Imported from Diigo

<p>Participants also indicated the types of assignment they feel are inappropriate for them. Most of the assignments refused could be characterized as “conventional.” Several participants specifically mentioned that they distance themselves from training about products and software to focus on more strategic projects.</p> <p>One participant avoids “order-taker projects.” </p>

Many users are beginning to discover, however, that a larger number of social network connections may be <em>less</em>&nbsp;valuable&nbsp;than a smaller, more intimate circle. With an enormous collection of friends or followers on a network, you lose the benefits of intimacy,&nbsp;discoverability,&nbsp;and trust, all of which can work better when you have fewer connections.

When you connect to everybody and their dog, your second-degree search results will include people who don’t actually know anyone you know, so you won’t be any further ahead in reaching them than you would be by simply cold calling.

The goal of a Captivate <b>theme</b>&nbsp;is to keep a consistent design throughout your project. It can be 'applied' to any project, even <b><u>after</u></b> creation.

A&nbsp;<b>template</b> in Captivate has to be chosen&nbsp;<b><u>before</u></b><u></u> you create a project.

The term is often wrongly used: most Captivate 'templates' that you can find on the web, are just cptx-projects, not templates in the Captivate language.&nbsp;

When would I use a template in Captivate 9? For courses that have several modules, where you want to have some slides in common, maybe have custom navigation/control buttons that cannot be put on the master slide, but need to be timed for the rest of the project. I would rarely use it to have placeholder slides, unless some team members need to have that assistance.

Nothing screams, “I’m lazy,” more than an uncustomized request.

The first question is obvious: What is the problem? However, answers will almost always be symptoms and not causes.

Continue the conversation by asking, “Which metrics are you trying to positively affect?”

You can accelerate right past symptoms by asking, “What are employees doing that they shouldn’t be doing?” or “What are employees not doing that they should be doing?”

Gain valuable insight regarding the timing of the problem by asking, “When did it first begin?” and “When does it occur?”

Get a clear picture of the location by asking, “Where does the problem occur?”

A simple way to initially assess the scope is by asking, “How big is the problem in measurable terms?” The measurable terms should be linked to the metrics that matter question.

“What questions should I have asked that I haven’t?” This question triggers the client to share any last minute details that are relevant to finding a solution.

But most <a href="http://www.mtholyoke.edu/courses/lablouin/psych200/project_fall01/narrator.htm">studies</a> that I have seen indicate no statistically significant difference between retention by an audience of one gender of content delivered by a voice of another, or the same, gender. <br> <br>In my experience there are characteristics other than gender that play a much bigger role in engaging a learner audience. Things like dynamism, clarity, 'emotional bonding' with the content, enthusiasm, and perceived subject matter expertise are more important than whether it is a male or a female voice.

There was a marginal difference in percentage of extrinsic words recalled in female vs. male narrator. There was no difference in number of extrinsic words recalled in male-visual, male-no visual, female-visual, female-no visual.

However, when percentage of extrinsic words recalled was analyzed between male and female voice conditions, there was marginal significance, where subjects in the male voice condition recalled a greater percentage of extrinsic words than subjects in the female voice condition. This marginal significance is not enough to definitively conclude that there is a relationship between gender of narrator and recall of extrinsic words.

“Men’s voices are associated with neutrality, with authoritative, factual information,” explains <a href="http://arthur-chu.com/" target="_blank" rel="nofollow">Arthur Chu</a>, a Cleveland-based artist who’s done voice over work for brands like Safeway and Intel. “The voiceover you want for some kind of authoritative instructional video, or something asserting dry historical fact, is going to be that baritone, somewhat monotone, slightly stern voice.”

“Because females tend to be the more nurturing gender by nature, their voices are often perceived as a helper, more compassionate, understanding, and non-threatening,” says <a href="http://www.debbiegrattan.com/" target="_blank" rel="nofollow">Debbie Grattan</a>, a veteran voice over artist for brands like Apple, Samsung, and Wal-Mart. “This can be important in instructional videos, (sense of patience and compassion in teaching a new skill), corporate/web narration, as well as commercial spots (conveying a less aggressive, more persuasive approach.)”