The document discusses interactive stories and serious games for social interaction. It summarizes Jeroen Linssen's work on the Virtual Storyteller (VST), which generates stories through simulation of characters pursuing goals. VST allows for interactive stories where the player can influence the story. It also discusses using games to train social skills, with virtual characters representing theories of social interaction and providing feedback to support learning goals. Meta-techniques like "act breaks" are explored for reflecting on interactions and adapting difficulty levels.
Keynote lecture notes for the University of Cincinnati, "Focus on German Studies" Conference, November 9th, 2013. Features a discussion of polyphony, conflicts and ambiguous heterogeneity in cultural texts and in cultural identities, concludes with an example of transmedial storyworld design from "LEGO the Lord of the Rings" video game.
The document discusses changes in the media industry due to new media technologies and changing consumer behaviors. It covers topics like convergence across different media platforms, increased participation and citizen journalism from consumers, more mobile and flexible work environments for media professionals, the need for new commercial models like pay-per-view as consumers demand free content, and how consumers now actively create and share content through social media rather than just passively consuming traditional media. The media industry is being disrupted and will need to adapt to empowered consumers who are in control of how, when and where they access information.
Social media - the art of authenticitySarah Duncan
The document discusses the importance of authenticity in social media marketing. It notes that customers now demand more than just broadcast marketing and want companies to engage in two-way conversations. It then discusses common issues companies face with social media such as lack of understanding, strategy, good content, and company-wide commitment. It provides tips on developing an understanding of social media, creating a cohesive strategy and content plan, and gaining commitment across a company to maximize social media efforts.
A Conversation about Twitter is a 5-part educational series that rolls through a dialogue between Twitter Tina (Twitter fan) and Tom (Twitter skeptic) in blurbs of 140 characters or less. The second part "Why should I join?" focuses on the benefits of a personal Twitter account. Feel free to contact us (Fresh Consulting) for your business use at team@freshconsulting.com
The document discusses strategies for creating a magazine targeted towards young teens. It explores manipulating images on the magazine cover to catch the target audience's eyes, using colorful and stylish designs. The language within the magazine is tailored specifically for the music industry and uses terminology that dictates to the young teen demographic. Interview questions and quotes from artists are designed to spark conversation among the target audience and represent their experiences maturing into young women. Overall features and content aim to give the audience a sense of belonging and relate the challenges of that life stage.
When participating online, individuals draw on the limited cues they have available to create for themselves an imagined audience (Litt, 2012). Such audiences shape users’ social media practices, and thus the expression of identity online (Marwick & boyd, 2011). In this research we posed the following questions: (1) how do scholars conceptualize their audiences when participating on social media, and (2) how does that conceptualization impact their self-expression online? By answering these questions, we aim to provide a more nuanced picture of scholars’ social media practices and experiences. The audiences imagined by the scholars we interviewed appear to be well defined rather than the nebulous constructions often described in previous studies (e.g. Brake, 2012; Vitak, 2012). While scholar indicated that some audiences were unknown, none noted that their audience was unfamiliar. This study also shows that a misalignment exists between the audiences that scholars imagine encountering online and the audiences that higher education institutions imagine their scholars encountering online.
This document defines and describes different types of audiences. It discusses immediate audiences that are directly in front of a speaker as well as mediated audiences that consume speeches through technology. It also covers imagined audiences like theoretical, universal, ideal, and implied audiences that a speaker envisions in order to compose rhetoric. The document stresses that online, audiences can both consume and create content, allowing participation from all people.
Keynote lecture notes for the University of Cincinnati, "Focus on German Studies" Conference, November 9th, 2013. Features a discussion of polyphony, conflicts and ambiguous heterogeneity in cultural texts and in cultural identities, concludes with an example of transmedial storyworld design from "LEGO the Lord of the Rings" video game.
The document discusses changes in the media industry due to new media technologies and changing consumer behaviors. It covers topics like convergence across different media platforms, increased participation and citizen journalism from consumers, more mobile and flexible work environments for media professionals, the need for new commercial models like pay-per-view as consumers demand free content, and how consumers now actively create and share content through social media rather than just passively consuming traditional media. The media industry is being disrupted and will need to adapt to empowered consumers who are in control of how, when and where they access information.
Social media - the art of authenticitySarah Duncan
The document discusses the importance of authenticity in social media marketing. It notes that customers now demand more than just broadcast marketing and want companies to engage in two-way conversations. It then discusses common issues companies face with social media such as lack of understanding, strategy, good content, and company-wide commitment. It provides tips on developing an understanding of social media, creating a cohesive strategy and content plan, and gaining commitment across a company to maximize social media efforts.
A Conversation about Twitter is a 5-part educational series that rolls through a dialogue between Twitter Tina (Twitter fan) and Tom (Twitter skeptic) in blurbs of 140 characters or less. The second part "Why should I join?" focuses on the benefits of a personal Twitter account. Feel free to contact us (Fresh Consulting) for your business use at team@freshconsulting.com
The document discusses strategies for creating a magazine targeted towards young teens. It explores manipulating images on the magazine cover to catch the target audience's eyes, using colorful and stylish designs. The language within the magazine is tailored specifically for the music industry and uses terminology that dictates to the young teen demographic. Interview questions and quotes from artists are designed to spark conversation among the target audience and represent their experiences maturing into young women. Overall features and content aim to give the audience a sense of belonging and relate the challenges of that life stage.
When participating online, individuals draw on the limited cues they have available to create for themselves an imagined audience (Litt, 2012). Such audiences shape users’ social media practices, and thus the expression of identity online (Marwick & boyd, 2011). In this research we posed the following questions: (1) how do scholars conceptualize their audiences when participating on social media, and (2) how does that conceptualization impact their self-expression online? By answering these questions, we aim to provide a more nuanced picture of scholars’ social media practices and experiences. The audiences imagined by the scholars we interviewed appear to be well defined rather than the nebulous constructions often described in previous studies (e.g. Brake, 2012; Vitak, 2012). While scholar indicated that some audiences were unknown, none noted that their audience was unfamiliar. This study also shows that a misalignment exists between the audiences that scholars imagine encountering online and the audiences that higher education institutions imagine their scholars encountering online.
This document defines and describes different types of audiences. It discusses immediate audiences that are directly in front of a speaker as well as mediated audiences that consume speeches through technology. It also covers imagined audiences like theoretical, universal, ideal, and implied audiences that a speaker envisions in order to compose rhetoric. The document stresses that online, audiences can both consume and create content, allowing participation from all people.
Authenticity: The ultimate currency for brands onlineali Bullock
Companies still struggle with authenticity on social media and why and how they should implement this.
From internal people to the CEO, examples are outlined of how to navigate the social media landscape and how important credibility is during a crisis.
The document discusses several ways that the media industry is changing in the new media age. It explores how convergence allows different media to interact, how participation through things like commenting and sharing is fueling online communities and may be key to newspapers' survival. It also examines the rise of citizen journalism, changing working conditions for media professionals, and new commercial models around ideas like free content and the long tail theory. The role of the media consumer is also changing, with demand for bite-sized news and users actively producing user-generated content.
Live-streaming mobile video: Production as civic engagementAudubon McKeown D.
This document summarizes a study on live-streamed mobile video content from the website Qik.com between 2009-2010. The study analyzed over 1,000 videos to identify types of content and interviewed regular producers. 11% of videos were found to have civic value by covering public events, issues, or education. Producers were primarily male and civic videos averaged longer lengths. Producer interviews revealed motivations like immediacy, accessibility, and accidentally educating viewers. Producers repeatedly streamed civic content even with low viewers and intended to inform audiences across social networks.
Digital identity, privacy & authenticity - #CESI12 Catherine Cronin
This document discusses using social networking to connect students across different colleges and courses. It highlights student perspectives on using Google+ for collaborative assignments, including concerns about privacy when sharing opinions publicly. Some students found the assignments useful for gaining different viewpoints, while others felt pressure to post merely to complete the task. Overall, social media allowed students to engage in discussion beyond their typical classroom and with peers they otherwise would not have met.
Ways to stay connected: Harnessing, managing, and preventing context collapse...Stefanie Duguay
Social media sites, such as Facebook, present the potential for people to organise connections with acquaintances from all walks of life within a single site. This can lead to context collapse, a flattening of the boundaries that generally separate audiences for self-expression. Drawing on literature about young people’s social media use and my research with LGBTQ early adults, I will discuss how context collapse is experienced as an event through which individuals can intentionally redefine themselves across audiences or manage identity expressions received by unintended audiences. Possible strategies for reinstating contexts on social media will also be explored in this presentation.
YouTube content creators rely on building an audience to earn money through advertisements. They cannot see their actual audience, so they must imagine who their viewers are and tailor their content accordingly. Engaging with viewers through comments and responses helps turn them into fans more likely to watch future videos. YouTube provides metrics for creators to measure engagement and attention over time. Increased attention through higher retention rates leads to better search rankings and more views, translating to greater advertising revenue for creators.
Users have both an imagined audience and an invisible audience on Facebook. The imagined audience consists of specific friends from different networks that the user interacts with regularly offline. This imagined audience is what the user considers when creating status updates, targeting language and content to this group. However, users are also subconsciously aware of their invisible audience of all Facebook friends and users due to interactions like comments and likes from unexpected people. This research examines how users navigate between their imagined audience and awareness of their invisible audience when crafting status updates on Facebook.
This document summarizes a presentation about context collapse on social networking sites and how it affects LGBTQ identity disclosure on Facebook. The presentation discusses how context collapse, where multiple audiences are collapsed together, influences impression management decisions and strategies for dealing with stigma. It introduces research questions about these topics and how context collapse may impact future identity expression. The methods of interviews and Facebook walkthroughs are presented, as well as findings that some users employ passing, separating audiences, social steganography, and anonymous spaces to manage impressions and prevent context collapse when disclosing their LGBTQ identity online.
This document discusses several key concepts related to audiences and media effects:
- Audiences are "imagined communities" constructed by media institutions for profit motives.
- Audiences can be passive, directly influenced by media messages, or active, interpreting messages based on their own contexts.
- New digital technologies have fragmented audiences into niche groups.
- Uses and gratifications theory sees audiences as active in using media to fulfill personal needs.
- Reception theory examines how audiences decode media texts based on their own frameworks and experiences.
The document discusses various theories about media audiences and effects. It covers topics like:
1) Audience research that produces data on audience behavior and responses to help media producers. It also discusses how audience research is used to test audience theories.
2) Different audience theories ranging from direct effects theory to theories of active audiences. It places these theories on a spectrum from more behaviorist to more active audience-centered.
3) Historical examples of "moral panics" about new media and the idea that media are often blamed for societal issues. Several specific theories and models are also summarized briefly, including cultivation theory, uses and gratifications, and the two-step flow model.
The Impact of Social Media on Women's Self-Image and Self-RepresentationPamela Rutledge
Presentation from APA National Convention in San Diego: the impact of social media on women's self-image and self-representation. Part of a symposium co-sponsored by Division 46 (Media Psychology) and Division 35 (Psychology of Women) by Dr. Pamela Rutledge
This document discusses various theories about media audiences and effects, including:
- Direct effects theories that see audiences as passive recipients of media messages.
- Uses and gratifications theory that sees audiences as active in using media to fulfill needs.
- Cultivation theory that examines how heavy media exposure shapes viewers' perceptions of social reality.
- Agenda-setting theory about how media influence which issues the public sees as important.
- Two-step flow theory that found opinions are often influenced through opinion leaders not direct media exposure.
- Reception theories that examine how audiences make meanings from media in social and cultural contexts.
This document discusses the concept of media convergence. It provides several definitions of convergence, including the coming together of previously separate industries like computing, printing, film and audio due to technological developments and mergers between companies. Convergence is described as the flow of content across multiple media platforms, cooperation between industries, and how audiences will access content from different sources. The document also discusses different types of convergence including technological, economic, cultural, organic, and global convergence. It notes some advantages and disadvantages of convergence for both media industries and audiences.
This document defines and discusses the concept of media convergence from several perspectives. It begins by explaining the basic meaning of convergence and then outlines four dimensions of convergence according to Meikle: technological, industrial, social, and textual. It also discusses forms of convergence like technological, regulatory, media industry, and convergence culture. Key aspects of convergence culture are participatory media and collective intelligence. The document examines perspectives on convergence from scholars like Jenkins and Miller and notes that convergence is a complex, ongoing process rather than an endpoint. It is both a technological and cultural phenomenon driven by changes in user behavior and media consumption.
The document discusses Henry Jenkins' concept of "convergence culture" where content flows across multiple media platforms and audiences seek entertainment across different media. It defines convergence and discusses how audiences and media consumption are changing, with audiences becoming more participatory and intelligent through collective knowledge-sharing. New models of media ownership and synergies between industries are also enabling greater convergence.
This document discusses social media addiction and its effects. It provides statistics on the growth of social media platforms and users. Some key effects of social media addiction mentioned are health issues like insomnia, anxiety, and eating disorders. Negative impacts on work performance, education, and social life are also discussed. The document predicts challenges in 2020 may include increased cybersex, online gambling, eBay, and video game addictions if usage is not moderated.
At the Social Simulation and Serious Games special track at ESSA 2014, Jeroen Linssen gave this talk about his ideas for a serious game for the improvement of social awareness of police officers and why he thinks that game mechanics can be used to offer a better learning experience than simply having a strict simulation of a certain situation.
A presentation I gave at an autumn school on serious games and contemporary AI. I address how playing games is more than just abiding by the rules: the complete interaction with the system is important for the experience.
Authenticity: The ultimate currency for brands onlineali Bullock
Companies still struggle with authenticity on social media and why and how they should implement this.
From internal people to the CEO, examples are outlined of how to navigate the social media landscape and how important credibility is during a crisis.
The document discusses several ways that the media industry is changing in the new media age. It explores how convergence allows different media to interact, how participation through things like commenting and sharing is fueling online communities and may be key to newspapers' survival. It also examines the rise of citizen journalism, changing working conditions for media professionals, and new commercial models around ideas like free content and the long tail theory. The role of the media consumer is also changing, with demand for bite-sized news and users actively producing user-generated content.
Live-streaming mobile video: Production as civic engagementAudubon McKeown D.
This document summarizes a study on live-streamed mobile video content from the website Qik.com between 2009-2010. The study analyzed over 1,000 videos to identify types of content and interviewed regular producers. 11% of videos were found to have civic value by covering public events, issues, or education. Producers were primarily male and civic videos averaged longer lengths. Producer interviews revealed motivations like immediacy, accessibility, and accidentally educating viewers. Producers repeatedly streamed civic content even with low viewers and intended to inform audiences across social networks.
Digital identity, privacy & authenticity - #CESI12 Catherine Cronin
This document discusses using social networking to connect students across different colleges and courses. It highlights student perspectives on using Google+ for collaborative assignments, including concerns about privacy when sharing opinions publicly. Some students found the assignments useful for gaining different viewpoints, while others felt pressure to post merely to complete the task. Overall, social media allowed students to engage in discussion beyond their typical classroom and with peers they otherwise would not have met.
Ways to stay connected: Harnessing, managing, and preventing context collapse...Stefanie Duguay
Social media sites, such as Facebook, present the potential for people to organise connections with acquaintances from all walks of life within a single site. This can lead to context collapse, a flattening of the boundaries that generally separate audiences for self-expression. Drawing on literature about young people’s social media use and my research with LGBTQ early adults, I will discuss how context collapse is experienced as an event through which individuals can intentionally redefine themselves across audiences or manage identity expressions received by unintended audiences. Possible strategies for reinstating contexts on social media will also be explored in this presentation.
YouTube content creators rely on building an audience to earn money through advertisements. They cannot see their actual audience, so they must imagine who their viewers are and tailor their content accordingly. Engaging with viewers through comments and responses helps turn them into fans more likely to watch future videos. YouTube provides metrics for creators to measure engagement and attention over time. Increased attention through higher retention rates leads to better search rankings and more views, translating to greater advertising revenue for creators.
Users have both an imagined audience and an invisible audience on Facebook. The imagined audience consists of specific friends from different networks that the user interacts with regularly offline. This imagined audience is what the user considers when creating status updates, targeting language and content to this group. However, users are also subconsciously aware of their invisible audience of all Facebook friends and users due to interactions like comments and likes from unexpected people. This research examines how users navigate between their imagined audience and awareness of their invisible audience when crafting status updates on Facebook.
This document summarizes a presentation about context collapse on social networking sites and how it affects LGBTQ identity disclosure on Facebook. The presentation discusses how context collapse, where multiple audiences are collapsed together, influences impression management decisions and strategies for dealing with stigma. It introduces research questions about these topics and how context collapse may impact future identity expression. The methods of interviews and Facebook walkthroughs are presented, as well as findings that some users employ passing, separating audiences, social steganography, and anonymous spaces to manage impressions and prevent context collapse when disclosing their LGBTQ identity online.
This document discusses several key concepts related to audiences and media effects:
- Audiences are "imagined communities" constructed by media institutions for profit motives.
- Audiences can be passive, directly influenced by media messages, or active, interpreting messages based on their own contexts.
- New digital technologies have fragmented audiences into niche groups.
- Uses and gratifications theory sees audiences as active in using media to fulfill personal needs.
- Reception theory examines how audiences decode media texts based on their own frameworks and experiences.
The document discusses various theories about media audiences and effects. It covers topics like:
1) Audience research that produces data on audience behavior and responses to help media producers. It also discusses how audience research is used to test audience theories.
2) Different audience theories ranging from direct effects theory to theories of active audiences. It places these theories on a spectrum from more behaviorist to more active audience-centered.
3) Historical examples of "moral panics" about new media and the idea that media are often blamed for societal issues. Several specific theories and models are also summarized briefly, including cultivation theory, uses and gratifications, and the two-step flow model.
The Impact of Social Media on Women's Self-Image and Self-RepresentationPamela Rutledge
Presentation from APA National Convention in San Diego: the impact of social media on women's self-image and self-representation. Part of a symposium co-sponsored by Division 46 (Media Psychology) and Division 35 (Psychology of Women) by Dr. Pamela Rutledge
This document discusses various theories about media audiences and effects, including:
- Direct effects theories that see audiences as passive recipients of media messages.
- Uses and gratifications theory that sees audiences as active in using media to fulfill needs.
- Cultivation theory that examines how heavy media exposure shapes viewers' perceptions of social reality.
- Agenda-setting theory about how media influence which issues the public sees as important.
- Two-step flow theory that found opinions are often influenced through opinion leaders not direct media exposure.
- Reception theories that examine how audiences make meanings from media in social and cultural contexts.
This document discusses the concept of media convergence. It provides several definitions of convergence, including the coming together of previously separate industries like computing, printing, film and audio due to technological developments and mergers between companies. Convergence is described as the flow of content across multiple media platforms, cooperation between industries, and how audiences will access content from different sources. The document also discusses different types of convergence including technological, economic, cultural, organic, and global convergence. It notes some advantages and disadvantages of convergence for both media industries and audiences.
This document defines and discusses the concept of media convergence from several perspectives. It begins by explaining the basic meaning of convergence and then outlines four dimensions of convergence according to Meikle: technological, industrial, social, and textual. It also discusses forms of convergence like technological, regulatory, media industry, and convergence culture. Key aspects of convergence culture are participatory media and collective intelligence. The document examines perspectives on convergence from scholars like Jenkins and Miller and notes that convergence is a complex, ongoing process rather than an endpoint. It is both a technological and cultural phenomenon driven by changes in user behavior and media consumption.
The document discusses Henry Jenkins' concept of "convergence culture" where content flows across multiple media platforms and audiences seek entertainment across different media. It defines convergence and discusses how audiences and media consumption are changing, with audiences becoming more participatory and intelligent through collective knowledge-sharing. New models of media ownership and synergies between industries are also enabling greater convergence.
This document discusses social media addiction and its effects. It provides statistics on the growth of social media platforms and users. Some key effects of social media addiction mentioned are health issues like insomnia, anxiety, and eating disorders. Negative impacts on work performance, education, and social life are also discussed. The document predicts challenges in 2020 may include increased cybersex, online gambling, eBay, and video game addictions if usage is not moderated.
At the Social Simulation and Serious Games special track at ESSA 2014, Jeroen Linssen gave this talk about his ideas for a serious game for the improvement of social awareness of police officers and why he thinks that game mechanics can be used to offer a better learning experience than simply having a strict simulation of a certain situation.
A presentation I gave at an autumn school on serious games and contemporary AI. I address how playing games is more than just abiding by the rules: the complete interaction with the system is important for the experience.
From Mobile Games to Playful Communication: Play in Everyday LifeFrans Mäyrä
This document discusses the increasing prevalence of play and games in everyday life, especially through mobile devices. It notes that nearly all Finns play games and most play digital games on mobile devices. It explores how games and playful communication are becoming integrated into other activities and can take many forms beyond traditional games. The document also examines examples of playful mobile apps and communications and discusses directions for developing games literacy and empowering playful, creative activities.
Gaming literacy is an approach to literacy based on game design that teaches new cognitive, creative, and social skills needed in the modern world. It includes four key concepts: systems literacy, which involves seeing the world as interconnected systems; play, which emerges from rules in an improvisational way; design, which creates meaningful contexts and possibilities; and cultural practices like reading and writing about games. Gaming literacy reverses the traditional view of games by relating them to the real world. It examines how games can help solve problems and think in new ways. Situational game design also focuses on designing meaningful situations for players rather than on arbitrary win states or predefined interactions.
A consideration of the role of technology in contemporary Drama Education - delivered as a keynote to the Drama Australia copnference, NIDA, Sydney 2006.
The document summarizes an educational live action role-playing (larp) game called Project System aimed at helping young people understand and think critically about the 40-year period of communism in Czechoslovakia. The larp placed players in the setting of a fictional totalitarian regime to experience life under such a system firsthand. Over three realizations involving 40 players each, the larp addressed themes like personal freedom and remaining morally upright under totalitarianism. Organizers found the larp effectively conveyed the pressures of life under totalitarianism in a way lectures could not and inspired thoughtful reflection among players.
1. The document discusses using virtual environments to teach history through interaction. It suggests examining games to understand why they are engaging, as games can provide interactive learning environments.
2. However, the author notes that while games are good at engagement, they often lack cultural significance present in history. The author provides some examples of both good and bad uses of games for history.
3. There are several problems discussed, such as a lack of incorporating inhabitants' points of view, incomplete usage of historical principles, and difficulties representing rituals and sensory aspects of history through current technology. The author suggests some potential solutions, such as role-playing as historical figures or modifying cities/events based on historical theories.
Presenter: James Collins, Digital Media Project Manager, Smithsonian Center for Learning and Digital Access
Every gem, artifact, and painting in a museum contains a story. How do we make games that do justice to our collections? How do we make games that go beyond teaching skills to teach an understanding of the world? Let’s rediscover the art of playful storytelling.
Slides for my presentation at Serious Play Conference 2015
Abstract:
Every gem, artifact, and painting in a museum contains a story. How do we make games that do justice to our collections? How do we make games that go beyond teaching skills to teach an understanding of the world? Let’s rediscover the art of playful storytelling.
Towards Measuring Consistency in Transmedial Narratives - Jonathan Barbara - ...Jonathan Barbara
This document proposes developing a scale to measure narrative consistency across transmedia storytelling experiences. It discusses why consistency is important but difficult to measure for stories told across multiple mediums. The document suggests a 5-point consistency scale from "consistent" to "conflicting" to rate different narrative elements like storyworld, events, and characters. It outlines a plan to test the scale by analyzing reviews of movie-based video games and coding them based on the scale. The goal is to create a tool that can measure consistency for interactive narrative games set in transmedia worlds.
This document discusses transmedia storytelling and different perspectives on what constitutes a transmedia story. It summarizes Henry Jenkins' definition of transmedia as a story structure that further develops the storyworld through different mediums. It also discusses views that transmedia engages audiences to enact story aspects in everyday life through merchandise, costumes, and games. While some see producer intent as key to transmedia, others argue viewer participation could also make unrelated events part of a transmedia story. The document questions if broader criteria than producer intent could define transmedia and explores examples like an influencer marketing box and serendipitous real-world events.
Med122 digital games: narrative and playRob Jewitt
This document discusses debates around how digital games are understood and analyzed. It outlines the narratology and ludology approaches, where narratology focuses on games as storytelling media and ludology emphasizes games as systems of rules and player interaction. The document also discusses how games combine both narrative elements and principles of play, challenging the notion that these are mutually exclusive. It provides examples of games studied through each lens and debates around player agency, character design, and the relationship between gameplay and narrative.
Explorations on e-lit & transmedia storytelling ferrarelli marianaMariana Ferrarelli
This document outlines an academic presentation on electronic literature and transmedia storytelling. It discusses how narrative and storytelling have evolved from traditional linear forms like books to newer nonlinear digital forms. It uses examples like the transmedia story Phrenic to illustrate how stories can be expanded across multiple platforms and media types, engaging audiences in more interactive and collaborative ways. The presentation is divided into three parts that cover literature and storytelling, social and textual practices, and incorporating new textual forms into the classroom.
"The Game of Game of Thrones. The Transmedial World of A Song of Ice and Fire and Its Video Game Adaptations". Presentation at the Winter School "Transmedial Worlds in Convergent Media Culture", February 24-28, 2014, University of Tuebingen.
Narrative is the way that stories are structured and told across different media. It involves organizing elements like characters, facts, actions, and locations into a meaningful story. Narrative allows humans to make sense of the world and put events in a logical order. Stories are commonly structured in a linear fashion, with one event following another. However, some narratives can also involve multiple interweaving storylines or leave the ending open-ended for the audience to interpret. Theories of narrative focus on how equilibrium is disrupted and then restored, as well as on common character archetypes found across different stories.
This document discusses the impact of technology on narratives and storytelling. It explores how technology has changed the way narratives are created and consumed over time, from oral traditions to printed books to digital formats. While books were once essential for sharing stories, technology has now enabled universal access to information and narratives through various mediums like social media, games, and online platforms. The quality of a narrative depends more on the content than the format or medium in which it is told. Technology both enables and challenges traditional concepts of narratives and storytelling.
Detention (2017, 2018) as Prologue: Using Games to Explore Ethics, Martial La...Sherry Jones
April 17, 2020 - Slides presented at the 2020 eLearning Consortium of Colorado Virtual Conference:
http://bit.ly/elccschedule
Access the Live Slides Presentation:
http://bit.ly/playexperiment
Session Abstract:
"In this keynote, Sherry introduces Confucian ethics and Detention (2017, 2018), a first person role-playing survival horror game developed and published by Red Candle Games. The game story is inspired by the actual history of Taiwan in the 1960s, when the Taiwanese government suppressed its citizens using martial law during the "White Terror" period. The game protagonists, Wei and Ray, wake up in an empty school and attempt to leave the school, while encountering a series of horrific events. The keynote will explore the themes of mass surveillance; suppressing speech; anti-intellectualism; anti-communism; banning of books; education as means of social control; government oppression; government corruption; informing the government/snitching on neighbors; unjust imprisonment; authoritarianism; martial law; rebellion; retribution; karma; and guilt."
This document discusses the concept of transmedia storytelling, which involves telling a story across multiple media platforms. It defines different levels of transmedia from "pushed media" to "experienced/bridged media". Examples like The Matrix, Pokemon, and Yu-Gi-Oh are analyzed as transmedia texts that use movies, television shows, comics, games, and other media to immerse audiences in fictional worlds and allow participation across platforms. The document concludes with discussion questions about how transmedia can be used aesthetically and as a marketing tool, as well as how new technologies are changing transmedia projects.
Similar to Interactive stories and serious games for social interaction (20)
For the bi-monthly Twente Data Meetup, Jeroen Linssen gave a presentation on the lessons learned in various research projects related to smart industry, carried out in the research group Ambient Intelligence.
One-hour talk for a colloquium at the University of Utrecht for AI and Game & Media Technology students. One the contents of my dissertation: https://doi.org/10.3990/1.9789036543439
For the Capgemini Innovators Race 50, we present R3D3, the Rolling Receptionist Robot with Double Dutch Dialogue. R3D3 is an intelligent, autonomous robot accompanied by a virtual human which, together, help visitors of museums and Retail.
Presentation at IVA 2015 in Delft. I explain how we made a serious game for training social skills of police students and evaluated this at the Dutch Police Academy.
At the Social Simulation and Serious Games special track at ESSA 2014, Setsuya Kurahashi gave this talk on the effects of different kinds of collaborative learning on different kinds of school classes.
This document discusses the differences and potential connections between social computer simulation and serious gaming. It explores how simulation can benefit from elements of gaming like interaction and real-time elements, while gaming can learn from the realism of simulation models. Two case studies are presented: an agent-based simulation of Beijing's population and a simulation of barge transportation strategies. While simulations provide realism, gaming adds elements of play and interaction that can engage participants. The key is finding the right balance of realism, meaning, and play.
More from Saxion University of Applied Sciences (6)
The ability to recreate computational results with minimal effort and actionable metrics provides a solid foundation for scientific research and software development. When people can replicate an analysis at the touch of a button using open-source software, open data, and methods to assess and compare proposals, it significantly eases verification of results, engagement with a diverse range of contributors, and progress. However, we have yet to fully achieve this; there are still many sociotechnical frictions.
Inspired by David Donoho's vision, this talk aims to revisit the three crucial pillars of frictionless reproducibility (data sharing, code sharing, and competitive challenges) with the perspective of deep software variability.
Our observation is that multiple layers — hardware, operating systems, third-party libraries, software versions, input data, compile-time options, and parameters — are subject to variability that exacerbates frictions but is also essential for achieving robust, generalizable results and fostering innovation. I will first review the literature, providing evidence of how the complex variability interactions across these layers affect qualitative and quantitative software properties, thereby complicating the reproduction and replication of scientific studies in various fields.
I will then present some software engineering and AI techniques that can support the strategic exploration of variability spaces. These include the use of abstractions and models (e.g., feature models), sampling strategies (e.g., uniform, random), cost-effective measurements (e.g., incremental build of software configurations), and dimensionality reduction methods (e.g., transfer learning, feature selection, software debloating).
I will finally argue that deep variability is both the problem and solution of frictionless reproducibility, calling the software science community to develop new methods and tools to manage variability and foster reproducibility in software systems.
Exposé invité Journées Nationales du GDR GPL 2024
The use of Nauplii and metanauplii artemia in aquaculture (brine shrimp).pptxMAGOTI ERNEST
Although Artemia has been known to man for centuries, its use as a food for the culture of larval organisms apparently began only in the 1930s, when several investigators found that it made an excellent food for newly hatched fish larvae (Litvinenko et al., 2023). As aquaculture developed in the 1960s and ‘70s, the use of Artemia also became more widespread, due both to its convenience and to its nutritional value for larval organisms (Arenas-Pardo et al., 2024). The fact that Artemia dormant cysts can be stored for long periods in cans, and then used as an off-the-shelf food requiring only 24 h of incubation makes them the most convenient, least labor-intensive, live food available for aquaculture (Sorgeloos & Roubach, 2021). The nutritional value of Artemia, especially for marine organisms, is not constant, but varies both geographically and temporally. During the last decade, however, both the causes of Artemia nutritional variability and methods to improve poorquality Artemia have been identified (Loufi et al., 2024).
Brine shrimp (Artemia spp.) are used in marine aquaculture worldwide. Annually, more than 2,000 metric tons of dry cysts are used for cultivation of fish, crustacean, and shellfish larva. Brine shrimp are important to aquaculture because newly hatched brine shrimp nauplii (larvae) provide a food source for many fish fry (Mozanzadeh et al., 2021). Culture and harvesting of brine shrimp eggs represents another aspect of the aquaculture industry. Nauplii and metanauplii of Artemia, commonly known as brine shrimp, play a crucial role in aquaculture due to their nutritional value and suitability as live feed for many aquatic species, particularly in larval stages (Sorgeloos & Roubach, 2021).
The binding of cosmological structures by massless topological defectsSérgio Sacani
Assuming spherical symmetry and weak field, it is shown that if one solves the Poisson equation or the Einstein field
equations sourced by a topological defect, i.e. a singularity of a very specific form, the result is a localized gravitational
field capable of driving flat rotation (i.e. Keplerian circular orbits at a constant speed for all radii) of test masses on a thin
spherical shell without any underlying mass. Moreover, a large-scale structure which exploits this solution by assembling
concentrically a number of such topological defects can establish a flat stellar or galactic rotation curve, and can also deflect
light in the same manner as an equipotential (isothermal) sphere. Thus, the need for dark matter or modified gravity theory is
mitigated, at least in part.
Authoring a personal GPT for your research and practice: How we created the Q...Leonel Morgado
Thematic analysis in qualitative research is a time-consuming and systematic task, typically done using teams. Team members must ground their activities on common understandings of the major concepts underlying the thematic analysis, and define criteria for its development. However, conceptual misunderstandings, equivocations, and lack of adherence to criteria are challenges to the quality and speed of this process. Given the distributed and uncertain nature of this process, we wondered if the tasks in thematic analysis could be supported by readily available artificial intelligence chatbots. Our early efforts point to potential benefits: not just saving time in the coding process but better adherence to criteria and grounding, by increasing triangulation between humans and artificial intelligence. This tutorial will provide a description and demonstration of the process we followed, as two academic researchers, to develop a custom ChatGPT to assist with qualitative coding in the thematic data analysis process of immersive learning accounts in a survey of the academic literature: QUAL-E Immersive Learning Thematic Analysis Helper. In the hands-on time, participants will try out QUAL-E and develop their ideas for their own qualitative coding ChatGPT. Participants that have the paid ChatGPT Plus subscription can create a draft of their assistants. The organizers will provide course materials and slide deck that participants will be able to utilize to continue development of their custom GPT. The paid subscription to ChatGPT Plus is not required to participate in this workshop, just for trying out personal GPTs during it.
hematic appreciation test is a psychological assessment tool used to measure an individual's appreciation and understanding of specific themes or topics. This test helps to evaluate an individual's ability to connect different ideas and concepts within a given theme, as well as their overall comprehension and interpretation skills. The results of the test can provide valuable insights into an individual's cognitive abilities, creativity, and critical thinking skills
The technology uses reclaimed CO₂ as the dyeing medium in a closed loop process. When pressurized, CO₂ becomes supercritical (SC-CO₂). In this state CO₂ has a very high solvent power, allowing the dye to dissolve easily.
Immersive Learning That Works: Research Grounding and Paths ForwardLeonel Morgado
We will metaverse into the essence of immersive learning, into its three dimensions and conceptual models. This approach encompasses elements from teaching methodologies to social involvement, through organizational concerns and technologies. Challenging the perception of learning as knowledge transfer, we introduce a 'Uses, Practices & Strategies' model operationalized by the 'Immersive Learning Brain' and ‘Immersion Cube’ frameworks. This approach offers a comprehensive guide through the intricacies of immersive educational experiences and spotlighting research frontiers, along the immersion dimensions of system, narrative, and agency. Our discourse extends to stakeholders beyond the academic sphere, addressing the interests of technologists, instructional designers, and policymakers. We span various contexts, from formal education to organizational transformation to the new horizon of an AI-pervasive society. This keynote aims to unite the iLRN community in a collaborative journey towards a future where immersive learning research and practice coalesce, paving the way for innovative educational research and practice landscapes.
Unlocking the mysteries of reproduction: Exploring fecundity and gonadosomati...AbdullaAlAsif1
The pygmy halfbeak Dermogenys colletei, is known for its viviparous nature, this presents an intriguing case of relatively low fecundity, raising questions about potential compensatory reproductive strategies employed by this species. Our study delves into the examination of fecundity and the Gonadosomatic Index (GSI) in the Pygmy Halfbeak, D. colletei (Meisner, 2001), an intriguing viviparous fish indigenous to Sarawak, Borneo. We hypothesize that the Pygmy halfbeak, D. colletei, may exhibit unique reproductive adaptations to offset its low fecundity, thus enhancing its survival and fitness. To address this, we conducted a comprehensive study utilizing 28 mature female specimens of D. colletei, carefully measuring fecundity and GSI to shed light on the reproductive adaptations of this species. Our findings reveal that D. colletei indeed exhibits low fecundity, with a mean of 16.76 ± 2.01, and a mean GSI of 12.83 ± 1.27, providing crucial insights into the reproductive mechanisms at play in this species. These results underscore the existence of unique reproductive strategies in D. colletei, enabling its adaptation and persistence in Borneo's diverse aquatic ecosystems, and call for further ecological research to elucidate these mechanisms. This study lends to a better understanding of viviparous fish in Borneo and contributes to the broader field of aquatic ecology, enhancing our knowledge of species adaptations to unique ecological challenges.
When I was asked to give a companion lecture in support of ‘The Philosophy of Science’ (https://shorturl.at/4pUXz) I decided not to walk through the detail of the many methodologies in order of use. Instead, I chose to employ a long standing, and ongoing, scientific development as an exemplar. And so, I chose the ever evolving story of Thermodynamics as a scientific investigation at its best.
Conducted over a period of >200 years, Thermodynamics R&D, and application, benefitted from the highest levels of professionalism, collaboration, and technical thoroughness. New layers of application, methodology, and practice were made possible by the progressive advance of technology. In turn, this has seen measurement and modelling accuracy continually improved at a micro and macro level.
Perhaps most importantly, Thermodynamics rapidly became a primary tool in the advance of applied science/engineering/technology, spanning micro-tech, to aerospace and cosmology. I can think of no better a story to illustrate the breadth of scientific methodologies and applications at their best.
Current Ms word generated power point presentation covers major details about the micronuclei test. It's significance and assays to conduct it. It is used to detect the micronuclei formation inside the cells of nearly every multicellular organism. It's formation takes place during chromosomal sepration at metaphase.
ESPP presentation to EU Waste Water Network, 4th June 2024 “EU policies driving nutrient removal and recycling
and the revised UWWTD (Urban Waste Water Treatment Directive)”
Interactive stories and serious games for social interaction
1. Interactive Stories
and Serious Games
for Social Interaction
Jeroen Linssen | PhD student
Human Media Interaction
University of Twente
2. Part 1: The VST
• The Virtual Storyteller:
• Story generation
• Interactive stories
• In-character and out-of-character
Outline
Part 2: Serious games
• Training through gaming
• Socially intelligent agents
• Meta-techniques
2/30
4. • Story generation through simulation [http://vimeo.com/11836534]
• Emergent narrative in a multi-agent system
• From simulation for story generation to interactive stories
The Virtual Storyteller
4/30
5. • Story emerges from characters’ actions
• Inspiration: improvisational theatre
• Offers & accepts
Emergent narrative
5/30
6. • Plot Agent: assigns roles
• World Agent: objective world knowledge
• Character Agents
• Virtual characters
• Plan towards their own goals
VST’s agents
6/30
8. • Actor vs. character distinction
• Out-of-character techniques
Character Actor
I am a typical
teenager
In-character &
out-of-character
Whatever,
just leave
me alone!
8/30
9. Pirate domain
Scurvy wants to get the piece of cheese.
Scurvy assumes the cheese is in the
galley.
Scurvy walks to the cargo hold via the
door.
Scurvy walks to the gun deck via the
ladder.
Scurvy opens the door to the galley.
Scurvy can see the cheese is not in the
galley.
O’Malley sees Scurvy.
O’Malley wants to catch Scurvy.
O’Malley walks to the gun deck via the
door.
Princess domain
Once upon a time, there was a
beautiful princess called
Amalia. A knight from a far
way country was in love with
her and she was in love with a
young prince. The knight was
jealous, so he wished to
kidnap her. Because the
princess lived in a large castle,
he went to the castle. He tried
to open the heavy gate. The
knight climbed into a high
tree. [..]
Generated stories
9/30
10. • Authoring is an iterative process
• Examples of ‘mis-generated’ stories:
• A pirate wants to go to an island...
• A pirate wants to send someone to hell...
• Authoring: specifying the story world
Authoring for emergence
10/30
11. • Little Red Riding Hood [http://vimeo.com/68865491]
• Co-creation
• Discovering the story world
The Interactive Storyteller
11/30
13. • Stories with morals: they tell something
• Obey the gods, or woe will befall you
• Respect your elders
• Think about them, reflect on the events
• “Narrative is read approximately twice as fast as
informational text but remembered twice as well.” (Graesser et
al., 2002)
Serious stories?
13/30
14. • “All games revolve around learning.” (Erik van der Spek)
• Super Mario Bros. World 1-1
Games and learning
14/30
15. • Domain: law enforcement (interviews, street intervention)
• Police officers need to resolve conflicts peacefully
• Improve social awareness
Serious games for
social awareness
15/30
16. • Interaction with virtual characters
• Accessible
• Focus not on performing,
but experiencing
• Clear goals, clear feedback
Training through gaming
16/30
17. • Focus on learning goals
• Insight in procedure
• Improving awareness
• Interaction in a system
• Don’t simulate, exaggerate
• Playful interaction
• Abstract from real world
• Convey knowledge using metaphors
Serious game design
17/30
18. • Board game
by T-Xchange
• Police vs.
juveniles
• Police trainees
act as juveniles
• Evokes
discussion
Example: ‘Samen Hangend’
(Sequacious)
18/30
19. • Interaction with virtual agents
• Let agents use theories on social interaction
• Again, an emergent narrative
LOITER: Interaction with
virtual characters
19/30
21. • Analysed behaviour (corpus)
• Semantic frame
• Which factors play an important
role?
• From practice to theory
Modelling social interaction
21/30
22. • Stance: the interpersonal circumplex
(Leary, 1957)
• Face (Goffman, 1955)
• Need for autonomy
• Need for approval
• Rapport: feeling ‘in sync’ with someone (Tickle-Degnen & Rosenthal,
1992)
• From theory to practice
Social interaction
Dominance
Affection
Aggressive Leading
Introverted Following
22/30
23. • Learning goals based on theories from social psychology
• Examples: recognise stance and adopt a stance
• Feedback
• Explainable AI
• Supports the learning goals
Learning goals and feedback
23/30
24. Game Learning
• Play cycle, learning cycle (Koops & Hoevenaar, 2012)
• Experiencing, then reflecting
• At which moments?
Lemniscate model
24/30
25. • (Nordic) live action role play
• Meta-technique: communicating
out-of-character information
• Examples: inner monologue,
flashback/forwards
Meta-techniques
25/30
26. • Complexity levels of interaction/learning goals
• Between interactions, feedback through discussion
between character and player
• Lemniscate model: play and reflect
• Use to automatically adapt next interaction
Meta-technique:
‘Act break’
26/30
27. • Provide insight into characters’ minds
• Inspiration: thought bubbles
from comics, games
• Less intrusive to story flow,
still play/reflect cycle
Meta-technique:
‘Inner monologue’
27/30
28. • How much do these meta-techniques contribute to
learning?
• How do different interfaces influence learning?
• Story structure: toward emergent narrative
• OOC adaptation to player: adaptive difficulty
LOITER: Next steps
28/30
29. Take Home Message
Be meta
Get inspired by other fields
Don’t take everything too seriously
29/30
30. Thanks Thanks for
listening!
listening!
Let’s Let’s discuss...
mail j.m.linssen@utwente.nl
blog jmlin.eu/phd
Virtual Storyteller virtualstoryteller.info
commit-nl.nl
And they learned happily ever after...
30/30
31. • Theune, M., Linssen, J.M., & Alofs, T. (2013). Acting, Playing or Talking about the
Story: Children’s Communication during Interactive Digital Storytelling. In Proceedings of
the International Conference on Interactive Digital Storytelling.
• Bruijnes, M., Linssen, J.M., op den Akker, H.J.A., Theune, M., Wapperom, S., Broekema,
C., & Heylen, D.K.J. (2014). Social Behaviour in Police Interviews: Relating Data to
Theories, in Poggi, I., Vincze, L., & Vinciarelli, A. (eds.) Conflict and Negotiation: Social
Research and Machine Intelligence, Springer, Berlin.
• Linssen, J.M., Theune, M., & de Groot, T.F. (2013). What Is at Play? Meta-techniques in
Serious Games and Their Effects on Social Believability and Learning. In Proceedings of the
Social Believability in Games Workshop.
• Linssen, J.M., de Groot, T.F., & Theune, M. (In press). Beyond Simulations: Serious Games
for Training Interpersonal Skills in Law Enforcement. In Proceedings of the International
Conference of the European Social Simulation Association.
• van Oostendorp, H., van der Spek, E.D., & Linssen, J.M. (2014). Adapting the Complexity
Level of a Serious Game to the Proficiency of Players. EAI Endorsed Transactions on
Serious Games, 14(2).
Publications
31/30
32. • Belarbi, S., Bergström, K., Ebbehøj, S. L., Hansen, E. E., Fatland, E.,
Giæver, O. P., … Westlund, A. (2010). Nordic larp. (J. Stenros & M.
Montola, Eds.).
• Swartjes, I. M. T. (2010). Whose story is it anyway? How improv
informs agency and authorship of emergent narrative. Centre for
Telematics and Information Technology University of Twente.
• XKCD.com, comic 1089
• Graesser, A.C., Olde, B., and Klettke, B. (2002). How does the mind
construct and represent stories? In M.C. Green, J.J. Strange & T.C.
Brock (Eds.), Narrative Impact: Social and Cognitive Foundations
(231-263). Mahwah NJ: Lawrence Erlbaum Associates.
• Koops, M., & Hoevenaar, M. (2012). Conceptual Change During a
Serious Game: Using a Lemniscate Model to Compare Strategies in a
Physics Game. Simulation & Gaming, 44(4), 544–561.
References
32/30
33. • Human Media Interaction: http://hmi.ewi.utwente.nl
• T-Xchange: http://www.txchange.nl
• re-lion: http://www.re-lion.com
Links
33/30
34. • Mariët Theune, coordinator (2002 – now)
• Hans ten Brinke, perceptions and assumptions (2014)
• Thijs Alofs, Interactive Storyteller (2012)
• Ivo Swartjes, lead designer (2006 – 2010)
• Pjotter Tommassen, plot control (2009)
• Nanda Slabbers, language generation (2006)
Virtual Storyteller credits
34/30
Editor's Notes
My background
- Video: +/- 5 minutes
No longer a branching narrative
Characters together make story
Improv: de Lama’s; build a story brick by brick, can offer and accept new bits
Causal chain for plan to get food in a different room
Top-right: goal motivates all actions
Top-left, clockwise: character walks, opens door, walks through the door, sees the food, and walks to the other location where he picks up the food and has a successful outcome
Interactivity and story as concepts are at odds: a pre-determined story can not be influenced
We can have either one or the other
Solution: IC/OOC distinction
Pirate domain: rat and cat
Goal
Assumption
Perception
Princess domain:
Using the fabula, NLG!
Status quo
Goal with reason
Planning
Failing
Re-planning
Authoring for emergent narrative is iterative
Island:
Pirate can use a cannon
Cannon can shoot objects to locations
Pirate shoots himself from the cannon to the island
Hell:
Hell is a place
Pirate knows that holding something will take it with him somewhere
Pirate knows that killing himself will send him to hell
So he holds onto someone, kills himself and they both end up in hell
Young target group (8-10 y/o)
Video +/- 2 min.
Not all discussed techniques implemented in this system
Co-creation: jointly making a story, adding external elements to the interaction
What we also saw during analysis of children’s interactions with the Interactive Storyteller is that they first have to discover what is actually possible in the story world before they can plan toward certain goals...
AGENCY!
When I was studying CAI, I did my master’s thesis on adaptive difficulty in a serious game
E. v.d. S.: PhD from UU, research on serious games
Super Mario Bros.: typical example
In the first level, all the basic ingredients for the complete gameplay are introduced
An enemy, a power up, ? blocks, brick blocks, multiple levels and a pipe
All of these things cry for interaction and give feedback on what happens if you interact with them
Thus, within the first minute of playing, you have already learned the basics
My research now: also serious games
Social/soft skills
More accessible: low(er) effort to play (also motivational!)
Experiencing different situations: players may do something wrong and learn from that!
Clearer: more abstract, simple
A few important points to take with you when you think about serious game design:
The serious
The game
Next, I’ll show you an example of a game that doesn’t look that serious, but still is a ‘serious’ game
Learning goal: get insight that juveniles want to hang together and that you have to disperse them
Various ways to do so
When a group gets large, it can become larger even faster
Scenario: loitering juveniles, player has to resolve conflict
No pre-scripted storyline to let players experience what could actually happen; providing lots of agency
Next slide: Now, to make characters behave believably...
Annotations to actions in terms of theories to rule-based approach
Semantic frame
Next slide: Theories from social psychology
Theory to practice: create actions based on variations of combinations of these theories
Explainable AI:
Characters can explain their actions
In terms of social theories
Again, the distinction between story world and meta-world
Meta-technique: as the name implies... used to enrich story!
Explanation in terms of social theories
Adaptation: if the player asks questions about one type of action or fails to answer questions from the character correctly, then add more of that behaviour to the next interaction
Examples from games? (TWD, The Sims)
Balance agency in game
Look beyond your own field, use art, sociology, etc.
Try things, don’t be too formal or theoretical, see what kind of crazy stuff your game or system can do
Having said that, I want to thank you all for listening.