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Mulitmodal Presentations

Check out some more information about multimodal projects here . As you consider the different options that are available, think of the ways in which this will support your presentation of the topic. Will an infographic make sense or maybe a video?

Digital Scholarship Gurus

Do you know about the Digital Scholarship Gurus ? They're a group of experts from the IT Center available to help you with any digital media project you have. They can help you at any time during your Bridgewater career, and they will be an especially great asset while you work on your FILA 450 project in your final year here.

Make a connection with them today, so they can help you with your multimodal project!

Some Considerations

Some things to consider:.

Allow yourself enough time to create your multimodal project. Graphics and videos can seem really easy to put together, but actually consume a lot of time.

Be sure to include the goals/purpose of the project at the beginning so viewers know what to expect.

If you choose to create a video, consider adding a transcript, as it will increase your video's accessibility.

You may also want to consider how to make your resource accessible for individuals who are colorblind or otherwise visually impaired. 

If you use any images/graphics (especially in a PowerPoint) be sure that you have permission to use them and cite them correctly. For more information on citing images in your PowerPoint, click here .

Did You Know?

The Forrer Learning Commons has several spaces and resources that might make the creation of this digital project much easier:

  • Visit the Audio room to record a voiceover for your video. The Audio Room has all the technology you need to create and edit the perfect audio. Reserve the Audio room here .
  • Visit the Presentation room to record yourself. Consider doing something like a "news bulletin" about the Developmental Trend, Prominent Theorist, or Theoretical Perspective that you have chosen. Reserve the Presentation room here .
  • The Forrer Learning Commons rents out media equipment for your use, including audio-recording equipment, cameras, videocameras, tripods, microphones, etc. Reserve equipment here .
  • The Macs outside the Learning and Services Suite are a  great  place to create and edit digital media. Consider using them to create a digital poster or infographic through Canva .

What's great about all of these resources is the fact that you are in very close proximity to the Digital Scholarship Gurus (and me!), so if you have any questions, feel free to ask at the desk for one of us.

Tips for Creating Videos

  • Finishing Touches

Consider the goals of the videos—what you want the other students to learn

Be sure not make these too complicated

Only want to focus on 1-2 concepts in each video (video length should be 5 minutes max but 2-3 is better)

Put together a script (Word document). Stick with a conversational style that will be understandable to your audience.

Using the script as a model, “story board” what you will record. What websites or Apps will you want to film in what order? What examples will you use? Refer back to your goals for the video—are they still clear? Is your video becoming too long?

Do a practice run without filming—identify “scenes” for filming. It is better, if possible, to break the filming up in chunks and then stitch these clips together when editing the film. It saves time, in case you mess up.

There are two ways to approach the filming of video/audio

Record the audio at the same time as the video – this is good if you want to keep a conversational style, and plan on ad-libbing a bit. It can take less time than version two, but:

Record the videos without any sound and add voiceovers for each clip later. This can allow you to read more easily off of a script, so you can have a more professional sounding video. But, it can take more time because you are having to record the audio/video separately. A few things to keep in mind:

i.Always record your videos longer than you think you will need – it is easier to clip out seconds, than to add more

ii.Use “dead air” in the narration to help you identify areas (like when an application is loading) that you can clip out. Don’t talk over them, and end up being a head or behind what is happening on the screen.

Take some time to practice recording your audio

You may need to adjust the sound levels depending on the quality of your microphone

What kind of background noise might the microphone catch? What audio editing options does the software give you? Can you balance the volume? Or, reduce background noise?

Once you have the audio/video together, then add any “call outs,” screen highlights, or transitions, if you software allows for them. Use these sparingly, and only in instances where you need to call your audience’s attention to something important. Some software allow you to add transitions (like with PPT slides) though they may look cool, they can add unnecessary dead time to your video, and can appear amateurish.

Once you have your video finished, then you need to think about how you are going to provide closed captioning for viewers who cannot hear the audio, or do not have access to speakers.

If the software does not have a closed captioning option, see about posting a transcription of the video so the viewer can follow along. I would include occasional timestamps (like line numbers in poetry) so the viewer can sync the transcript with your video.

Tips for Creating Digital Posters/Handouts

Canva is a great site to help make your posters because of the multitude of templates that are available to use. Before you start, though, you might like to have something in mind. Going onto Canva without anything in mind can be a little overwhelming. Some considerations you might want to think about is:

  • How can I most effectively present information that will be understandable for my viewer?
  • For example, if you're working with the Developmental Trends of K–5, your aesthetic might be a little more geared toward children than you would for Developmental Trends of 9–12.
  • Consider the difference between these two posters I've created: Western Novels and COMM 100 Source Evaluation . These posters are much more text heavy than something like this Who Was Shakespeare guide, because of the QR code. The QR code is a great way to provide more information without overwhelming the reader.
  • How much information should be included on the page? Above, the aesthetic of the flyers are all very different and they have widely varying amounts of information.

Once you have an idea of what you'd like to do, create an account and see what templates are available that match the idea you have.

Tips for Creating Infographics

Infographics are a great way to present information in an understandable way for a reader. The considerations you should have before you go in are similar to those that you should have before you create a graphic:

  • How much information should be included on the page? Should you use arrows, numbers, left-to-right orientation, etc.?

Infographics are not meant to be too busy. Use numbers, arrows, and graphics to show the user how to show the reader how to navigate the infographic, and then use the text to provide information. An example of an infographic is below:

how to make a multimodal presentation

This infographic is effective because it present information in a way that is easily understood by the reader. It also presents the information in an incredibly simplified manner. Peer review takes this general path, but it almost always is much more involved than this simplified process. When creating an infographic, try to make it as easily understood as possible.

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Tools for Creating Digital Multimodal Presentations: Home

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  • Visual storytelling platform
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  • Make Inforgraphics, presentations, flyers and posters.
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Audio/Video

  • It is an editor software that allows users to edit digital video and audio files in various formats.
  • free and open-source cross-platform streaming and recording program built with Qt and maintained by the OBS Project.
  • Online Video Converter
  • A video presentation software. Users can use photos, video clips and music to make video presentations.
  • iMovie - Apple
  • Users can create high quality engraved musical score in a "What-You-See-Is-What-You-Get" environment.
  • Narrate a PowerPoint presentation with audio or video
  • Create digital stories by narrating over images, videos and slides.
  • A digital composing tool allows users to compose their own stories combining authoritative maps, images and multimedia content.
  • ArcGis a software allows users to create, use, analyze and manage maps, which compile geographic data, mapping information.
  • a cloud-based, animated video creation platform
  • animated presentation and video platform

Video Game editor

  • Make your own role-playing video game.
  • Make your own video game without code
  • Make your own video games on platform provided for easy developing, testing and publishing games
  • see tutorial video here.

Web-based Web Development Platforms

  • create HTML5 websites and mobile sites through the use of online drag and drop tools.

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What Is Multimodal Learning? 35 Strategies and Examples to Empower Your Teaching

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Written by Laney Kennedy

Did you know? 🤔

Research  showed that Prodigy Math can help turn math skeptics into math fans in just a few months!

  • Teacher Activities
  • Teaching Strategies
  • Multimodal learning definition
  • Importance of multimodal learning

Multimodal learning strategies

  • 5 Guidelines for creating a multimodal learning environment
  • 5 Examples of multimodal learning activities for the classroom

Even the most confident educational leaders can find themselves asking the same questions, over and over.

Are students listening?

Are they engaged?

Are they learning the way they should?

All kids learn differently, and sometimes it can feel nearly impossible to find a curriculum or plan that works for an entire school. That’s where multimodal learning comes in.

Most schools see hundreds of students every day -- and they all have different learning styles. One student might need as many visuals as possible, while another would swap a picture for a verbal explanation in a heartbeat. Other students need information in multiple formats for concepts to stick. This is why a multimodal approach to education is best.

Wondering what that looks like? Keep reading.

What is multimodal learning?

Multimodal learning in education means teaching concepts using multiple modes .

Modes are channels of information, or anything that communicates meaning in some way, including:

  • Illustrations
  • Writing and print
  • Facial expressions

And much more!

Modes are experienced in different ways by each of the senses — usually visual, auditory or tactile. They often interact with each other, creating a dynamic learning experience. For instance, an educational video might include speech, images, music and text — all of which can enhance a student’s learning experience.

Teachers should combine two or more multimodal learning modes to provide a well-rounded educational experience. Since school environments have diverse student populations with a wide variety of learning styles, a multimodal approach helps each student achieve academic success in their own way.

To properly implement multimodal learning, you first need to understand learning styles .

What are learning styles?

Learning styles group together different ways individuals prefer to learn. They categorize people based on their “style” of learning, or the way they learn best. Every individual has a unique learning preference that falls into one, some or all of these categories.

Consider this scenario :

Imagine someone is explaining a new concept to you, and you’re having trouble understanding them.What will help you understand the best -- is it:

  • Seeing a diagram or illustration about the concept?
  • The person repeating themselves, or explaining things verbally in further detail?
  • Seeing a written explanation?
  • Connecting the concept to a real-life example?

Think about your answer to this question, then consider what your friends or family would pick. Are the answers different?

Many people have different answers and some might wish to choose a combination of them. This is the concept of learning styles, at its core.

The VARK model of learning

There are a few different models to explain learning styles. One of the most popular is the VARK model , created by New Zealand teacher, Neil Fleming .

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VARK model. Image source: Kompas Muda

The subsections of the VARK model are:

  • Visual  -- these people learn best by  seeing , responding to visual cues like images, graphs or charts. They might be distracted by seeing things outside.
  • Aural  -- these people learn best by  hearing , responding to auditory cues like verbal instruction, discussions or songs. They might be distracted by outside noises.
  • Read/Write  -- this is sometimes listed as a subsection of the visual category, but the VARK model puts it in its own category. These people learn best by  reading and writing , responding to written cues like lecture notes, books and cue cards. They might be distracted by poorly worded text, or text that doesn’t match speech.
  • Kinesthetic  -- these people learn best by  doing , responding to tactile cues like movement, actions and real-life examples. They might be distracted by uncomfortable seats or room temperatures.

Students can answer the VARK questionnaire to discover their own learning style. Other personality tests, such as the Myers-Briggs Type Indicator , offer more insight into how individuals learn best.

The multimodal learning style

Some people strongly prefer one of the four learning types. But many others have a shared preference among two or more types, making them multimodal learners.

Multimodal learners have a near-equal preference for different learning modes and can receive input from any of these modes. Some multimodal learners, however, are different and require multiple inputs to learn.

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Image source: VARK

A multimodal learning style works most effectively with many communication inputs, or modes. A multimodal learner will thrive in a comprehensive learning environment that uses visual, auditory and kinesthetic inputs -- both verbal and non-verbal -- including videos, images, actions, real-life examples and hands-on activities.

Why is multimodal learning important?

Students come to school with a wide variety of learning styles. As such, the ideal educational experience should represent all modes and support each of these styles.

Multimodality supports a universal design for learning by communicating concepts in the most effective ways and making sure everyone gets exactly what they need. For instance, having:

  • Both text and audio supports reading  and  hearing
  • Images and animation can help focus attention
  • Examples can aid understanding

Multimodal learning can also benefit children and improve abilities. Research from Cisco found students who were given a combination of text and visuals learned better than those who only received text inputs. Compared to the more rigid unimodal learning you might picture when you think of traditional classroom settings, multimodal learning is more effective at teaching .

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Source: Cisco

Similarly,  a study on English language learners found improvements in student writing abilities when they used multimodal learning strategies. Another study found most students prefer to have visual inputs involved in lessons, rather than text alone.

Most interactions are multimodal. There are very few occasions where someone communicates using just one mode, so teaching children should be the same. Using one mode to teach -- for example, reading from a textbook -- doesn’t stimulate students’ minds or prepare them for real world situations.

You know it’s important, but how can you support multimodal learning at your school?

To come up with useful multimodal learning strategies, it’s best to look at the strategies suited for each learning style.

Let's dive into these different strategies that you can use to support each learning style. We'll also explore how students can be encouraged to adjust their own studying to their learning style.

Strategies for visual learners

Teaching strategies for visual learners:

  • Explain key concepts with illustrations or pictures
  • Assign visual projects like art, diagrams or models
  • Use textbooks with plenty of pictures and diagrams
  • Include visual elements in lessons, like slideshows or videos
  • Let students organize their thoughts in flowcharts, diagrams or graphs
  • Color-code assignments or use different font styles to emphasized terms

Study strategies for visual learners:

  • Pick a planner with lots of images and colors
  • Highlight key concepts with color-coded stickers and highlighters
  • Use graphic organizers, charts, diagrams or maps to formulate ideas
  • Create symbols or illustrations to represent important written concepts

Strategies for auditory learners

Teaching strategies for auditory learners:

  • Facilitate group discussions or debates
  • Repeat key concepts as often as possible
  • Leverage audiobooks alongside textbooks
  • Explain content with videos, podcasts or songs
  • Assign speeches, presentations or musical projects
  • Read passages from textbooks out loud or have students read them
  • Review tests and assignments with the entire class before they being
  • Let students take tests in other spaces, where they can read questions out loud

Study strategies for auditory learners:

  • Read your notes, assignments or tests out loud
  • Make songs about key concepts to remember them
  • Record yourself reading class notes and listen to them
  • Organize study groups and discuss course material with classmates
  • Give mock presentations to family, friends or classmates explaining school subjects

Strategies for reading/writing learners

Teaching strategies for reading/writing learners:

  • Sort key concepts into categories and lists
  • Use textbooks with plenty of written explanations
  • Encourage students to write notes during lessons
  • Include detailed explanations on worksheets , quizzes and tests
  • Include multiple choice, short answer and essay questions on tests
  • Provide written statements to explain examples, charts and diagrams

Study strategies for reading/writing learners:

  • Rewrite notes into point-form lists
  • Read notes, slides and textbook chapters
  • Make cue cards and read them to yourself
  • Write your own explanations of key concepts
  • Write down important notes and prompts before presentations or activities

Strategies for tactile and kinesthetic learners

Teaching strategies for kinesthetic learners:

  • Use real-life examples and scenarios
  • Plan field trips for supplemental learning
  • Let students move around or take breaks when working
  • Use gestures, samples or models to explain key concepts
  • Organize experiments so students can work with the things they learn about
  • Assign hands-on projects like multimedia presentations, performances or case studies

Study strategies for kinesthetic learners:

  • Use real pictures and examples in assignments and presentations
  • Do your own experiments or projects to practice concepts from class
  • Come up with real-life examples to help you remember course material

Since the multimodal learning style involves a combination of learning modalities, multimodal learning strategies require strategies from each style. Multimodal learning incorporates multimedia and uses different strategies at once. An ideal multimodal learning environment would incorporate as many of the above strategies as possible.

Let’s look at an example of using multimodal strategies in the classroom.

To help students understand textbook material, a teacher might assign the reading and then give a lecture using a multimedia presentation, including videos and images. Then, they may plan an in-class activity to give real-life perspective and let students engage with the content in more concrete ways.

In this scenario, teachers are simultaneously exposing students to strategies from each learning style! Doing this gives students a well-rounded representation of course material for all learning needs.

5 Guidelines for a multimodal learning environment

Multimodal learning environments support the need for differentiated instruction , considering all learning needs and helping every student succeed.\Follow these five classroom guidelines to create a multimodal learning environment at your school.

1. Use multimodal texts

Multimodal texts are forms of communication that use a variety of modes. They’re seen in multimedia -- a form of content delivery that strategically involves words, visuals, sounds and other components to enrich learners.

For example, a video shown in class should involve captions, images, narration, music and examples to be multimodal.

Students today regularly interact with many different forms of text, so educators should reflect this in their classroom lessons.

As another example, instead of leaning on more traditional, lecture-style math lessons, teachers can use math puzzles to help teach the same concept. The puzzle would be a form of multimodal text that provides interaction and visual stimulation.

Multimodal texts in the classroom could include many other things that contribute to a full learning experience, such as:

  • Infographics
  • Visual worksheets
  • Interactive learning
  • Online learning

Communication aids, such as PECS , are another useful form of multimodal text that let students practice different methods of communication. Traditionally, teachers use PECS to target those with communication difficulties, but they can be beneficial to all students.

2. Reduce overload

Multimodal learning involves interaction with many different inputs at once. If the teacher doesn’t properly organize the output, students can reach overload , becoming overwhelmed, overstimulated and, ultimately, disengaged in class.

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To combat this, multimodal learning plans should be organized and strategic. Multimedia in learning must provide enough stimulation to foster a positive learning environment, but not so much that it overwhelms students. Include every mode, but make sure placement, timing and implementation is thoughtful and considerate of students’ learning.

The best ways to reduce overload are:

  • Consider timing and spacing of multimodal texts  -- Present words and pictures that describe the same concept close to each other and at the same time. This reduces confusion and ensures students can process both forms of input simultaneously, interpreting meaning from the combined sources.
  • Limit distractions  -- Take steps to limit unnecessary outside input so students can focus on the important things. Reduce outside noise and visuals, ensure comfortable seating and avoid strong lighting or smells.
  • Take frequent breaks -- Give students brain breaks every 20 minutes, where they’ll get up and move around with a fun activity to recharge the brain and regain focus.
  • Change activities often  -- A multimodal activity should engage your students, but doing the same activity for too long can get stale. Make sure to switch between different learning formats to keep students interested.
  • Find a good balance  -- Using multiple modes doesn’t mean including everything you possibly can. Inputs that are too busy can become overwhelming for students, so choose a few key components for each mode to keep things simple.

3. Support digital learning opportunities

In today’s society, learning should reflect new digital modes that are used in the real world. Incorporating technology into learning helps teachers and students keep up with an ever-changing landscape of communication, and stimulates multiple senses at once.

Digital platforms are constantly gaining popularity among youth -- and very young children are no exception. A 2021 study by Common Sense found more than 42% of children now own their own smartphone by age 10. Meanwhile, latest insights from Pew Research shows up to 95% of teens have access to a smartphone.

Tablet devices remain most popular among children, with 57% of 8-to-10 year olds in the US owning a tablet.

Line chart showing device usage by type and age.

Image source: Common Sense

New technologies mean new modes of communication for students to adapt to, and educators should include these modes to prepare students for careers in an increasingly digital landscape.

Another study on student engagement and multimodal learning showed student engagement is the biggest motivator for adding educational technologies to the classroom. Technological modes are familiar and engaging to children.

Students are excited about technology and want to use it, so digital learning opportunities are necessary for a well-rounded multimodal learning environment. Some of those ways can include game-based learning , elearning, online research, tests, assignments and much more.

4. Offer multimodal assignments

When teaching is multimodal, assignments and assessments should be, too. The best way to create a positive school culture that encourages two-way communication is to encourage students to use multiple modes in their assignments.

Good multimodal learning is interactive and puts student involvement first -- i.e., learning relies on how students react to the material they learn.

To do this, create dynamic assignments that give students freedom to express their understanding of concepts in many creative ways.

Multimodal assignments -- e.g., guided activities, group projects, reflection exercises, presentations and tests -- get students using multiple modes of communication so they can positively exercise their individual learning styles.

5. Provide multimodal feedback

If teaching and assignments are multimodal, feedback should be too.

To give effective multimodal feedback, you should consider two things:

  • What is being assessed?
  • How are you giving feedback?

When students are free to express their ideas in dynamic ways, criteria for grading should reflect these methods of delivery. The understanding, expression, and use of multimodality should all be part of the grading process. Clear guidelines of expectations on the use of multimedia should be outlined to students in their assignment rubrics.

The feedback process should also reflect multimodality and learning differences. For example, giving a visual learner traditional number grades and written statements won’t have the same impact as visual feedback would.

Although teachers traditionally offer feedback in printed forms, they should also use multimodal formats to reach every student and encourage two-way dialogue.

5 Examples of multimodal learning activities

Now that you know the basics, get inspired by these five examples of multimodal learning in the classroom.

1. Educational games

Almost all games naturally use many modes at once -- words, images, colors, shapes, speech, movement and more. Plus, kids can’t get enough of them. Students have so much fun playing games that they often don’t realize they’re learning at the same time!

Teachers can bring many different games to their classrooms to help students learn and practice relevant skills. For example, after a traditional multiplication lesson, classes can play multiplication games for a fun, multimodal experience that solidifies learning.

Digital game platforms like Prodigy are another great option for classrooms, adding an extra mode to the learning experience: technology.

Prodigy Math is an adaptive math platform that helps students from 1st to 8th grade practice more than 1,500 curriculum-aligned math skills in an engaging, multimodal format.

Used by millions of teachers and students around the world, this interactive game provides:

  • Written questions with visuals
  • Auditory, read-out loud options
  • Adaptive feedback and content
  • A safe, collaborative environment
  • Visual representations (inc. manipulatives)

Since the platform uses multimedia, its educational benefits can reach kids with varied learning styles and support their individual development in math.

Prodigy makes it easy to reinforce in-class lessons and target specific student needs using  differentiated instruction . Plus, the Reports  tool helps teachers track student comprehension, progress and engagement. This means you can quickly access important data to ensure students are supported and able to reach their full potentials. 

It's all available at no cost to educators and schools.

See it in action below:

Students are more confident because of the extra practice they receive with Prodigy. My students typically score higher than others on district screeners and math benchmarks because I am able to individualize and differentiate instruction using the Prodigy reports.  Kimberly Martin  2nd Grade Teacher Wisconsin Rapids Public Schools

2. Think-pair-share

This collaborative learning strategy improves student understanding of material, cooperation with classmates and expression of ideas. It’s also a great method for conducting formative assessments .

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Image source: Giulia Forsythe on Flickr

Think-pair-share follows three simple steps:

  • Think  -- students take time to think about the lesson material individually.
  • Pair  -- students pair up to discuss their ideas and findings with each other.
  • Share  -- each pair shares their thoughts with the class and answers questions from classmates.

Pair students with similar learning styles or put different styles together for more compelling conversations and learning opportunities.  

3. Case-based learning

Use real-life scenarios to introduce or supplement lessons and make relevant connections to school curriculum.

Case-based learning means lessons revolve around actual case studies. Students read, hear or see real examples that relate to the concepts they’re learning in class. Teachers facilitate class discussions about these cases and ensure students are making important connections. To take learning even further, teachers can also assign questions or projects about the cases.

This method gives concrete evidence that the things learned in class are actually useful and meaningful in the real world, motivating students to learn more.

4. Personalized journal entries

Journal entries are a tried-and-true reflection exercise, where students can put class material into their own words and think about what they’ve learned.

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Turn journal entries into a multimodal activity by making them personalized . Let students complete entries in a way that helps them express their thoughts best. This could include written entries, charts, illustrations, videos, podcasts or example stories.

5. Multimedia research projects

Encourage multimodal research with projects that require various sources and modes.

New forms of media are growing in popularity, giving students many avenues to find information. Multimedia research projects require students to find information from different media sources, both traditionally and digitally.

Assign research projects where students must reference at least three different media sources. This can include books, digital libraries, news clips, podcasts and online articles.

Then, have students create multimodal presentations of research findings, in whatever format they choose.

Final thoughts on multimodal learning

When educational environments are optimized for multimodal learning, every student has the opportunity to learn and grow in their own way. Everyday life is filled with multimodal inputs, and the best teaching methods should reflect this variety.  

Remember: every student learns differently. So, a multimodal approach must provide the most relevant and effective modes of communication and options for expression.

Use the above strategies and examples to create a well-rounded multimodal environment at your school. Doing so will help every student reach their highest potential.

Looking for more multimodal learning opportunities at your school?

Try Prodigy — the adaptive curriculum-aligned math platform used by millions of teachers and students around the world.

Teachers can use Prodigy to:

  • Align in-game adventures with classroom lessons
  • Collect insights into student progress and learning gaps
  • Send differentiated content and Assessments in just a few clicks

Georgetown University.

Assigning and Assessing Multimodal Projects

The what and why of multimodal projects.

What are multimodal writing assignments?  Unlike traditional writing assignments, which feature only text, multimodal writing assignments ask students to compose across a range of media. Students might be asked to combined text with data visualization and images to create an infographic, or to script and produce a podcast or video. Multimodal assignments are becoming increasingly common at both the high school and college level, driven by the dramatic expansion of such texts in professional and extra-academic settings, as well as the expanding array of tools available to facilitate their production. Multimodal writing is on the rise in academia as well, with an increasing number of peer-reviewed journals such as  Kairos  and  Digital Scholarship in the Humanities  featuring such work exclusively.

Why should we consider assigning multimodal writing in our courses?  While many faculty like the idea of multimedia writing assignments, they often worry about whether such projects are worthwhile. How can a podcast or website support the same learning goals as traditional writing assignments — and with the same level of rigor? But constructed thoughtfully, multimodal assignments can challenge students to engage more actively with rhetorical considerations such as audience, purpose, and context. They also allow students to tap into their existing literacy skills in new ways, drawing from their own experiences as consumers and producers of multimodal texts outside the classroom to showcase the information learned in the course. In fact, multimodal assignments often ask  more  of students, requiring them to break out of their default approach to writing assignments and and make more deliberate, conscious rhetorical choices.

Below we’ve collected some resources about multimodal writing assignments that provide more in-depth discussion of these two questions, as well as some basic initial directions for thinking about how to incorporate such work into the classroom. In our next post, we’ll look at best practices for designing these assignments, and provide some resources for getting started.

“The Importance of Undergraduate Multimedia: An Argument in Seven Acts”  by Justin Hodgson, Scott Nelson, Andrew Rechnitz, & Cleve Wiese: This article from the online digital rhetoric journal Kairos uses a multimedia format to present its case for the value of assigning digital writing to undergraduates. (Requires Flash – make sure it’s enabled on your browser before watching.)

“Seeing the Text” by Stephen Bernhardt:  This article focuses specifically on visual layout of traditional text, presenting an in-depth example of how considering the visual presentation of textual information can significantly increase its readability and accessibility to a general audience. Originally published in 1986, it functions now as a compelling argument that writing multimodally does not need to be digitally intricate to be rhetorically effective.

“Why Teach Digital Writing?”:  From Michigan State’s Writing, Information, and Digital Experience Program, this comprehensive site provides a look at why we should teach digital writing, what digital writing encompasses, and what tools we might use to teach digital writing effectively.

NCTE Position Statement on Multimodal Literacies:  In 2005, the National Council of Teachers of English published this position statement on multimodal literacies. In addition to defining multimodal literacies, this document also reviews the benefits and challenges of teaching digital forms.

Assessing Multimodal Projects

How do I evaluate multimodal assignments?  Evaluation is a common concern about introducing multimodal writing to a course for the first time. Instructors often feel they lack the experience or expertise to grade writing that isn’t primarily alphabetic, since it’s not what they themselves typically produce. And since most of us have years of experience grading essays, we have set methods and expectations for what an “A” paper looks like – but may not have a fixed idea of what realistically constitutes an “A” podcast or website.

There are a variety of different approaches to evaluating multimodal writing, many of which adopt or build on best practices for standard grading. For example, many instructors advocate using some form of student-generated grading criteria or rubrics to assign grades to multimodal assignments; this approach engages students in reflection about what rhetorically effective communication looks like in the assigned modes before they begin producing their own work. Another common strategy is to include a reflection component in the assignment, such as a cover letter in which students reflect in writing on the choices they made in composing their multimodal work. This letter can then be used to guide the instructor’s evaluation, based on the degree of thought and sophistication behind those choices. This allows instructors to focus on what we are experts in: how well students respond to the rhetorical situation in which they’ve been asked to write.

For more detail about applying these strategies, as well as further discussion of the unique challenges and opportunities posed by evaluating multimodal assignments, check out the resources linked below. We’ve rounded up some articles and posts by other experts and experienced instructors that address this common anxiety about multimodal assignments. In our next post, we’ll hear from some instructors here at Georgetown about how they’ve incorporated multimodal writing into courses here.

“Integrating Assessment and Instruction: Using Student-Generated Grading Criteria to Evaluate Multimodal Digital Projects,”  Chanon Adsanatham: This article from  Computers and Composition makes a case for scaffolding multimodal assignments with discussions that ask students to evaluate the mode they’ve been assigned to compose with before beginning to compose themselves.

“Evaluating Multimodal Assignments,”  Elizabeth Kleinfeld and Amy Braziller: This final installment in a 3-part series on digital assignments discusses some practical tips for evaluation, including reflection and rubrics.

“Evaluating Multimodal Work, Revisited,”  Shannon Christine Mattern: Published by the  Journal of Digital Humanities , this essay addresses a simple question: when it comes to multimodal assignments, how do we know what’s “good?”

how to make a multimodal presentation

  • Multi-Modal Presentations

How to do a multi-modal presentation

Statue of Augustus

Multi-modal presentations are typically audio-visual presentations that present the results of your historical research.

As a result, you need to undertake the research process and create an argument, very similar to that used in written history essays .

However, the unique format of this category allows you to use a variety of modes to present your information: either spoken, visual, video, performance, group discussion, etc.

Possible formats include:

  • dramatic presentation followed by an out-of-role explanation

visual performance, such as dance, artwork, etc.

video presentation

computer simulation or website creation

seminar presentation, such as a university lecture

formal speech

The most important element of this kind of assessment is that it is informative, based upon research and is engaging for the audience.

Crucial Elements

To ensure you achieve the best marks in a History presentation, make sure you cover all of the elements below at some time in your talk:

  • state your hypothesis clearly at the start so the audience can understand what your entire presentation is about
  • clearly highlight your topic sentences
  • use images of your artefacts and show important  direct quotes to your audience
  • take the time to talk through these key quotes so your audience understands how they prove your hypothesis
  • incorporate your analysis and evaluation of these sources into your script
  • restate your hypothesis clearly at the end of your presentation so that your audience remembers what you were arguing throughout your talk

Have a look at the example below to see how these different elements work together:

Speaking Advice

Many people are nervous when asked to talk in front of a crowd. The best piece of advice has always been: practice. The more your practice, the more confident you will be on the day. As you practice, try and implement the following advice for your verbal and non-verbal techniques:

Verbal Techniques

  • Speak loudly and clearly
  • Take your time
  • Don’t be afraid to pause

Non-Verbal Techniques

Use eye-contact when appropriate

Use different facial expressions

  • Pronounce your words clearly
  • Use hand gestures when needed

Here is an example of a multi-modal presentation that demonstrates excellent verbal and non-verbal skills:

Christian, D. (2011, April 11). The History of Our World in 18 Minutes. TED Conference.

Presentation Advice

Using a Script

  • Try not to use a full script – you’ll be tempted to read it
  • Use dot-point speech notes or palm cards
  • Put in action cues {like this} into your script to remind yourself to use hand gestures or move around

Designing a Slideshow

Try to keep any slideshow very simple. Limit slide information to a few short sentences. The audience should be listening to what your say, not reading chunks of text off slides.

A good rule of thumb is to have approximately one slide per paragraph in your script, and only have additional slides for specific sources you intend to discuss in-depth during your presentation.

Also, any movement on the screen will be a distraction to audience from what you are saying. Therefore, only use moving images or pieces of film for moments when you're not talking.

In your presentation, you only need to provide referencing for sources you’ve used in your argument. For example:

how to make a multimodal presentation

Therefore, the only pictures that require referencing are any artefacts you’re going to show your audience. For example:

how to make a multimodal presentation

If you have other graphics and images in your presentation that are there for solely aesthetic reasons, you are not required to reference them.

What do you need help with?

Download ready-to-use digital learning resources.

how to make a multimodal presentation

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  • Presentation Trends

Creating a Multimodal Masterpiece With Online Platforms

  • By: Amy Boone

On Wednesday we talked about what it means to give a multimedia or multimodal presentation and why it’s so important. But how do we create multimedia presentations when so much of our business these days is conducted via online platforms?

By Tay Vaughan’s definition in his book Multimedia: Making It Work , a multimedia presentation combines elements of text, images, sound, animation, and video. Below are 3 ways to get creative with presentations conducted on platforms like Zoom, Microsoft Teams, Google Hangouts, or Skype.

Use the Chat Thread

One of the easiest ways to create a more engaging multimodal presentation is to use the chat thread feature available in most online platforms. For example, you could pose a question and have the audience respond individually in the thread. This gets more people involved, especially those who don’t like talking in a online chat format. You might even ask them to respond with only an image or GIF. This allows you to get away from text/words and move toward visuals.

Think about whether you’ll have a lot of activity on the chat thread or if you plan to use it a lot. If so, consider having someone else facilitate the chat thread so that you can focus on the presentation. That way, you aren’t distracted by the thread, but the chat still gets the attention it deserves. Just have someone from your team respond to questions and bring to your attention anything you need to address. And remember that most online platforms allow you to control the thread , so you can turn it off completely or adjust the settings. Take some time to think about how you can use it in a way that enhances the experience for your audience.

Move Outside the Platform

Another strategy for getting more variety in online presentations is to allow the audience members to navigate outside the platform for a brief time. I saw a great example of this recently. I was attending an online conference about social media, race, and social justice. Towards the beginning of the presentation, the speaker started by telling everyone to spend the next 3 minutes exploring the content they could find under the #GeorgeFloyd hashtag on Twitter. For 3 minutes, all of the audience members scrolled through posts, pictures, and a videos on the topic before the speaker brought us back together to begin a presentation on the role of social media in social movements.

Most of us are presenting to audiences who are accustomed to traversing technology with ease. When we ask them to spend time on a website or another platform, it feels comfortable and familiar for them because it mimics our natural information and entertainment patterns. Plus, it allows for variety and increased attention once everyone comes back together on the video call. Just make sure to give clear instructions about turning mics and videos off and about when to come back. Some platforms even allow you to post a timer for when you’ll resume the presentation which gives the audience members a helpful countdown.

Create a Video

One of the things that keeps presenters from creating multimedia presentations on online platforms is that they dread using the screen share function. Which makes sense. It can be tricky to get the audio and visual elements to function correctly. It gets even trickier if you are using multiple screens or going back and forth frequently.

However, you can avoid these potential technology pitfalls by creating a pre-packaged video ahead of time. A video often combines multimedia elements like sound, animation, or video. Then, all you have to do is share the screen once during the presentation. I always suggest creating an unlisted YouTube link of your video, as well.  That way, you have an easy link you can share. Then the audience can just access your video from the chat thread link if the screen share function doesn’t work properly.

And if you are nervous about using the chat thread or screen share function, set up a call with a friend or coworker ahead of time to test it all out. In fact, do that even if you feel completely comfortable with the technology. Create a technology run through the same way you would if you were giving a presentation in person.

Just because you have to use an online platform doesn’t mean you can’t take advantage of the engaging and entertaining features of multimodal presentations. Which one will you try on your next Zoom call? The chat thread? Involving another website? Or a sharing a video? Whatever you decide to use, your audience will thank you.

Ready for more ideas to take your presentation to the next level?

Amy Boone

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What is Multimodal?

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More often, composition classrooms are asking students to create multimodal projects, which may be unfamiliar for some students. Multimodal projects are simply projects that have multiple “modes” of communicating a message. For example, while traditional papers typically only have one mode (text), a multimodal project would include a combination of text, images, motion, or audio.

The Benefits of Multimodal Projects

  • Promotes more interactivity
  • Portrays information in multiple ways
  • Adapts projects to befit different audiences
  • Keeps focus better since more senses are being used to process information
  • Allows for more flexibility and creativity to present information

How do I pick my genre?

Depending on your context, one genre might be preferable over another. In order to determine this, take some time to think about what your purpose is, who your audience is, and what modes would best communicate your particular message to your audience (see the  Rhetorical Situation  handout for more information). For example, if your argument is articulated through images and graphs, it might make more sense to design a website rather than creating a podcast. Below, we’ve provided some examples of different genres and programs that can be used to create a multimodal project to get you started.

What features can I control?

Like a well-designed advertisement, all elements of your project should work together to create one cohesive message. Compositions can contain visual, motion, audio, and textual elements. Some traits under these elements will be emphasized to stress importance while others will be deemphasized. Your choices regarding how these elements and traits are used will be crucial—there is a large difference between choosing a background color because it “looks cool” and picking a background color that corresponds with your message and highlights the important features in your document.

Multimodal Example

Below are some screen shots of a Sway designed by a UIS student entitled “Community Gardens and the Local UIS Community,” which argues how local community gardens can solve a national issue of food insecurity and food deserts. You can view the Sway online  here  to get a better sense of the background, motion, and organization, but we’ve highlighted a couple of important components of this Sway.

screenshot of sway introduction

Use of headings and bolding keeps the reader organized.

Smaller paragraphs, as opposed to large, blocky paragraphs, engages the reader better.

Image of Sway background, a black and white vine design

Background and colors should be intentionally selected. Here, the floral background and the green headings gives a natural feel, which matches the theme of the Sway.

screenshot of sway page of an image accompanying text

Images and videos allow for readers to process information visually. Posting videos also allows readers to choose how they interact with the argument.

image of sway headings on a green background showing how the sway has been organized

Organization of the topics follow in a logical order. The paper begins with defining the problem, moves to a solution, and then defines what is happening at UIS.

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creating multimodal texts

how to make a multimodal presentation

  • Modes and meaning systems
  • Character maker: digital learning objects
  • Scriptwriting
  • Storyboarding
  • Filmmaking resources
  • Creating your own images and sounds
  • Ethically sourcing images and sounds
  • Image libraries (free to use with attribution)
  • Sound libraries (free)
  • Comics and graphic novels
  • Digital storytelling
  • Music videos
  • Advertisements, newspapers, brochures, and flyers
  • Even shorter films!
  • Book Trailers
  • Film trailers
  • Visual Literacy
  • Inanimate Alice
  • Locative or site specific storytelling
  • Examples of student work
  • Creative Commons licencing
  • How To Attribute Creative Commons media
  • Copyright and your own work
  • Reading multimodal texts
  • Related digital learning objects

Introduction and how to use this resource

Storytelling in any format is about making meaning. While the essence of the stories we tell may remain the same, the ways in which we can now share these stories have changed dramatically with the development of digital communication technologies. Access to simple, easy to use media production tools and resources in conjunction with the potential for immediate and universal online publication has significant implications for literacy thinking and practice.

This website is an evolving compilation of resources designed to support the development of student multimodal authoring at all year levels.  It features examples of different types of student multimodal compositions to demonstrate the rich variety of choices available, along with practical resources to support text production.

What does creating multimodal texts mean?

Creating is defined in the Australian Curriculum as ‘the development and/or production of spoken, written or multimodal texts in print or digital forms’ and is an embedded literacy expectation across all disciplines.

Multimodal is defined in the Australian Curriculum as the strategic use of ‘two or more communication modes ‘ to make meaning,  for example, image, gesture, music, spoken language, and written language.

What is a multimodal text?

While the development of multimodal literacy is strongly associated with the growth of digital communication technologies, multimodal is not synonymous with digital. The choice of media for multimodal text creation is therefore always an important consideration.

A multimodal text can be paper – such as books, comics, posters.

A multimodal text can be digital – from slide presentations, e-books, blogs, e-posters, web pages, and social media, through to animation, film and video games.

A multimodal text can be live – a performance or an event.

And, a multimodal text can be transmedia – where the story is told using ‘ multiple delivery channels’ through a combination of media platforms, for example, book, comic, magazine, film, web series, and video game mediums all working as part of the same story . Transmedia is a contested term and Henry Jenkins is worth reading for more background. Jenkins argues that transmedia is more than just multiple media platforms, it is about the logical relations between these media extensions which seek to add something to the story as it moves from one medium to another, not just adaptation or retelling. Transmedia enables the further development of the story world through each new medium; for example offering a back story, a prequel, additional ‘episodes’, or further insight into characters and plot elements. ( Jenkins, 2011 ). It also can require a more complex production process.

Development of multimodal literacy knowledge and skills

To enable our students to effectively design and communicate meaning through such rich and potentially complex texts, we need to extend their (and along the way, our own) multimodal literacy knowledge and skills. Skilled multimodal composition requires new literacy design skills and knowledge to enable students to make informed choices within and across the available communication modes to effectively construct meaning.

Creating a multimodal text, a digital animation, for example, is a complex meaning design process requiring the strategic orchestration of a combination of modes such as image, movement, sound, spatial design, gesture, and language. The process of constructing such texts is also truly a cross-disciplinary literacy process , drawing on digital information technologies and The Arts (media, music, drama, visual arts, design) to bring meaning to life.

About this website

The multimodal text examples here describe different media possibilities – both digital and on paper and provide links to examples of student work and production guides.

Print-based multimodal texts include comics, picture storybooks, graphic novels ; and posters, newspapers and brochures .

Digital multimodal texts include slide presentations, animation , book trailers , digital storytelling , live-action filmmaking , music videos , ‘ born digital’ storytelling , and various web texts and social media .  The level of digital technology requirements range from very simple options such as slide presentations through to complex, sophisticated forms requiring a higher level of technical and digital media skills. The choice is yours depending on your skill and experience, level of confidence, and the resources and tools available to you.

These examples of different types of student multimodal composition are provided as ideas and starting points, and may also provide models for introducing new forms of ‘writing’ to your students.

The technical construction of digital multimodal texts is always a significant consideration for teachers. Practical information about communication technology resources and digital media tools is provided where possible to support the successful implementation of multimodal authoring in the literacy classroom.

Please explore these resources as a starting point to develop ideas to suit your own situation.

how to make a multimodal presentation

How this website works

Production processes is an overview of the three production stages in creating a  multimodal text.

Media resources provides links to a wealth of digital audio and image resources which can be used under creative commons licensing.

Copyright and Attribution provides information about how to ethically source and use digital materials responsibly.

Modes and meaning systems explores the key meaning-making systems we can use to create meaning

Pedagogy provides a brief guide to teaching creating multimodal texts.

Visual literacy provides a closer look at one of the key meaning-making modes, with the aim to develop a shared metalanguage for talking about how visual meaning is constructed.

Reading multimodal texts provides resources for deconstructing and analysing how different modal systems work to create meaning in a text.

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  • Creating multimodal texts

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 the 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 including 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). See: Modes .

Multimodal texts containing elements of other languages support EAL/D students to engage and achieve at school. They use the language and social abilities that they develop outside of school in classroom communication and tasks. These include translating, combining more than one language to communicate and learn, and using diverse linguistic and cultural practices when they communicate.  

When EAL/D students use all their language abilities in a learning task, they make connections between existing and new knowledge. It enhances engagement and affirms their identities as learners who can integrate their knowledge of multiple languages to communicate, learn a new language and learn a new language. 

EAL/D students learn to think critically about the purpose and function of each language they use in a multimodal text. Using the teaching and learning cycle, the teacher explicitly teaches the language and text structures that students need to complete these tasks. 

EAL/D student authors who can use English and their language to create texts for multilingual audiences can, with support, choose how different multimedia modes and different languages combine in a text. It allows students to make creative and purposeful decisions about how to communicate effectively to particular audiences.  

The choice to include elements of other languages in a text is an overt and concrete means by which students can develop their skills as text analysts. They detect and analyse underlying values, beliefs, views, and discern reader/viewer position within the text.  

Support students to analyse a text by asking questions such as:  

  • Why include more than one language?
  • Who is included/excluded?
  • What information should be contained in English and the other language? Do they need to be the same?
  • How might a monolingual English speaker view the text? In what ways would it be different from a bilingual speaker or non-speaker of English?

For more information about text analyst, see: The four resources model for reading and viewing  

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 the 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.

EAL/D learners can be supported to understand and create simple multimodal texts that reflect the diversity in languages and cultures within the school. For example:  

  • creating posters, newsletters, brochures or blogs with sections translated into home languages, or headings, captions and diagrams labelled in English and home languages. Students can also add glossaries or translations of key terms
  • creating comics with captions and speech bubbles written in English and home language, as appropriate for the purpose and audience. This could include different scripts in illustrated scenes and ‘sound effects. Particular characters may also speak a combination of English and another language or dialect
  • creating translations of popular picture books, their own or their classmates’ stories to contribute to the classroom library, making sure that meaning is not lost in translation. This could include using metaphors in their home languages that approximate the meaning in the English text
  • creating slideshows that include translated vocabulary, explanations or pronunciation guides
  • creating content for social media. EAL/D learners could be typing in different scripts or transliterating the sounds of their language using English script in social media. Social media users create and access videos, music, stories and memes in a range of languages
  • creating multilingual resources for the school community including signage, welcome packs, teaching and learning resources.

Students can also be supported to create live multimodal texts that reflect the diversity in languages and cultures within the school. For example, to create live multimodal texts, students:  

  • use music and gestures from different cultural dance traditions in dance performances
  • create translations to accompany school plays, for example, subtitles in English and/or another language and bilingual glossaries in the program
  • tell a story from their home culture in English, or retell a familiar English story in their home language.

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.

EAL/D learners can incorporate multiple languages into complex digital multimodal texts by: 

  • writing the subtitles in English or a different language for films, animations, digital stories or documentaries.  Support students choose the most appropriate language for speech and subtitles, depending on their audience. Visual effects and images can be used to add text in multiple languages for emphasis or explanation.
  • including hyperlinks and mouse-overs are an excellent way for students to provide translations, pronunciation of key terms or a glossary in web pages. Different sections of text can be written in different languages with translations into English, and multilingual audio or video clips may be incorporated. Students can also learn purposeful ways of incorporating computer translation tools into web pages they create
  • incorporating English and home languages into their music videos and song lyrics. These may be accompanied by text or subtitles, or use visual effects to emphasise words or phrases in different languages
  • creating original films, animations and digital stories using voiceover, with or without subtitles.

What teachers and students need to know

The skilled multimodal composition requires students to know 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 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, the 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 technical 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 several 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 that provides brief information about who, what, where, and when; a script that 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 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 include home languages, they may work with the same language peer, bilingual staff member or parent to check and edit work that will be published. However, the EAL/D student must assume 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 the equipment and technical 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, order information, and add in introductions, titles, music, visual and sound effects.

The teacher explicitly teaches EAL/D students the technical 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.

For more information on EAL/D teaching strategies that support students to produce language and content for their multimodal texts, see Writing Process .

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 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 through 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 explicit, 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 a 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 construct a text
  • Independent construction – students’ independent composing of a new text. (Derewianka and Jones, 2016; Humphrey, 2017; Humphrey and Feez, 2016)

Mentor or model texts need to be carefully selected by the teacher to support the students to work within their ‘zone of proximal development (Vygotsky 1978) in developing their knowledge of how meaning is conveyed in different modes in different texts. 

Dependent on the year level, the selected text and the teaching focus, whole texts or text extracts can be used. See visual metalanguage for examples of visual semiotic resources, and the teaching and learning cycle for further guidance.

For more information on using the teaching and learning cycle with EAL/D students to create multimodal texts, see: Teaching and learning cycle for EAL/D learners .

Resources to support creating digital multimodal texts

  • Australian Centre for the Moving Image (ACMI): Film it - The filmmakers' tool kit
  • Education Department of Victoria, FUSE : search for Filmmaking 101
  • Education Services, Australia (ESA): Scootle (Search by keywords such as ‘create’, ‘filmmaking’, “comic’, ‘digital story’, ‘poster’, ‘blog’, ‘webpage’, ‘advertisement’; ‘design’. Refine search by year level, and subject area: English.)

Resources to support EAL/D learners to plan, draft, edit and publish in multiple languages include:

  • human resources such as teachers or support staff with knowledge of the language, same language peers or students from other classes, family or community members
  • text resources such as bilingual dictionaries, translation tools and software, publications or websites in the home language, and examples or models of multilingual texts

Teachers scaffold the EAL/D learners to use these resources critically and effectively in creating meaning.

Burn, A., and Durran, J. (2006). Digital anatomies: analysis as production in media education. In D. Buckingham and R. Willett (Eds.), Digital Generations Children, young people, and new media. (pp. 273-293). New York, London: Lawrence Erlbaum Associates.

Chandler, P. D., O'Brien, A., and Unsworth, L. (2010). Towards a 3D multimodal curriculum for upper primary school. Australian Educational Computing, 25(1), 34-40.

Christie, F. and Macken-Horarik, M. (2007). Building verticality in subject English, In F. Christie, J.M. Martin. Language, knowledge and pedagogy: functional linguistic and sociological perspectives. London; New York: Continuum. 156-83.

Cope, B., and Kalantzis, M. (2009). A grammar of multimodality. The International Journal of Learning, 16(2), 361-423.

Hull, G. (2005) Locating the Semiotic Power of Multimodality, Written Communication, 22(2), 224-261.

Jewitt, C. (ed.) (2009). The Routledge Handbook of Multimodal Analysis, London: Routledge.

Kress, G. (2009). Multimodality: a social semiotic approach to contemporary communication. London; New York: Routledge.

Martin, J. R., and Rose, D. (2008). Genre relations: mapping culture. London; Oakville, CT: Equinox Pub.

Miller, Suzanne M. (2010). Towards a multimodal literacy pedagogy: Digital video composing as 21st-century literacy. In P. Albers. Literacies, Art, and Multimodality. Urbana-Champaign, Illinois: National Council of Teachers of English. 254-281.

Mills, K. A. (2010). What Learners "Know" through Digital Media Production: Learning by Design. E-Learning and Digital Media, 7(3), 223-236.

The New London Group. (2000). A pedagogy of Multiliteracies designing social futures. In B. Cope and M. Kalantzis (Eds.), Multiliteracies: Literacy Learning and the Design of Social Futures (pp. 9-38). South Yarra: MacMillan.

Zammit, K. (2015). Extending Students’ Semiotic Understandings: Learning About and Creating Multimodal Texts. In P. P. Trifonas (Ed.), International Handbook of Semiotics (pp. 1291-1308). New York, London: Springer.

Zammit, K. (2014). Creating Multimodal Texts in the Classroom: Shifting Teaching Practices, Influencing Student Outcomes. In R. E. Ferdig and K. E. Pytash (Eds.), Exploring Multimodal Composition and Digital Writing (pp. 20-35). Hershey PA: IGI Global. ​

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Gemini 1.5: Our next-generation model, now available for Private Preview in Google AI Studio

February 15, 2024

how to make a multimodal presentation

Last week, we released Gemini 1.0 Ultra in Gemini Advanced. You can try it out now by signing up for a Gemini Advanced subscription . The 1.0 Ultra model, accessible via the Gemini API, has seen a lot of interest and continues to roll out to select developers and partners in Google AI Studio .

Today, we’re also excited to introduce our next-generation Gemini 1.5 model , which uses a new Mixture-of-Experts (MoE) approach to improve efficiency. It routes your request to a group of smaller "expert” neural networks so responses are faster and higher quality.

Developers can sign up for our Private Preview of Gemini 1.5 Pro , our mid-sized multimodal model optimized for scaling across a wide-range of tasks. The model features a new, experimental 1 million token context window, and will be available to try out in  Google AI Studio . Google AI Studio is the fastest way to build with Gemini models and enables developers to easily integrate the Gemini API in their applications. It’s available in 38 languages across 180+ countries and territories .

1,000,000 tokens: Unlocking new use cases for developers

Before today, the largest context window in the world for a publicly available large language model was 200,000 tokens. We’ve been able to significantly increase this — running up to 1 million tokens consistently, achieving the longest context window of any large-scale foundation model. Gemini 1.5 Pro will come with a 128,000 token context window by default, but today’s Private Preview will have access to the experimental 1 million token context window.

We’re excited about the new possibilities that larger context windows enable. You can directly upload large PDFs, code repositories, or even lengthy videos as prompts in Google AI Studio. Gemini 1.5 Pro will then reason across modalities and output text.

Upload multiple files and ask questions We’ve added the ability for developers to upload multiple files, like PDFs, and ask questions in Google AI Studio. The larger context window allows the model to take in more information — making the output more consistent, relevant and useful. With this 1 million token context window, we’ve been able to load in over 700,000 words of text in one go. Gemini 1.5 Pro can find and reason from particular quotes across the Apollo 11 PDF transcript. 
[Video sped up for demo purposes]
Query an entire code repository The large context window also enables a deep analysis of an entire codebase, helping Gemini models grasp complex relationships, patterns, and understanding of code. A developer could upload a new codebase directly from their computer or via Google Drive, and use the model to onboard quickly and gain an understanding of the code. Gemini 1.5 Pro can help developers boost productivity when learning a new codebase.  
Add a full length video Gemini 1.5 Pro can also reason across up to 1 hour of video. When you attach a video, Google AI Studio breaks it down into thousands of frames (without audio), and then you can perform highly sophisticated reasoning and problem-solving tasks since the Gemini models are multimodal. Gemini 1.5 Pro can perform reasoning and problem-solving tasks across video and other visual inputs.  

More ways for developers to build with Gemini models

In addition to bringing you the latest model innovations, we’re also making it easier for you to build with Gemini:

Easy tuning. Provide a set of examples, and you can customize Gemini for your specific needs in minutes from inside Google AI Studio. This feature rolls out in the next few days. 
New developer surfaces . Integrate the Gemini API to build new AI-powered features today with new Firebase Extensions , across your development workspace in Project IDX , or with our newly released Google AI Dart SDK . 
Lower pricing for Gemini 1.0 Pro . We’re also updating the 1.0 Pro model, which offers a good balance of cost and performance for many AI tasks. Today’s stable version is priced 50% less for text inputs and 25% less for outputs than previously announced. The upcoming pay-as-you-go plans for AI Studio are coming soon.

Since December, developers of all sizes have been building with Gemini models, and we’re excited to turn cutting edge research into early developer products in Google AI Studio . Expect some latency in this preview version due to the experimental nature of the large context window feature, but we’re excited to start a phased rollout as we continue to fine-tune the model and get your feedback. We hope you enjoy experimenting with it early on, like we have.

Google Gemini: Everything you need to know about the new generative AI platform

how to make a multimodal presentation

Google’s trying to make waves with Gemini, a flagship suite of generative AI models, apps and services. But while Gemini appears to be promising in a few aspects, it’s falling short in others — as our informal review revealed .

So what is Gemini? How can you use it? And how does it stack up to the competition?

To make it easier to keep up with the latest Gemini developments, we’ve put together this handy guide, which we’ll keep updated as new Gemini models and features are released.

What is Gemini?

Gemini is Google’s long-promised , next-gen GenAI model family, developed by Google’s AI research labs DeepMind and Google Research. It comes in three flavors:

  • Gemini Ultra , the flagship Gemini model.
  • Gemini Pro , a “lite” Gemini model.
  • Gemini Nano , a smaller “distilled” model that runs on mobile devices like the Pixel 8 Pro .

All Gemini models were trained to be “natively multimodal” — in other words, able to work with and use more than just words. They were pretrained and fine-tuned on a variety of audio, images and videos, a large set of codebases and text in different languages.

This sets Gemini apart from models such as Google’s own LaMDA , which was trained exclusively on text data. LaMDA can’t understand or generate anything other than text (e.g., essays, email drafts), but that isn’t the case with Gemini models.

What’s the difference between the Gemini apps and Gemini models?

Google's Bard

Image Credits: Google

Google, proving once again that it lacks a knack for branding, didn’t make it clear from the outset that Gemini is separate and distinct from the Gemini apps on the web and mobile (formerly Bard). The Gemini apps are simply an interface through which certain Gemini models can be accessed — think of it as a client for Google’s GenAI.

Incidentally, the Gemini apps and models are also totally independent from Imagen 2 , Google’s text-to-image model that’s available in some of the company’s dev tools and environments. Don’t worry — you’re not the only one confused by this.

What can Gemini do?

Because the Gemini models are multimodal, they can in theory perform a range of multimodal tasks, from transcribing speech to captioning images and videos to generating artwork. Few of these capabilities have reached the product stage yet (more on that later), but Google’s promising all of them — and more — at some point in the not-too-distant future.

Of course, it’s a bit hard to take the company at its word.

Google seriously underdelivered with the original Bard launch. And more recently it ruffled feathers with a video purporting to show Gemini’s capabilities that turned out to have been heavily doctored and was more or less aspirational.

Google’s best Gemini demo was faked

Still, assuming Google is being more or less truthful with its claims, here’s what the different tiers of Gemini will be able to do once they reach their full potential:

Gemini Ultra

Google says that Gemini Ultra — thanks to its multimodality — can be used to help with things like physics homework, solving problems step-by-step on a worksheet and pointing out possible mistakes in already filled-in answers.

Gemini Ultra can also be applied to tasks such as identifying scientific papers relevant to a particular problem, Google says — extracting information from those papers and “updating” a chart from one by generating the formulas necessary to re-create the chart with more recent data.

Gemini Ultra technically supports image generation, as alluded to earlier. But that capability hasn’t made its way into the productized version of the model yet — perhaps because the mechanism is more complex than how apps such as ChatGPT generate images. Rather than feed prompts to an image generator (like DALL-E 3 , in ChatGPT’s case), Gemini outputs images “natively,” without an intermediary step.

Gemini Ultra is available as an API through Vertex AI, Google’s fully managed AI developer platform, and AI Studio, Google’s web-based tool for app and platform developers. It also powers the Gemini apps — but not for free. Access to Gemini Ultra through what Google calls Gemini Advanced requires subscribing to the Google One AI Premium Plan, priced at $20 per month.

The AI Premium Plan also connects Gemini to your wider Google Workspace account — think emails in Gmail, documents in Docs, presentations in Sheets and Google Meet recordings. That’s useful for, say, summarizing emails or having Gemini capture notes during a video call.

Google says that Gemini Pro is an improvement over LaMDA in its reasoning, planning and understanding capabilities.

An independent study by Carnegie Mellon and BerriAI researchers found that Gemini Pro is indeed better than OpenAI’s GPT-3.5 at handling longer and more complex reasoning chains. But the study also found that, like all large language models, Gemini Pro particularly struggles with math problems involving several digits, and users have found plenty of examples of bad reasoning and mistakes.

Early impressions of Google’s Gemini aren’t great

Google’s promised improvements, though — and the first arrived in the form of Gemini 1.5 Pro .

Designed to be a drop-in replacement, Gemini 1.5 Pro (in preview at present) is improved in a number of areas compared with its predecessor, perhaps most significantly in the amount of data that it can process. Gemini 1.5 Pro can (in limited private preview) take in ~700,000 words, or ~30,000 lines of code — 35x the amount Gemini 1.0 Pro can handle. And — the model being multimodal — it’s not limited to text. Gemini 1.5 Pro can analyze up to 11 hours of audio or an hour of video in a variety of different languages, albeit slowly (e.g., searching for a scene in a one-hour video takes 30 seconds to a minute of processing).

Gemini Pro is also available via API in Vertex AI to accept text as input and generate text as output. An additional endpoint, Gemini Pro Vision, can process text and imagery — including photos and video — and output text along the lines of OpenAI’s GPT-4 with Vision model.

Gemini

Using Gemini Pro in Vertex AI. Image Credits: Gemini

Within Vertex AI, developers can customize Gemini Pro to specific contexts and use cases using a fine-tuning or “grounding” process. Gemini Pro can also be connected to external, third-party APIs to perform particular actions.

Google brings Gemini Pro to Vertex AI

In AI Studio, there’s workflows for creating structured chat prompts using Gemini Pro. Developers have access to both Gemini Pro and the Gemini Pro Vision endpoints, and they can adjust the model temperature to control the output’s creative range and provide examples to give tone and style instructions — and also tune the safety settings.

Gemini Nano

Gemini Nano is a much smaller version of the Gemini Pro and Ultra models, and it’s efficient enough to run directly on (some) phones instead of sending the task to a server somewhere. So far it powers two features on the Pixel 8 Pro: Summarize in Recorder and Smart Reply in Gboard.

The Recorder app, which lets users push a button to record and transcribe audio, includes a Gemini-powered summary of your recorded conversations, interviews, presentations and other snippets. Users get these summaries even if they don’t have a signal or Wi-Fi connection available — and in a nod to privacy, no data leaves their phone in the process.

Gemini Nano is also in Gboard, Google’s keyboard app, as a developer preview . There, it powers a feature called Smart Reply, which helps to suggest the next thing you’ll want to say when having a conversation in a messaging app. The feature initially only works with WhatsApp but will come to more apps in 2024, Google says.

Is Gemini better than OpenAI’s GPT-4?

Google has several times touted Gemini’s superiority on benchmarks, claiming that Gemini Ultra exceeds current state-of-the-art results on “30 of the 32 widely used academic benchmarks used in large language model research and development.” The company says that Gemini Pro, meanwhile, is more capable at tasks like summarizing content, brainstorming and writing than GPT-3.5.

But leaving aside the question of whether benchmarks really indicate a better model, the scores Google points to appear to be only marginally better than OpenAI’s corresponding models. And — as mentioned earlier — some early impressions haven’t been great, with users and academics pointing out that Gemini Pro tends to get basic facts wrong, struggles with translations and gives poor coding suggestions.

How much will Gemini cost?

Gemini Pro is free to use in the Gemini apps and, for now, AI Studio and Vertex AI.

Once Gemini Pro exits preview in Vertex, however, the model will cost $0.0025 per character while output will cost $0.00005 per character. Vertex customers pay per 1,000 characters (about 140 to 250 words) and, in the case of models like Gemini Pro Vision, per image ($0.0025).

Let’s assume a 500-word article contains 2,000 characters. Summarizing that article with Gemini Pro would cost $5. Meanwhile, generating an article of a similar length would cost $0.1.

Ultra pricing has yet to be announced.

Where can you try Gemini?

The easiest place to experience Gemini Pro is in the Gemini apps . Pro and Ultra are answering queries in a range of languages.

Gemini Pro and Ultra are also accessible in preview in Vertex AI via an API. The API is free to use “within limits” for the time being and supports certain regions, including Europe, as well as features like chat functionality and filtering.

With AI Studio, Google launches an easy-to-use tool for developing apps and chatbots based on its Gemini model

Elsewhere, Gemini Pro and Ultra can be found in AI Studio. Using the service, developers can iterate prompts and Gemini-based chatbots and then get API keys to use them in their apps — or export the code to a more fully featured IDE.

Duet AI for Developers , Google’s suite of AI-powered assistance tools for code completion and generation, is now using Gemini models. And Google’s brought Gemini models to its dev tools for Chrome and Firebase mobile dev platform.

Gemini Nano is on the Pixel 8 Pro — and will come to other devices in the future. Developers interested in incorporating the model into their Android apps can sign up  for a sneak peek.

IMAGES

  1. How to Make an Easy Multimodal Presentation

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  2. How to Ace Your Multimodal Presentation for HSC English

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  3. How to Ace Your Multimodal Presentation for HSC English

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  4. How to Ace Your Multimodal Presentation for HSC English

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  5. Creating multimodal texts

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  6. Multimodal Presentation

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VIDEO

  1. Multimodal Presentation

  2. ART180

  3. ENG 3010 Project 2 multimodal presentation

  4. Jacob Riis

  5. ENG 103 Multimodal Presentation 1

  6. Sindikato- A Multimodal Video Presentation

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    Step 1: Get into the Details Step 2: Work on Your TEE Table Step 3: Write Your First Draft Step 4: Edit, Polish and Revise Step 5: Practise Your Delivery What is a multimodal presentation? If you've had a good read of your HSC English syllabus, you would've seen the word "multimodal" pop up quite a bit — and it's definitely worth knowing.

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  22. Gemini 1.5: Our next-generation model, now available for Private

    Posted by Jaclyn Konzelmann and Wiktor Gworek - Google Labs. Last week, we released Gemini 1.0 Ultra in Gemini Advanced. You can try it out now by signing up for a Gemini Advanced subscription.The 1.0 Ultra model, accessible via the Gemini API, has seen a lot of interest and continues to roll out to select developers and partners in Google AI Studio.

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  24. Google Gemini: Everything you need to know about the new generative AI

    Google's promised improvements, though — and the first arrived in the form of Gemini 1.5 Pro.. Designed to be a drop-in replacement, Gemini 1.5 Pro (in preview at present) is improved in a ...

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