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The role of digital video media in second language listening ...

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(1993), a model that posits the existence <strong>of</strong> a phonological loop does not require thatmessages be generated outside the m<strong>in</strong>d. Speech-based <strong>in</strong>formation reaches thepassive store directly, and is subject to rapid decay because <strong>of</strong> the <strong>in</strong>terference <strong>of</strong>new material. To slow decay, however, an <strong>in</strong>dividual can enact subvocal rehearsalprocesses and, <strong>in</strong> pr<strong>in</strong>ciple, hold <strong>in</strong>formation <strong>in</strong> the phonological loop <strong>in</strong>def<strong>in</strong>itely.Such would be the case, for example, <strong>in</strong> repeat<strong>in</strong>g a phone number several times <strong>in</strong>order to hold that <strong>in</strong>formation long enough so that the physical procedures needed tocomplete a sequence for diall<strong>in</strong>g or to transfer the number to long-term memorycould be completed.In a similar fashion, Gathercole and Baddeley (1993) expla<strong>in</strong> that a visuallypresented text can be transformed through subvocal rehearsal <strong>in</strong>to phonologicalstore, as <strong>in</strong> the case when one ‘sounds out’ a phrase <strong>in</strong> the m<strong>in</strong>d. Successfuloperation <strong>of</strong> the processes related to the phonological loop can be impaired bymaterial deemed to be irrelevant by the <strong>in</strong>dividual, or because <strong>in</strong>com<strong>in</strong>g speechsounds phonologically similar (e.g. cat, cap, cad). Conversely, it is argued thatmaterial is better reta<strong>in</strong>ed if it is deemed to be salient to comprehension goals or ifthe words are phonologically dist<strong>in</strong>ct. <strong>The</strong> capacity <strong>of</strong> the phonological loop isthought to be limited to about two <strong>second</strong>s and thus words that are unfamiliar ordifficult to pronounce may be subject to greater decay, perhaps account<strong>in</strong>g fordifficulties <strong>in</strong> <strong>language</strong> process<strong>in</strong>g (Logie, 1995).Analogous to the phonological loop, the ‘visuospatial scratchpad’ is an additionalslave rehearsal system. <strong>The</strong> function <strong>of</strong> the visuospatial scratchpad is to store andrehearse perceived stimuli that orig<strong>in</strong>ate from visual and spatial material (Gathercole& Baddeley, 1993). As with its partner system, storage <strong>in</strong> this sector <strong>of</strong> the bra<strong>in</strong> isheld to be further divisible, depend<strong>in</strong>g on whether the <strong>in</strong>put consists <strong>of</strong> static visualsor those that <strong>in</strong>volve movement. Both types <strong>of</strong> <strong>in</strong>put are conceived to have directaccess to the passive visual system (Logie, 1995). Unlike the two-<strong>second</strong> storagecapacity <strong>of</strong> the phonological loop, however, <strong>in</strong>formation <strong>in</strong> the visuospatial24

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