Creating a Video-Sound Stage

 "The Best Conditions Became Evident at the Right Moment"

 

My previous blogs offered my personal stories to encourage the application of creativity,  as I did successfully that results in enthusiastic, engaged learners.

 I have earlier related “How to Follow Oral Directions” was my masters 1980 experimental project. Puppets were shown to be as effective as peer role models. 

Then, obtaining unusual outstanding results with my students/clients, solid longitudinal data verification was deemed necessary authentication.

 The historical role model puppets emerged as the data catalyst. 

This outcome revealed any type of action puppet can be noteworthy for instruction to motivate current non-focused, screen-addicted, students having weak listening memory.

 My objective with this immense filming project was to condense, consolidate, and complement my unpublished instructional and training manuals (each lesson, research documented). 

And then, convert earlier filmed lessons, as a live data collecting prototype, to an easy- to- use, high-quality, stand-alone-deliverable product.

 The staging creation process was not easy to formulate, as there were many decisions and time delays locating and installing the needed equipment.

 Fortunately, I have had a life-long background for understanding staging requirements.

 By age 4, I existed on a home stage in our living room.  My earliest fond memories were those of acting in front of a home movie camera in bright lights. 

Now, everyone is in front of a cell-phone lens, taking multitudes of self-absorbed “selfies” every few hours.

Yet for me, it was not a spontaneous, reactive occurrence, because it was then 1941, and 8 mm silent movie cameras were rare, new, products, available only for the invested person. 

But, we became one, using Kodacolor movie film. Family members were often the subject matter in the home stage environment.

 This action involvement progressed eventually to my early 1960 teaching with classroom stage productions. 

The family 1970s puppet show staging followed naturally with lighting instruction offered by the University of Kansas theatrical department where I was enrolled.

           With 5- generations of filmwork development completed over decades of technical, upgrade hurdles, and finding that commercial film companies were not a realistic pursuit; the home stage studio became a work-in- process, trial endeavor.

 Now, let’s fast- forward to 2017. My grand-daughter was enrolled in film studies at Cal Arts and offered lighting and staging input to complement mine. 

A freshly engaged, novice, photographer and sound editor, put the studio production into slow, steady, forward gear, as there were many sound and lighting considerations.

 Subsequently, moon-lighting his day job, he could only schedule four hours weekly, as an up- skilling training project (2-3 hours filming, and 1-2 hours editing and producing uploads into Drop Box). Although he had his own rock band, was fond of comic action, he welcomed the opportunity to practice studio photography. 

He soon realized increased dedication to this immense, ongoing, project.

It was a high-risk endeavor, and I never thought we would get beyond the first 3 or 4 lessons. Subsequently, I was agreeable with the initial slow production set-up pace.

 We ordered the necessary lighting equipment and a 5’ camera slider that had serious shipment delays. Finally, the historical stage puppets were in place ready for the necessary action. 

I had become a multi-vocal puppeteer who could readily switch vocals with the required timed pacing. This aspect eliminated the need to hire several puppeteers with additional film production staff. 

And, most importantly, it would be the same photographer, not rotating ones trying to learn the complex choreographed, panning system.

 

My small filming-sound studio was now soon complete with computers/screens. As if my magic, we gradually finalized over 3 - 6,000 lesson segments through countless takes and retakes. An early-effort, 2 minute segment, had up to 13 retakes of my vocals with constant staging challenges. 

We re-filmed the first eight lessons several times, because the practiced filming and puppetry improvement was noticeable.

In a culture of pill-popping, as an easier solution than mental, action workouts, the re-filmed lessons run from a brief 10- minutes up to 24, averaging 16.  The participant applies resilient, cognitive, whole-brain responses and interaction. 

Workouts give feelings of exhilaration and pleasure

 Artificial Intelligence (AI) can imitate this complex staging with “faces and voices”, but, creating the same warm, comforting, interactive, appeal is questionable.

Hopefully, this article will encourage others to engage with in-depth, meaningful, projects that offer insightful well-being and accomplishment.

Brain Gaming Merit: Finding Transfer

The topic of this blog is determining the value of brain games, in follow-up of Ted C. Fishman's May 9, 2012 USA Today article "Gaming Our Brains: Do online mind exercises really improve our mental processing? As the article indicated, the internet is being flooded with a variety of visual memory games and is a $300 million a year business with millions of hours spent playing these exercises.

The concern is that many games are random, non-progressive visual memory for detail exercises that simply measure "right and wrong" speed recognition answers. which can be discouraging to the learner, if not completely beneficial.

Although our cognitive skills have been shown to diminish as we age. i.e. auditory memory (listening) declines at age 35, but varies greatly depending upon the actual task coordinated with the person's innate ability (Craik & Grady, 2000. Changes in Memory Processing with Age). And, there is a high correlation to our sensory acuity of visual, hearing, gait, and balance (p.2). Additionally, Many have cognitive processing discrepancies that they compensate for on a daily basis, and can be improved through the correct intervention.

This indicates that we all would benefit from brain exercise, but what programs will be beneficial specifically to our own personal needs? Subsequently, are short, random, visual brain exercises worth our time, effort, and money? Although the exercises do no harm, how will we know which programs will work most effectively for us?

The key to these exercises is whether they can create "clinical transfer" to every day life work and learning activities. The Mem-ExSpan thirty years of independent research has documented cognitive skills-memory transfer (five published, juried, award winning, longitudinal reports) with remarkable changes in academic and work proficiency. This work is at least a start in the vast research to be continued by many around the globe.

The program that has shown work and academic proficient transfer is called, "The Bridge to Achievement". (The BTA) The question is - how does the BTA differ from other random exercise games offered by competing companies?

My former blog commented on how we each have our own brain map of cognitive skills that make up Intelligent Quotients (IQs). This topic has been explored for decades by various psychologists and scientists evaluating the role that memory plays with daily functioning.

The BTA offers more than mere self-taught memory games, and works as a prescriptive system to strengthen visual AND auditory memory segments and sequencing in gradient, rehearsed steps. Craik and Lockhart"s Hierarchy work (1972) demonstrated the various incremental levels of memory absorption, and the influencing factors create "cementing" to our minds. The BTA steps encompass rapid right-and-left-brain cognitive shifts applying tonal patterning through musical phrasing. Subsequently, synapses strengthen.

Few specialists have conducted in-depth, standardized cognitive skills diagnostics to the extent of examination that I have completed, applying ten standardized cognitive skills test batteries individually and group pre- and post-test (6 hrs. intensive measurement per student), and evaluating them with schools' yearly standardized assessment batteries. Only through this type of correlated, tracked assessment can future change processes and trending be determined and predicted.

I was fortunate that I tested individuals in small town, small group settings, where the schools had students that remained and moved lock-step through the grades. Otherwise, they could not be tracked longitudinally.

Having our own personalized cognitive skills tested has high personal value and will direct to your training options. Yet, psychological assessments are expensive and hard to come by, as they must be conducted by a certified psychologist/clinician/diagnostician. Whether you utilize "indicator" free tests, or pay for a thorough psychologist's evaluation, it is helpful to know your visual and listening area strengths and weaknesses, as this information will be key in determining your required specific intervention, and that you are not wasting your time working on the wrong cognitive area.

It can not be deduced that ANY game will produce desired results, or are similar to the BTA program. Will tracking the random answers of millions playing games produce significant clinical trial information? This is unlikely, because each person has their own cognitive brain map, which processes uniquely to themselves, and gaming tracking systems will not measure specific cognitive improvement in directed areas.

Only by thoroughly assessing each of the millions through prescriptive cognitive skills diagnostics, will it be determined the effectiveness of random brain games. Longitudinal assessment through learning management systems (LMS), will be unlikely, as people will not commit to independent, self-instruction on a continuous basis, nor can cognitive assessment be administered effectively online. Subsequently, it will be unlikely that the games played will have futuristic measurement capabilities of seeing if the memory for visual detail exercises "transfer" to higher work and academic learning proficiency.

Yet, we can not overlook the possibility that the games are fun to play.