formal or informal, have become so common
that they are performed at an astonishing number “33 million times a day”. At present, creating and
sharing them have been changed dramatically because of the development of digital communication
technologies. Simple and easy-to-use media production tools and resources, along with the potential for
immediate and universal online publication, are now also readily accessible on the World Wide Web.

Creation and Production of Multimodal Text

Multimodal texts combine two or more modes such as written language, spoken language, visual
(still and moving image), audio, gestural, and spatial meaning (The New London Group, 2000; Cope and
Kalantzis, 2009). Creating digital multimodal texts involves use of communication technologies,
however, multimodal texts can also be paper based, or live performances.

The Victorian Curriculum recognises that students need to be able to create a range of
increasingly complex and sophisticated spoken, written, and multimodal texts for different purposes and
audiences, with accuracy, fluency and purpose.
 Why teaching creating multimodal texts is important

Creating multimodal texts is an increasingly common practice in contemporary

classrooms. Easy to produce multimodal texts include posters, storyboards, oral presentations,
picture books, brochures, slide shows (PowerPoint), blogs, and podcasts. More complex digital
multimodal text productions include web pages, digital stories, interactive stories, animation, and
film.

Student authors need to be able to effectively create multimodal texts for different
purposes and audiences, with accuracy, fluency, and imagination. To do this, students need to
know how meaning is conveyed through the various modes used in the text, as well as how
multiple modes work together in different ways to convey the story or the information to be
communicated.
Students need to know how to creatively and purposefully choose how different modes might
convey particular meaning at different times in their texts, and how to manipulate the various
combinations of different modes across the whole text to best tell their story (Jewitt, 2009).

Examples of texts to create

Below are examples of different forms of texts students might create in the classroom.
The complexity of creating texts increases proportionately with the number of modes involved
and the relationships between the various semiotic, or meaning making, systems in a text, as well
as use of more complicated digital technologies.

Simple multimodal texts include comics/graphic novels, picture books, newspapers, brochures,

print advertisements, posters, storyboards, digital slide presentations (e.g. PowerPoint), e-posters,
e-books, and social media.

Meaning is conveyed to the reader through varying combinations of written language, visual,
gestural, and spatial modes.

Podcasts are also simple to produce, involving combinations of spoken language, and audio
modes.

Live multimodal texts include dance, performance, oral storytelling, and presentations. Meaning
is conveyed through combinations of various modes such as gestural, spatial, audio, and oral
language.

Simple multimodal texts and EAL/D learners

Complex digital multimodal texts include: live action films, animations, digital stories, web
pages, book trailers, documentaries, music videos. Meaning is conveyed through dynamic
combinations of various modes across written and spoken language, visual (still and moving
image), audio, gesture (acting), and spatial semiotic resources. Producing these texts also
requires skills with more sophisticated digital communication technologies.

Complex digital multimodal texts and EAL/D learners

What teachers and students need to know?

Skilled multimodal composition requires students to have knowledge of the subject or
field of the text, textual knowledge of how to best convey meaning through the text; digital
multimodal authoring also requires knowledge of the technology and of the processes required to
produce innovative digital media productions (Mills, 2010).

Textual knowledge encompasses both semiotic knowledge and genre. Semiotic

knowledge concerns how each mode conveys meaning in different ways in the text, where each
mode has its own specific task and function (Kress, 2010, p. 28) in the meaning making process.
 Multimodal authors also need to be able to imaginatively combine different modes in
various strategic arrangements throughout the text, for example print and visual semiotic
resources in a picture book, to effectively and creatively convey the meaning required.

Genre concerns knowledge of the social functions and contexts in which a text is

produced and used, and how the text is organised and staged to meet a specific social purpose
(Martin, 2008). Like writing, successful multimodal composition includes consideration of
purpose, audience and text type (for example, to entertain, inform, or persuade). Technological
knowledge concerns knowledge of the technical content as well as of the processes required to
produce innovative digital media productions, including knowledge of the machines involved
and the media applications (Mills, 2010, p. 224).

Effectively teaching students how to create multimodal texts requires new and diverse
literacy skills and semiotic knowledge which, by necessity, extend beyond the realms of
traditional print-based literacy into other learning disciplines. Literacy teachers need to draw on
expertise and knowledge and skills from other disciplines, to support the development of new
literacy competencies. This includes essential aspects from The Arts – music, media, drama,
film, and art; and from Information Communication Technologies (ICT).

To create multilingual multimodal texts that strategically include elements of EAL/D

students’ home languages, students also need to know both the English and the home language
(or additional language) features that they want to publish in. This linguistic knowledge does not
necessarily have to be comprehensive or formal, but rather appropriate for the purpose and
audience of the text. Students working in groups may know different aspects of the language.

Teaching creating multimodal texts: production stages

Teaching creating multimodal texts is based on teaching writing, extended to teaching students how to
produce short, purposeful, and engaging texts in different forms and media formats.

Students need to develop increasing control over the different semiotic contributions of each of the modes
deployed, and at the same time, attend to creatively combining modes into a meaningful whole (Hull, 2005, p.234).
In addition, pedagogic attention to any technological requirements is also essential.

Teaching creating multimodal texts can be structured in stages around the film production approach. This
includes pre-production, production, and post-production.

Pre-production
The pre-production stage includes consideration of the topic, the purpose, the audience and the context. The
story/content is drafted and organised, and manageable boundaries are established. This includes setting limits to
number of pages in a picture book, or slides in a PowerPoint, or time limits for digital productions – 30 to 90
seconds is long enough for novice podcasts, film or animation productions.

The production process is planned. This might include writing a story outline which provides brief
information about who, what, where, and when; a script which includes information about the text participants
(characters or subjects), dialogue, action, sound effects, and music; and preparing a storyboard to scope the visual
design of the text – what is to be shown and how it will be seen. (See Visual metalanguage for more information.)

Image 1: Storyboard example. (Creative Commons BY-ND 4.0)

For EAL/D students to produce multilingual multimodal texts, they might engage in the pre-production
stage using their strongest language in order to achieve depth in their ideas. This may mean students plan a
multimodal text using a storyboard with descriptions in their home language. They can then discuss and refine their
ideas with the teacher or other students using English.

If students create multimodal texts that includes home languages, they may work with a same language
peer, bilingual staff member or parent to check and edit work that will be published. However, it is important that
the EAL/D student assumes responsibility for discussing and reporting their work in English with peers and the
teacher.

The production stage

The production stage is where the text is composed or produced. Production can be a simple process using
familiar tools and resources or can involve learning to use more complex digital tools including cameras, recording
equipment, or digital applications and software.

Complex media production processes can be simplified for the literacy classroom. For example, a
simplified approach to creating live action films involves an ‘in-camera’ edit. This requires the whole sequence to be
carefully planned first. Beginning with the title shot, the film is shot in sequence, shot by shot, pausing the camera
between shots. Sound effects and additional information must be recorded at the same time as the action. Following
the final shot, the film is finished, and there is no further editing or post-production. The same approach can be used
recording simple podcasts, as an ‘in-microphone’ edit.

In contrast, a conventional approach to filmmaking/podcast production involves filming or recording the

content in segments first, and then putting the final text together through post production.

The teacher may need to explicitly teach EAL/D students the use of equipment and technological skills
needed to capture and create digital multimodal texts. The teacher may provide reference materials with annotated
visuals to support students' in learning the technical language associated with production skills.

Post-production stage
In the post-production stage filmed shots or recorded audio segments, are edited using a digital editing
program to remove sections, to order information, and to add in introductions, titles, music, visual and sound effects.
 The teacher explicitly teaches EAL/D students the technological skills needed to edit and manipulate
multimodal texts. In addition to the general editing skills, the teacher may need to find a 'knowledgeable other' to
teach students specific multilingual skills such as typing in different scripts or using translation apps.

Using the teaching and learning cycle for creating multimodal texts
The teaching and learning cycle (TLC) initially developed for teaching writing and reading provides a
logical, systematic process for teaching creating multimodal texts (Zammit, 2015; 2014; Chandler, O’Brien and
Unsworth, 2010).

This approach supports teaching students how to successfully create a range of different texts for different
purposes and audiences, which clearly communicate the author’s meaning (Miller, 2010, p.214) through attention to
meaning design in the different modes deployed.

The teaching and learning cycle focuses on the cyclical nature of the teacher’s role though the various
production stages. It includes teacher modelling, and explicit teaching of relevant semiotic knowledge and the
metalanguage of meaning making in different modes, as well as required skills for effective use of any technology
used. Textual knowledge, both semiotic and genre, as well as technological knowledge required need to be explicitly
stated and incrementally taught (Christie and Macken-Horarik, 2007). Competent digital authoring requires coherent
and systemic levels of pedagogical attention and support, in the same ways that writing is taught and valued in
schools (Burn, 2006).

The TLC involves four key stages which incorporate social support for creating multimodal texts through
varied interactional routines (whole group, small group, pair, individual) to scaffold students’ learning about
meaning making in a variety of modes, and texts.

These stages are:

 Building the context or field – understanding the purpose of the text and the context (genre) and building shared
understanding of the topic
 Modelling the text (or deconstruction) – the use of mentor or model texts to focus explicitly on the structure of the
text, identify the modes used and the different semiotic resources used in each mode, examples of meaning design
choices made in different modes, how modes work independently and together to shape meaning, and to build a
metalanguage
 Guided practice (or joint construction) – teachers and students jointly constructing a text
 Independent construction – students’ independent composing of a new text. (Derewianka and Jones, 2016;
Humphrey, 2017; Humphrey and Feez, 2016)

Communicate and Connect!

Recall one instance when you were made to prepare and submit a written text or to make and present an oral one.

 What preparations did you make?

 Did you need to collect materials for the project?

 How did you put these materials together for a comprehensive whole?

 What did you do before the submission or presentation?

 What difficulties did you encounter?

The Art of Making PowerPoint Presentations
PowerPoint presentations are so-common that lecturers and reporters use them all the time.
“Presentations can be among the most painful experiences in both school and the working world—and
that includes listening to them” (Kaangas, 2012). You can avoid being a party to such a broken and
ineffective presentations by using “a smart and simple approach to creating presentations that and
engage audience and inspire action” (Kaangas 2012).

A presentation is like taking your audience from one place to another, so make the journey
lighter and more fun by never overloading it with too much content. There are only three things
that you need to do before starting to make your PowerPoint presentation:
1. Determine your goal. This about you and your goal, which should be an achievable challenge. Ask
yourself what opinion or feeling of the audience you want to change. (For example, I want them to
undertand…, I want them to buy.., and so on.)

2. Convert your goal into one “big idea.” This is now about your audience and you planting an idea into
their heads. Make them embrace the idea so that they can act by moving toward your desired goal.
Make them understand how they can benefit from the idea, and lead them to believe in what you say,
not in what you want. It is all about them, not you.

3. Consolidate your idea into just three concepts. For the audience to reach the place where you want
them to go—to embrace your idea—go straight to the 1 st point, 2nd point and 3rd point where you want
them to go and embrace them.

Five Design Principles that can help make the structure of your slides clear:
 Outline first to control the number of slides and to provide balance.
 Have only one message per slide to allow the audience to understand it more.
 Pay attention to size.
 Apply the principle of contrast.
 Limit the number of objects/items per slide.

Things to do during a presentation:

 Come prepared.
 Get the set-up right.
 Know your audience and adjust the content accordingly.
 Go easy on fonts.
 Go easy on logos.
 Go easy on colors.
 Make eye contact.
 Be kind to questioners.
 Be kind to folks in the back.
 Design slides for distance
 Cell phone off.
 Do not go crazy with laser pointer.
 Do not cram too much on each slide.
 Do not read from your notes or slides.
 Do not spew jargon.
 Do not demean audience members.
 Do not turn your back.

Communicate!
1. Why do you think does Kaangas suggest the idea that you want your audience to embrace in your
presentation be consolidated into only three concepts?
2. Choose one of the 17 things that a speaker should do to avoid giving a boring PowerPoint
presentation. Elaborate it. Give concrete examples to support your explanation.