Three great examples of the educational potential of new media:

1. This visual dictionary of 53,463 nouns in the English language on one page

2. This incredible video that gives a visual representation of the Civil War in four minutes (please Google it if you have trouble with this version)

3. This animation of the Bayeux Tapestry

Notice the effect in each case of the use of multimedia to compress time and space, relate the visual and the semantic, and give a big-picture perspective.

In the case of the Civil War, for instance, we’re given an instinctive sense of the relative length of its major stages that would be hard to get from a written narrative, as well as an animated representation of wins and losses as control of territory: the time between Lincoln’s inauguration, Southern secession, and the beginning of hostilities; the seeming border stalemate through the middle of the country that begins early on and lasts for most of the war; the significance of certain battles for the control of territory; the seemingly glacial pace of the North’s acquisition of territory, as it moves like an amoeba across the map, until Lincoln’s second inauguration, after which the rate seems to increase exponentially. Meanwhile we get a running tally over time of the war’s cost in human life.

The dictionary is the most obvious case of the relationship between visual and semantic meanings, since it both matches images to words and orders words by the relatedness of their meanings. So you might learn that “Jell-O” and (oddly) “substance” are semantically close and then go on to explore visual similarities or differences.

Finally, there are some good reasons to animate a representation of the Bayeux tapestry: for those of us who haven’t gone to France to see it, it’s nice to get something of the experience by video. But then we need some compensation for the loss of the power of actually being in the presence of a 260-foot-long 12th century work of art—especially one that is also a historical narrative of a central event in English history. Since in this case the new medium—video—is a barrier between the audience and its subject; it needs to overcome that distance by drawing on its strengths. One of these strengths is movement: but what’s needed is more than a long (and potentially boring) pan of the tapestry. The new medium must tell the story in a compressed space that the old medium unfolded along 260 feet. So it’s helpful to have both a long pan of the tapestry and an animation of its content.