![]() ![]() Given animation’s ease of dissemination and modification for different learner groups, we aim to explore whether these up-front efforts are feasible given the potential for subsequent broad applicability. This manuscript describes a group of clinician-educators’ efforts to develop expertise in vector animation and educational media creation, and to pilot these methods on a novel video curriculum for graduate medical education. While the authors know of only one other study of video-based flipped classrooms for T2DM management training in graduate medical education and none using character-based animation, the medium provides a potential vehicle in which compelling versions of otherwise inaccessible entities such as molecules and cells can be made approachable and memorable. ![]() Teaching chronic disease management in GME to a level higher on Bloom’s taxonomy is key, given that these residents are often already actively caring for patients with diseases like T2DM, rather than merely preparing for an exam. T2DM treatment requires particularly extensive semantic knowledge retention given the numerous medication classes. The management of T2DM is complex and requires mastery of basic physiology and how this physiology correlates to a rapidly changing landscape of available therapies. There was an anecdotal observation that internal medicine residents expressed a lack of comfort distinguishing, describing, and prescribing the various classes of antihyperglycemics. ![]() The topic of type 2 diabetes mellitus (T2DM) medication management was chosen as a target for intervention given a perceived educational need at the authors’ institution. There is a lack of literature on the specific potential of animated characters as advance organizers. Since Ausubel’s seminal works, educators have employed advance organizers such as flow charts, tables, and Venn diagrams to prepare learners prior to the presentation of the brunt of a lesson’s intrinsic load. Ausubel first defined advance organizers as “introductory material at a higher level of abstraction, generality, and inclusiveness than the learning passage itself” he considered them a key way to establish an “ideational scaffolding”. The medium of animation provides great freedom to engage in signaling through emphasizing movements, scaling, color changes, sound effects, and more.Īnimation also facilitates the construction of objects, metaphors, and characters which may serve as advance organizers. Signaling is a common device used in many forms of visual and auditory information transfer and is defined as any “cues that highlight relevant elements or the organization of material”. The specific sensory stimuli in multimedia that directs learner attention and thereby modulate cognitive load are referred to as signaling. This dual coding theory was subsequently rebranded as a theory of multimedia learning when applied to a more modern multimedia context. Cognitive scientists have known for some time about the “make-or-break” potential of multimedia, in that simultaneous visual and auditory inputs can distract from one another in some instances, but synergistically expand working memory in others. The need for multitasking, time pressure, and patient complexity were all noted as contributors to cognitive load for residents across specialties. A recent scoping review of the role of cognitive load in healthcare education corroborated its importance and emphasized the goals of minimizing extraneous load and optimizing germane load. ![]() Medical educators have frequently cited the cognitive load theory to propose best practices in video creation. The first assumption is that learners have a limited bandwidth with which new information can be received, held transiently in working memory, and then internalized into long-term memory. There are multiple plausible mechanisms by which animation may enhance learning in the context of cognitive theories. Attention to animation in science education outside of health professions has included a systematic review and meta-analysis by Berney and Bétrancourt, which showed an overall positive effect of animations compared with static image controls, but emphasized that particular characteristics of certain animations moderated their degree of benefit. Walt Disney defined animation as “a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.” It has been described in the academic literature as “simulated motion picture displaying the movement of artificially created objects,” and dubbed a form of video that can facilitate multimedia learning. Animation has a century of rich history as both an art form and an industry. ![]()
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