Interactive videodisc in computer-assisted language learning: A communicative project

System, Vol. 17, No. 1, pp. 49-60, 1989 Printed in Great Britain

0346-251X/89 $3.00 + 0.00 © 1989 Pergamon Press plc

INTERACTIVE VIDEODISC IN COMPUTER-ASSISTED LANGUAGE LEARNING: A COMMUNICATIVE PROJECT THOMAS M. SCOTT, YUKIKO S. JOLLY and NElL O'BRIEN

Nagoya University of Commerce, Japan This article describes the development of an interactive videodisc package, designed to give students of English at a Japanese business university extensive exposure to and practice with the spoken language in realistic situations. It looks first at the background to the project, and the particular student needs to be taken into account in defining objectives. The strengths and drawbacks of the technology in relation to different language skills are considered. A non-coercive approach to student usage of the package is outlined, together with various activity formats, the overall aim being to realise some of the potential of interactive videodisc for providing a user-centred, low anxiety environment, in which language can be acquired through exploration and experience rather than explanation and drill.

1. COMPUTERS AND LANGUAGE LEARNING Unless they have caught the microcomputing bug themselves, language teachers tend to react with a mixture of cynicism and anxiety to the new technology that is, say enthusiasts, poised to transform their profession. It is often seen either as an expensive and only marginally relevant extra, or as a threateningly inhuman rival, casting doubt on the continuing need for human teachers. There is some truth in both of these mutually contradictory misconceptions. Computers are costly--prohibitively so for many schools even in the rich countries (we should remember, though, that a ten dollar card calculator can now outperform the unwieldy and prodigiously expensive mastodons of the early computer age). Likewise, there is a vast amount of work to be done in the field of Artificial Intelligence before it is possible to produce programs that can process and respond to the full complexities of natural language in a way that effectively simulates the human brain. The omniscient, honey-voiced (and often malevolent) electronic beings of science fiction are still some way over the horizon. Much currently available Computer-Assisted Language Learning (CALL) software does indeed seem far removed from the primary requirements of most learners--to comprehend and produce the spoken language. Limitations of the technology itself have tended to concentrate program designers on reading and writing skills and grammar and vocabulary exercises, the latter frequently based on a crudely behaviourist model of language learning. Recent advances in optical videodisc technology, however, have opened up exciting new 49

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possibilities in the use of the microcomputer as a language learning tool: this article describes one project that set out to explore the potential of a computer-controlled videodisc system as a means of familiarizing students with the communicative functions of English, by exposure to and interaction with the natural spoken language.

2. B A C K G R O U N D T O T H E P R O J E C T : N A G O Y A S H O K A D A I G A K U Nagoya Shoka Daigaku (Nagoya University of Commerce), situated in Aichi, Japan, is a four year undergraduate college with around 3100 students, specializing in Commerce, Industrial Management, Information Science and International Economics. The University has a large Foreign Languages Department, housed in a purpose-built Language Center. Since its inception, the Language Center has had a close working relationship with the Sony Corporation, which supplies much of the advanced audio-visual equipment used in the language laboratories. In December 1985 the University, in cooperation with Sony, initiated a C A L L project, the purpose of which was to produce material to be used by students of English on the newly available Sony 'VIEW' (Visual Information Enhanced Workstation) System. Project planning and development was undertaken by a team of three language teachers and one computer programmer, with technical assistance being provided by Sony personnel, and in June 1987 the courseware package had reached a stage at which it was possible to start trial use with fairly large numbers of students.

3. T H E VIEW SYSTEM The system links a powerful microcomputer with an optical videodisc player, in a way that allows moving and still video images, audio, text and graphics to be intermixed in a remarkably flexible variety o f combinations. Each workstation consists of four main hardware components. 1. A Sony SMC-2000 16-bit microcomputer, with two 3.5 inch MFD drives and 256K bytes of RAM. 2. An LDP-2000 optical videodisc player, enabling very fast access to any frame in a program. The videodisc stores up to thirty minutes of moving video, together with still video images and up to sixty minutes of audio. 3. A colour monitor. 4. A keyboard.

4. OBJECTIVES At the start of the project, we had to consider the character and needs of the students who constituted our "target audience", in relation to the particular strengths and weaknesses of the system. Since we had a large number of work-stations available (31 in all), we decided that material we produced should be of use to as wide a variety of our students as possible. We certainly did not want a package to form the core element of any one course (especially as we were limited, initially at least, to one videodisc). Since the university has a large number

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of students following business English courses, we wanted an emphasis on English in business related environments, without getting into the ultra-specific language of detailed transactions which would limit the relevance of the material to students on more general courses. The majority of our first year students, like m a n y students starting college in Japan, are best described as false beginners. That is to say, they have had several years of rote learning of sometimes quite abstruse structures and vocabulary, but scant exposure to the natural spoken language in realistic situations, and little or no ability to either comprehend or produce such language. Motivation is generally not high, and we considered this lack of exposure to be a prime factor both in restricting students' learning speed and in narrowing their perceptions of the relevance of English: this was one area in which a videodisc system such as V I E W seemed to have enormous potential. In their influential b o o k Computers in Language Learning, Higgins and Johns draw out the distinction between " a learning process which concerns itself with.conscious manipulation of a linguistic code, and an acquisition process which tries to interpret the language which is heard and seen, and to store those parts of the language system that the learner can account f o r . " Discussing the work of Stephen Krashen in this area, they write: The implication of this for the teacher is that he or she must provide a rich enough linguistic environment to enable acquisition to take place [...] Anyone learning a language should be exposed to as much language as possible which is at the threshold of his or her understanding but which can be interpreted by using visual or commonsense clues. (Higgins and Johns, 1984: pp. 15, 16) Our students' previous exposure to English had consisted almost entirely of explicit explanations and practice, largely on paper, of grammatical rules. We wanted to use the unique features of interactive videodisc to move away from the structure demonstration/drill paradigm underlying their previous learning, and to provide a freer, more realistic environment in which acquisition could take place. The problem, as m a n y foreigners who have lived in J a p a n are no doubt aware, is that mere exposure to a language, even in large quantities, is far f r o m sufficient. For retention to take place, the input must be meaningful. Anyone who has watched subtitled movies in an unfamiliar language will understand that even if one has heard a section of dialog and understood the content of the exchange f r o m the subtitles, one very likely has no idea of the form of what has actually been said, and equally little chance of reproducing it later. Suppose, however, that one was in a position to ask the actors to repeat what they just said, or to repeat the same sentence more slowly, or if one could ask to see the sentence one has just heard in its written form, or a translation or explanation of usage. Computercontrolled videodisc makes all of this possible, with a speed and precision quite unattainable using regular video in conjunction with textual aids. Bearing all this in mind we decided to m a k e the central video element of the package a series of functionally oriented scenes, scripted using language as natural to the situations as possible. A business trip by a Japanese businessman to the States was chosen as a suitable

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storyline, though it did pose problems in terms of realistic video treatment without prohibitively expensive location shooting abroad. The scenario we devised consists of ten scenes of about three minutes each, covering such common experiences of business travellers as going through customs and immigration, checking into a hotel room, booking a flight, asking directions, cashing travellers checks, shopping, introductions, business meetings, and social gatherings. Once the shooting script was ready the video was shot in a professional studio (the " a c t o r s " being drawn mainly from among university staff and their spouses), and after editing transferred onto videodisc. 5. SKILLS From an early stage we decided that enabling the student to listen meaningfully at his or her own pace, using the features touched on above, was to be one o f the main aims of the project. We wanted, as far as possible to put the students in charge o f their own listening, yet at the same time to channel their attention so as to encourage them to identify, retain, and to some extent manipulate the structures and vocabulary used in the video dialogs. We had to consider how the system was best suited to doing this, and what skills, other than listening in a broad sense, could be most profitably exercised. There is as yet no commercially available microcomputer software that is able to effectively analyse and respond to spoken input by the user, though this did not preclude the possibility of students being required to respond vocally to audio-visual prompts from the computer. Experience of trying to use such video prompts in the language laboratory, however, revealed the extreme reluctance of our students to respond either orally or physically (in T.P.R. movements) to such stimuli. There is a strong and perhaps not unnatural resistance to being required to treat a machine, however seemingly "intelligent", as an entity of the same order as a human being. This may be overcome to some degree if the student can clearly see the strategy underlying such requirements--for instance if he is able to record his responses and compare them to models, as is common practice in language laboratories. The VIEW system however does not have a recording capacity, and we considered it more appropriate for the link between language acquired in using the package and the students' ability to produce this language orally to be established rather by back-up exercises--for instance roleplays in the classroom, based on the situations presented on the videodisc. Using the system to practice writing skills also presented problems--not least because we could not rely on students having even the most rudimentary typing ability, without which producing the simplest of sentences in written form could be an exceedingly laborious task. This problem was compounded by the fact that a high degree of formal accuracy is normally required if student generated text is to be assessed by the computer. In any case, we were concerned throughout to keep the number and complexity of keyboard operations demanded of students to an absolute minimum, as we didn't want their progress to be affected by their level of manual dexterity, and were convinced that simplicity of operation was one of the keys to creating a low anxiety environment. The two activities we devised that might be said to practise writing skills at a basic level are both of a word-reordering kind, and do not involve any typing as such. And in fact both of these may be treated as listening activities, depending on the extent to which the individual student decides to access the help that is available in the form of audio prompts.

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The activities, then, concentrate mainly on listening and reading at various levels, using the many different combinations of audio, video and text that are available with the system. Some are concerned to focus the student's listening on particular components of linguistic exchanges, whether these are discrete items, such as verb endings, articles, prepositions, singular/plural distinctions and so on (as in the cloze type activity), or sentence structure and word order, as in the activities we have called " W o r d Scramble". Others operate on a higher, pragmatic level, requiring the student to extract meaning from an audio or textual item or exchange, in some cases also to relate the item to a short segment of video, and to respond with a contextually and grammatically appropriate answer. The activities are described in more detail below.

6. USING T H E PACKAGE: M A X I M I Z I N G STUDENT A U T O N O M Y The flow chart (Fig. 1) gives an idea of the overall design of the package, and of how the individual student may manoeuvre within it. Stages where a student may choose between two or more options are indicated by diamond shaped boxes, and optional routes are also marked with numbered arrows (the diagram is actually somewhat simplified, and does not show all of the options available in subsidiary parts of the package). Beginning at the top of the diagram: the start up process is fairly simple. The student loads two micro-floppy discs: a system disc in drive A and his own personal data disc in drive B, and switches on the power. The system disc is the piece of software that controls the main program, and the data disc records information about the student's performance on the various activities. As we are using the system at present, the videodisc for the package is kept permanently loaded. After entering the date and time and watching a short title sequence, the student is presented with a choice of either seeing an explanation of the package in Japanese, or going directly to the main part of the program. The explanation screens contain an overview of the package, a summary of the storyline, and explanations of the special function keys and activity formats. The student may see as little or as much of this as he likes--at any time he may decide to go on to the main program. Once he has decided to do this, he is first of all shown a screen to indicate his current status--this tells him the number of the last scene he viewed and the overall amount of the material he has completed, in terms of the number of activity questions he has answered correctly as a percentage of the total possible number. From this screen the student proceeds, by pressing any key, to the scene menu, on which the current scene is highlighted by way of suggestion that he may want to see that scene again. He may however decide to view any scene--although together they constitute a story sequence, each of the ten scenes may be viewed separately, without the student's understanding of the action being impaired. In general we have tried to avoid giving the student the feeling that he is being coerced or pressured by the machine, and to maximize the number of choices available to him within

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System disk in drive A Student data disk in drive B Power on

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the package. O f course students m a y be instructed by their teacher to take the scenes and activities in the sequential order in which they appear on the menus, and not surprisingly we have found that this is the order m a n y students prefer to approach the material. The package is designed, however, to allow students to move freely between any part: if a student is bored or frustrated by any one scene or activity he m a y move to another. Students are encouraged, though, to watch a scene at least once before embarking on any of the activities that arise out of the language of that scene. The goal, in terms of the package itself, is simply to complete all of the material by answering all of the questions correctly. While watching a scene, the student may call on any of the functions indicated on the diagram by the oval shaped boxes. Some of these are more or less self-explanatory: FI calls up the main menu; F3 and F4 allow the student to go fast forward and backward within the scene; F5 freezes the action on screen. Pressing the F6 key repeats the immediately preceding sentence that has been spoken in the video, and F8 calls up a brief explanation of the special function keys. F9 has multiple functions: by pressing it once the student hears a sentence repeated; the second time it is pressed the same sentence is repeated more slowly and is also shown in written form; the third time the student sees a Japanese translation of a short section of the dialog including the sentence he has just heard. I f the student wishes to find the meaning of any single word or phrase that he hears in the scene, he m a y do so by pressing F10 followed by the initial letter of the word. It is worth emphasising that all of these functions operate almost instantaneously. Once he has either watched a scene in its entirety, or pressed the F1 menu key f r o m within the scene, the student is presented with the main menu. F r o m here he m a y decide to start any of the eight activities which are included in each scene module; or he m a y go back to the scene menu and review the scene he has just watched (or select another one); or he m a y opt to have a look at his progress in more detail by calling up the status monitor (number 2 on the diagram). The status monitor is rather basic at present, and is one part of the p r o g r a m which is in need of further development. At the moment, it shows first of all the dates and times of previous study periods, followed by a series of screens showing, for each activity, how m a n y questions the student has answered correctly and incorrectly, by scene. At the time that we gave a questionnaire to gauge student reactions to the system (see Appendix), some activities had not yet been included on the status monitor, which is no doubt one of the reasons why m a n y students indicated that they would like to see more information on their performance. Another reason for this may be that as a result of various technical difficulties we have not yet been able to write an instant feedback scoring system into the activities themselves: having finished an activity, a student cannot at present see a score immediately--he has to go back through the menu to the status monitor system. We originally planned to include a time element in the activity score feedback, but this proved very difficult to devise with the high level programming language (a version of BASIC) that we have been using. What we eventually aim to have is a scoring system that will match the student's performance on each activity against that of the computer, in the somewhat gladiatorial manner of the computer games that the questionnaire results indicate they enjoy. For example, in an activity in which the student has two tries at the correct answer, he might score two points for a first try correct answer, one for a correct answer

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on the second attempt, and zero if the second answer is wrong. Conversely, the " o p p o n e n t " (i.e. the computer) would get no points if the student's first answer is right, one if it's right second time, and two if both tries are incorrect. A running score would be shown from the start of the activity, and the aim would be to beat the computer by as large a margin as possible, with appropriate messages being given along with the final result. A time element may also be included, and would probably act as a stimulating challenge to many students, but this should perhaps be optional, especially as many of the activities are listening based, and we want to encourage students to listen as much and as often as they themselves find necessary, without feeling pressured to answer immediately. We certainly do not wish them to feel that they are constantly being tested, as this would be quite contrary to the low anxiety self-study situation which it has been our aim to produce.

7. T H E ACTIVITIES There are a total of eight activity types, each divided into ten units corresponding to the ten scene modules: a student may choose from eight activities on the main menu, all related to the language of the scene he has most recently reviewed. They are listed on the menu in what we consider to be an ascending order of difficulty--students are free, however, to approach them in whatever sequence they feel happiest with (and in observing students at work we have found that their preferences is this respect vary widely). A brief description must suffice here. 1. "Blank Filling". The student sees and hears a sentence of dialog spoken on video, after which the same sentence appears in written form in a window superimposed over the (frozen) video picture. One word in the sentence is d o z e d and the student must choose the correct word to fill the blank from four choices on screen (as in all of the activities, the order of answer choices is randomized each time the question is accessed). By pressing the " R " key the video segment may be repeated any number of times before answering. The student uses the Space key to highlight his choice, and the answer is then entered by pressing the Return key (the same basic choice selection mode is used throughout the package). If the answer is wrong, the correct answer is displayed and the video segment replayed before moving on to the next question. 2. "Comprehension Quiz". Here the student watches and listens to a video segment of about fifteen seconds, and is then presented with a comprehension question and four answer choices. With the question still displayed in the window, he may repeat the segment any number of times before answering. If his first try is wrong he is given the opportunity to review the segment and try again. If the second answer is also wrong then the correct answer is displayed. 3. " W h a t H a p p e n e d ? " . A silent video segment containing an action or short sequence of actions is shown and four sentences then appear, only one of which correctly describes what has just occurred on screen. The clip may be reviewed any number of times before an answer is selected. Having chosen a correct sentence the student then hears it spoken. If his answer is wrong, the correct answer is indicated and spoken. 4. " W o r d Scramble" is a sentence reconstruction activity in which the student listens to a line of dialog, and is then shown the words of the sentence in a randomly jumbled order. The task is to put them into the correct sequence using the Space and Return keys. He may listen to the sentence again as many times as he likes while doing this, and by using

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the Backspace key may retract and correct tentative answers before entering the completed sentence. Again, students are offered a second try before being shown the correct answer. 5. "Action Word Scramble". As in " W h a t H a p p e n e d ? " , a short action sequence is shown without sound. By using the " R " key the student may repeat the sequence as much as he likes in order to be sure of grasping the details of the action. He then strikes any key to continue, upon which a jumbled wordstring appears, which must reordered, as in " W o r d Scramble", to make a sentence describing the action (there is often more than one acceptable answer). Having either constructed the sentence correctly, or having entered a wrong answer on the second attempt, the student is shown, and hears spoken, the correct sentence(s). 6. In " F i n d the Question", a written sentence is displayed, and the task is to match the sentence to one of four written questions. Due to limited space on the audio track this is a text only activity. 7. " F i n d Similar W o r d s " is a vocabulary building exercise in which the student sees and hears a sentence spoken on video, and then sees the same sentence written, with one word or phrase underlined. He must select from four possibilities the word or phrase that is closest in meaning to the underlined portion. 8. "Dialog Roleplay" comes closest to replicating an authentic conversational situation: the student must put himself into the shoes of Kenji Oka, the main character of the video story. He sees and hears a video segment in which an individual addresses a question or request to him, and must then select an appropriate response from four written choices. Somewhat unrealistically, perhaps, he may obtain any number of repeats without the questioner losing patience! Having correctly chosen the answer the student sees and hears it spoken by his counterpart on video.

8. CONCLUSION: O V E R C O M I N G " E R R O R T E R R O R " The fact that a student may proceed at a pace appropriate to his own level and learning speed and can approach the material in the sequence that he himself feels to be most profitable is perhaps one of the most important advantages that an interactive package such as we have produced has over an ordinary classroom environment. Teachers who have taught in Japanese classrooms will almost certainly, at some time, have been frustrated by what might be termed the " e r r o r t e r r o r " o f their students--the frozen reluctance to answer any question that they might not get right, whether this is as a result of shyness, fear of looking foolish in front of classmates, or of incurring the disapproval of their teacher. This manifests itself also in a strong disinclination on the students' part to disrupt what is seen, in this country especially perhaps, as the proper hierarchic relationship between teacher and pupil, by asking questions on points which they have not understood fully. A computer program, however, partly by virtue of the very fact that it is not human, can release students from such impediments to their learning. We hope that in this project we have gone some way to creating a learning environment in which students are exposed to and interacting with quite large quantities of natural spoken English, in such a way that, far from being afflicted by " e r r o r t e r r o r " , they actually enjoy the challenge o f exploring, understanding, and responding to the target language. This is one of the first projects of its kind, and the effectiveness o f the material has still to be properly evaluated: there are certainly many modifications and improvements to be made. Student reactions to the

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package as they have been using it so far, however, have in many ways been remarkably positive. Acknowledgements--The authors wish to thank Shinichi Someoka for his invaluable programming contribution to the project on which this article is based; and, for their help in preparing this article, Michael Buresch, Vivien Berry and Roger Webb.

APPENDIX:

STUDENT

REACTIONS

QUESTIONNAIRE

The questionnaire was given in Japanese to a total of 158 students (96 first year and 62 second year), all of w h o m had used the V I E W package for a minimum of six 45 minute periods. It was divided into three sections. The first (results shown in Fig. A1) consisted of 15 statements, to which students were asked to respond by choosing between: (1) agree strongly; (2) agree; (3) disagree; (4) disagree strongly. 90 80 70 60

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statements were as follows: I enjoyed using computers before I started using VIEW. V I E W is difficult to use. V I E W is helping me to improve my understanding of spoken English. I wish there was more explanation of new language points. The video scenes are interesting. I would like the computer to tell me more about my performance. The activities are too much like tests. Sometimes I d o n ' t understand why my answer was wrong. I wish there were more computer game style activities. I get tired quickly using VIEW. I wish V I E W was more closely linked to classroom work. I enjoy using V I E W more than regular English classes. I would like to be able to use V I E W in my spare time. I have no interest in learning foreign languages. I can learn more from human teachers than computers.

Section two (Fig. A2) required students to grade each activity in terms of how much they enjoyed it, choosing between: (1) very enjoyable; (2) enjoyable; (3) not enjoyable; (4) not at all enjoyable.

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BIBLIOGRAPHY AHMAD, K., CORBETT, G., ROGERS, M. and SUSSEX, R. (1985) Computers, Language Learning and Language Teaching. Cambridge: Cambridge University Press. DALTON, D. (1986) How effective is interactive video in improving performance and attitude? Educational Technology 26, 1.

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GALE, I. (1983) Montevidisco: an anecdotal history of an interactive videodisc. CALICO Journal 1, 1. HIGGINS, J. and JOHNS, T. (1984) Computers in Language Learning. London: Collins ELT. HILL, B. (1986) Interactive video in the teaching of languages. CALL Digest 2, 11. (Special issue on interactive/optical media and CALL--contains useful interactive video resource guide.) KRASHEN, S. (1982) Principles and Practice in Second Language Learning. Oxford: Pergamon Press. PHILLIPS, M. (1985) Intelligent CALL and the QWERTY phenomenon: a rationale. System 13, 1-8. PHILLIPS, M. (1987) Potential paradigms and possible problems for CALL. System 15, 275-287. OTTO, S. (1983) Videodisc image retrieval for language teaching. System 11, 1. RUBIN, J. (1984) Using the educational potential of videodisc in language teaching. CALICO Journal 1, 4. SCHWARTZ, E. (1985) The Educators Handbook to Interactive Video. Washington: ACCT. SCHNEIDER, E. and BENNION, J. (1983) Veni, vidi, vici, via videodisc: a simulator for instructional conversations. System 11, 1.