Mapping Social TV Audiences: The Footprints of Leading Shows in the Austral...Axel Bruns
Paper by Axel Bruns, Darryl Woodford, Tim Highfield, and Katie Prowd, presented at the Association of Internet Researchers conference, Daegu, Korea, 22-25 Oct. 2014.
The tweeting broadcaster: SBS and social media audience engagementTim Highfield
- The document analyzes SBS's use of broadcaster-specific hashtags on Twitter for their coverage of Eurovision and the Tour de France in 2012-2013. It found that #sbseurovision and #sbstdf fostered conversation around shared viewing experiences and strengthened relationships between audiences and SBS. However, Eurovision tweets tended to be isolated comments while TDF tweets featured more interactivity and sense of community. SBS's social media strategies extend beyond Twitter to other platforms to provide an integrated online experience around these events.
One Day in the Life of a National TwittersphereAxel Bruns
This document summarizes research on analyzing Twitter data from Australian accounts. It describes a project that identified over 2.8 million Twitter accounts based in Australia and captured over 1 billion tweets from these accounts. The research analyzes data from a single day, August 6th 2015, when 1.1 million tweets were posted between 147,000 Australian accounts. The tweets were grouped into clusters based on their topics, such as politics, cricket, and pop culture. Analysis of the clusters found differences in their hashtag usage, positions in the follower network, and interactions both within and across clusters. This research aims to provide a more comprehensive view of the "Australian Twittersphere" than previous studies focused on hashtags or specific events.
Part 1 of the "Making Sense of Twitter: Quantitative Analysis Using Twapperkeeper and Other Tools" workshop, presented at the Communities & Technologies 2011 conference, Brisbane, 29 June 2011.
Mapping Movements: Social movement research and big data: critiques and alter...Tim Highfield
Paper presented by Sky Croeser and Tim Highfield at Compromised Data? colloquium, Toronto, Canada, 29 October 2013. http://www.infoscapelab.ca/news/oct-28-29-colloquium-compromised-data-new-paradigms-social-media-theory-and-methods
[Tim's additional note: This presentation is focused specifically on doing research around social movements and producing findings and contributing new knowledge about how activists use social media and online technologies – there is some very important and detailed quantitative analysis of Twitter discussions around social movements and uprisings which provide critical information about communication online and responses to international events, and my intent is not to discount this work just because it is quant-only – these studies do different things and have different aims, and so the scope of their findings is not the same by extension (I’m not sure that I made this point clearly in the presentation, though).]
Mapping Social TV Audiences: The Footprints of Leading Shows in the Austral...Axel Bruns
Paper by Axel Bruns, Darryl Woodford, Tim Highfield, and Katie Prowd, presented at the Association of Internet Researchers conference, Daegu, Korea, 22-25 Oct. 2014.
The tweeting broadcaster: SBS and social media audience engagementTim Highfield
- The document analyzes SBS's use of broadcaster-specific hashtags on Twitter for their coverage of Eurovision and the Tour de France in 2012-2013. It found that #sbseurovision and #sbstdf fostered conversation around shared viewing experiences and strengthened relationships between audiences and SBS. However, Eurovision tweets tended to be isolated comments while TDF tweets featured more interactivity and sense of community. SBS's social media strategies extend beyond Twitter to other platforms to provide an integrated online experience around these events.
One Day in the Life of a National TwittersphereAxel Bruns
This document summarizes research on analyzing Twitter data from Australian accounts. It describes a project that identified over 2.8 million Twitter accounts based in Australia and captured over 1 billion tweets from these accounts. The research analyzes data from a single day, August 6th 2015, when 1.1 million tweets were posted between 147,000 Australian accounts. The tweets were grouped into clusters based on their topics, such as politics, cricket, and pop culture. Analysis of the clusters found differences in their hashtag usage, positions in the follower network, and interactions both within and across clusters. This research aims to provide a more comprehensive view of the "Australian Twittersphere" than previous studies focused on hashtags or specific events.
Part 1 of the "Making Sense of Twitter: Quantitative Analysis Using Twapperkeeper and Other Tools" workshop, presented at the Communities & Technologies 2011 conference, Brisbane, 29 June 2011.
Mapping Movements: Social movement research and big data: critiques and alter...Tim Highfield
Paper presented by Sky Croeser and Tim Highfield at Compromised Data? colloquium, Toronto, Canada, 29 October 2013. http://www.infoscapelab.ca/news/oct-28-29-colloquium-compromised-data-new-paradigms-social-media-theory-and-methods
[Tim's additional note: This presentation is focused specifically on doing research around social movements and producing findings and contributing new knowledge about how activists use social media and online technologies – there is some very important and detailed quantitative analysis of Twitter discussions around social movements and uprisings which provide critical information about communication online and responses to international events, and my intent is not to discount this work just because it is quant-only – these studies do different things and have different aims, and so the scope of their findings is not the same by extension (I’m not sure that I made this point clearly in the presentation, though).]
Everyone’s Watching It: The Role of Hype in Television Engagement through So...Darryl Woodford
Presentation by Darryl Woodford & Katie Prowd, Queensland University of Technology, at the Social Media and The Transformation of Public Space Conference: Amsterdam, The Netherlands; 18 June 2014.
Role of Data Analytics in the Media and Entertainment Industry - White PaperSG Analytics
As technologies evolve, there will be one universal
marketplace for content in the next decade. As a result,
there will be abundant content from across the world,
which will be accessible to customers across countries
and languages. The trend of purchasing global rights
will also continue. For instance, Indian shows have
begun infusing global casts to make their stories reach
everywhere. In 2023 and beyond, gaming is also set to play a critical role across the media and entertainment sector, as it will highlight communities in expanding entertainment licenses.
Download Whitepaper - https://us.sganalytics.com/whitepapers/role-of-analytics-in-making-better-content-decisions/
4 things that brands are doing to win in the new video landscapeLucas Modesto
Back in the 1950s, when TV was first gaining popularity as an entertainment medium, advertisers had it fairly easy. With only three networks and one viewing screen, the audience was highly concentrated. To this day, I Love Lucy still holds the record for the highest Nielsen average for a TV season—67.3. Families around America tuned in weekly for a season that started with Lucy battling a conveyor belt at a chocolate factory and eventually welcomed Ricky Jr. to the world.1
Because of this concentrated TV viewing audience, advertisers knew when, where and what the whole country was watching without the need for sophisticated technology, data collection, or analysis.
Today’s television viewing landscape is very different. While TV screens still account for 91% of our viewing time,2 we’re now able to watch great video content wherever, whenever and however we want. According to Nielsen, traditional TV watching has declined 44% for viewers 18-24 years old and 32% for viewers 25-34 years old over the past five years.3 Meanwhile, streaming video is on the rise. In 2017, 59% of American households had a streaming video subscription, compared to just 38% in 2014.4
Volker Dressel, CEO, Quaid Media
TV - The Next Phase in User Acquisition for Mobile Games
Volker Dressel, CEO, Quaid Media
Реклама на ТВ - следующий шаг в приобритении пользователей для мобильных игр
The official conference website — http://wnconf.com/#home
The role-of-digital-in-tv articles (1) (1)Greg Sterling
Digital platforms like YouTube and Google Search are changing how people experience television. People are using these platforms to research shows, engage as fans, and access TV content beyond traditional viewing windows. Research shows growth in TV-related searches and videos online. Fans actively discuss and create new content about shows on YouTube, with high levels of engagement. Viewers also use digital to catch up on past seasons and episodes through time-shifting and on-demand streaming.
Right content, Right Audience: Finding the Perfect Match Spredfast
How do you define your audience? And then how do you marry that audience with content that truly speaks to them, building a compelling relationship that drives devotion? We’ll explore how giving an audience the stories it craves can spell a lasting, fruitful relationship between brand and consumer—and how using data-based audience analysis to learn what will truly resonate can drive programming, marketing, and more.
This document discusses social media and return on investment (ROI). It summarizes arguments that question whether social media provides ROI, including statistics showing low referral rates from social media to sales. However, it also provides counterarguments that social media builds long-term advocacy and sales. It notes social media is the most trusted advertising source, increases effectiveness of other marketing, and is important for customer service, PR and issues management. While not driving immediate sales, social media engagement over time can increase spending by 20% and turn detractors into loyal customers. The document concludes integrated social media combined with other channels has higher impact than any single medium alone.
The document discusses the relationship between social media and television. It covers how viewers now engage with TV through social platforms, how networks and advertisers are leveraging social media, and new technologies that enable social TV experiences. Networks are increasingly integrating social media into programming and measuring online buzz. Analytics companies are providing data on social conversations around TV shows. New technologies like smart TVs and apps are fusing social media with the television viewing experience.
So many screens, so little time and money. How and where are brands' video stories being told? We open the Summit drilling into media plans that are (and aren't) working across available screens. And where do these emerging channels sit within the agency now?
Realities of successful_direct_marketing__finalTim
1) The rise of mobile devices and consumers' need for omnichannel experiences is changing how direct marketing must be designed and executed. Websites and content need to be optimized for mobile and integrate online and offline experiences.
2) Building trust, emotional connections, and relationships is important as perceived brand trust and advocacy are strong drivers of customer behavior. Content marketing and video are ways to engage customers on these levels.
3) Traditional satisfaction metrics are outdated and new metrics like advocacy better predict business outcomes by capturing customers' influence on others. Analysis of advocacy drivers is key to improving performance.
4) Direct marketing now requires customer dialogue, inclusion and collaboration to engage in two-way conversations and involve customers in brand messaging and
This document provides an overview and agenda for a Nielsen presentation. It discusses Nielsen's measurement methodology updates, including changes to HUT/PUT definitions to include all time-shifted viewing, the expansion of hybrid measurement using code readers and current Nielsen panels, and new markets for hybrid measurement. It also covers Nielsen's television, cross-platform, and online digital measurement products and emerging areas like over-the-top video and social media integration.
The Impact of Influencer Marketing on the viewing choice of OTT PlatformsAMIT KUMAR MANDAL
We live in a digital age when everyone has access to the internet, a medium that connects and informs everyone.
Digital media, sometimes known as alternative media, is how the internet allows us to communicate, consume material, and obtain fashion inspiration from online influencers.
Business Analytics for the Broadcasting IndustryFarzad Minooei
Digital age poses new challenges to broadcast industry. The market has become more fragmented. The behavior of consumers has been dramatically changed. New content creation models has been emerged. As a result, this environment created a fierce competition across media and broadcast agencies to attract the audience’s attention. Although new technologies brought challenges to the industry, they promise new opportunities to tackle these challenges. In this presentation, I discuss the application of business analytics for broadcast industry and showcase some examples of successful implementation of business analytics in broadcast agencies.
Business analytics is the scientific process of transforming data into insight for making better decisions. By employing different data sources, business analytics can help broadcast agencies to better understand their consumers, identify opportunities for increasing their engagement with the content, target different segments more accurately, and predict consumers’ behavior and optimize allocation of resources across different media channels.
As an example, Entravision, a media company targeting US Latinos, provides a platform which gives its clients access to Latino persona models and analytics. It helps provide clients with a clearer understanding of how Latino consumers behave. The Real‐Time Cloud Insights is another platform created by Entravision, which takes a client's data and integrates near real-time insights to build predictable, relevant models and can improve business efficiencies in real time. Another example is partnership between FOX Networks Group and Facebook to broadcast OUTCAST show in Facebook live and analyze the reaction of the audience behavior in social media.
These examples illustrates the applications of analytics in the broadcast industry. It also indicates a new area has started in which the media agencies have no longer faced mass consumers. Instead, they need to treat them as individuals.
This document provides an overview of key considerations for developing an effective media plan. It discusses defining objectives and desired results, targeting the appropriate audience, determining optimal timing and messaging, and selecting appropriate media vehicles. The document emphasizes that defining the right audience is crucial, as reaching the wrong people will undermine the media plan's success regardless of other elements. It also notes that all potential media channels should be evaluated based on their strengths and weaknesses for reaching the target audience.
Executive Summary
What a difference a year makes. In 2012, the Newfronts were a mish mosh of original series announcements
that included the likes of top-name talent like Anthony Zuker and Jay-Z, lots of talk of device and
technology and a significant amount of “we’re better than TV”. Well, a year has gone by and it’s safe to
say that Yahoo!’s “Burning Love” (proven by the fact that it’s now being aired on E!) was the only true
success from 2012. Given the significant changes in direction, we can assume that most of the digital
networks figured out that they got it all wrong last year.
Netflix and Hulu are subscription streaming services with social media presences. Netflix was founded in 1997 and has 60 million US and 150 million worldwide subscribers, while Hulu was founded in 2007 and has 28 million US subscribers. Netflix has the strongest social media presence, especially on Instagram and Twitter, posting humor and new content. Hulu's presence is weaker, focusing on Twitter over Instagram and Facebook. Both use social media to engage followers and promote shows, but Netflix sees more engagement due to its larger content library.
Measuring The Success of Tourism & Event Queensland’s ‘Instameet’ CampaignDarryl Woodford
Queensland's "Instameet" campaign organized 89 meetups across the state to promote tourism on Instagram. Over 6,000 images were posted with campaign hashtags on the day of the event, far more than typical. The campaign resulted in over 6,000 new Instagram followers for Tourism and Events Queensland. While increased social media engagement does not guarantee more tourism, the campaign was successful at generating imagery and attention around Queensland as a destination on social media.
Slicing Big Data: Gambling, Twitter & Time Sensitive InformationDarryl Woodford
Presented at the Internet Researchers conference in Denver, CO -- 26 October 2013. Discusses Gambling, Reality TV, and World Events in the Context of Twitter Data, and selecting usable data from big data.
Everyone’s Watching It: The Role of Hype in Television Engagement through So...Darryl Woodford
Presentation by Darryl Woodford & Katie Prowd, Queensland University of Technology, at the Social Media and The Transformation of Public Space Conference: Amsterdam, The Netherlands; 18 June 2014.
Role of Data Analytics in the Media and Entertainment Industry - White PaperSG Analytics
As technologies evolve, there will be one universal
marketplace for content in the next decade. As a result,
there will be abundant content from across the world,
which will be accessible to customers across countries
and languages. The trend of purchasing global rights
will also continue. For instance, Indian shows have
begun infusing global casts to make their stories reach
everywhere. In 2023 and beyond, gaming is also set to play a critical role across the media and entertainment sector, as it will highlight communities in expanding entertainment licenses.
Download Whitepaper - https://us.sganalytics.com/whitepapers/role-of-analytics-in-making-better-content-decisions/
4 things that brands are doing to win in the new video landscapeLucas Modesto
Back in the 1950s, when TV was first gaining popularity as an entertainment medium, advertisers had it fairly easy. With only three networks and one viewing screen, the audience was highly concentrated. To this day, I Love Lucy still holds the record for the highest Nielsen average for a TV season—67.3. Families around America tuned in weekly for a season that started with Lucy battling a conveyor belt at a chocolate factory and eventually welcomed Ricky Jr. to the world.1
Because of this concentrated TV viewing audience, advertisers knew when, where and what the whole country was watching without the need for sophisticated technology, data collection, or analysis.
Today’s television viewing landscape is very different. While TV screens still account for 91% of our viewing time,2 we’re now able to watch great video content wherever, whenever and however we want. According to Nielsen, traditional TV watching has declined 44% for viewers 18-24 years old and 32% for viewers 25-34 years old over the past five years.3 Meanwhile, streaming video is on the rise. In 2017, 59% of American households had a streaming video subscription, compared to just 38% in 2014.4
Volker Dressel, CEO, Quaid Media
TV - The Next Phase in User Acquisition for Mobile Games
Volker Dressel, CEO, Quaid Media
Реклама на ТВ - следующий шаг в приобритении пользователей для мобильных игр
The official conference website — http://wnconf.com/#home
The role-of-digital-in-tv articles (1) (1)Greg Sterling
Digital platforms like YouTube and Google Search are changing how people experience television. People are using these platforms to research shows, engage as fans, and access TV content beyond traditional viewing windows. Research shows growth in TV-related searches and videos online. Fans actively discuss and create new content about shows on YouTube, with high levels of engagement. Viewers also use digital to catch up on past seasons and episodes through time-shifting and on-demand streaming.
Right content, Right Audience: Finding the Perfect Match Spredfast
How do you define your audience? And then how do you marry that audience with content that truly speaks to them, building a compelling relationship that drives devotion? We’ll explore how giving an audience the stories it craves can spell a lasting, fruitful relationship between brand and consumer—and how using data-based audience analysis to learn what will truly resonate can drive programming, marketing, and more.
This document discusses social media and return on investment (ROI). It summarizes arguments that question whether social media provides ROI, including statistics showing low referral rates from social media to sales. However, it also provides counterarguments that social media builds long-term advocacy and sales. It notes social media is the most trusted advertising source, increases effectiveness of other marketing, and is important for customer service, PR and issues management. While not driving immediate sales, social media engagement over time can increase spending by 20% and turn detractors into loyal customers. The document concludes integrated social media combined with other channels has higher impact than any single medium alone.
The document discusses the relationship between social media and television. It covers how viewers now engage with TV through social platforms, how networks and advertisers are leveraging social media, and new technologies that enable social TV experiences. Networks are increasingly integrating social media into programming and measuring online buzz. Analytics companies are providing data on social conversations around TV shows. New technologies like smart TVs and apps are fusing social media with the television viewing experience.
So many screens, so little time and money. How and where are brands' video stories being told? We open the Summit drilling into media plans that are (and aren't) working across available screens. And where do these emerging channels sit within the agency now?
Realities of successful_direct_marketing__finalTim
1) The rise of mobile devices and consumers' need for omnichannel experiences is changing how direct marketing must be designed and executed. Websites and content need to be optimized for mobile and integrate online and offline experiences.
2) Building trust, emotional connections, and relationships is important as perceived brand trust and advocacy are strong drivers of customer behavior. Content marketing and video are ways to engage customers on these levels.
3) Traditional satisfaction metrics are outdated and new metrics like advocacy better predict business outcomes by capturing customers' influence on others. Analysis of advocacy drivers is key to improving performance.
4) Direct marketing now requires customer dialogue, inclusion and collaboration to engage in two-way conversations and involve customers in brand messaging and
This document provides an overview and agenda for a Nielsen presentation. It discusses Nielsen's measurement methodology updates, including changes to HUT/PUT definitions to include all time-shifted viewing, the expansion of hybrid measurement using code readers and current Nielsen panels, and new markets for hybrid measurement. It also covers Nielsen's television, cross-platform, and online digital measurement products and emerging areas like over-the-top video and social media integration.
The Impact of Influencer Marketing on the viewing choice of OTT PlatformsAMIT KUMAR MANDAL
We live in a digital age when everyone has access to the internet, a medium that connects and informs everyone.
Digital media, sometimes known as alternative media, is how the internet allows us to communicate, consume material, and obtain fashion inspiration from online influencers.
Business Analytics for the Broadcasting IndustryFarzad Minooei
Digital age poses new challenges to broadcast industry. The market has become more fragmented. The behavior of consumers has been dramatically changed. New content creation models has been emerged. As a result, this environment created a fierce competition across media and broadcast agencies to attract the audience’s attention. Although new technologies brought challenges to the industry, they promise new opportunities to tackle these challenges. In this presentation, I discuss the application of business analytics for broadcast industry and showcase some examples of successful implementation of business analytics in broadcast agencies.
Business analytics is the scientific process of transforming data into insight for making better decisions. By employing different data sources, business analytics can help broadcast agencies to better understand their consumers, identify opportunities for increasing their engagement with the content, target different segments more accurately, and predict consumers’ behavior and optimize allocation of resources across different media channels.
As an example, Entravision, a media company targeting US Latinos, provides a platform which gives its clients access to Latino persona models and analytics. It helps provide clients with a clearer understanding of how Latino consumers behave. The Real‐Time Cloud Insights is another platform created by Entravision, which takes a client's data and integrates near real-time insights to build predictable, relevant models and can improve business efficiencies in real time. Another example is partnership between FOX Networks Group and Facebook to broadcast OUTCAST show in Facebook live and analyze the reaction of the audience behavior in social media.
These examples illustrates the applications of analytics in the broadcast industry. It also indicates a new area has started in which the media agencies have no longer faced mass consumers. Instead, they need to treat them as individuals.
This document provides an overview of key considerations for developing an effective media plan. It discusses defining objectives and desired results, targeting the appropriate audience, determining optimal timing and messaging, and selecting appropriate media vehicles. The document emphasizes that defining the right audience is crucial, as reaching the wrong people will undermine the media plan's success regardless of other elements. It also notes that all potential media channels should be evaluated based on their strengths and weaknesses for reaching the target audience.
Executive Summary
What a difference a year makes. In 2012, the Newfronts were a mish mosh of original series announcements
that included the likes of top-name talent like Anthony Zuker and Jay-Z, lots of talk of device and
technology and a significant amount of “we’re better than TV”. Well, a year has gone by and it’s safe to
say that Yahoo!’s “Burning Love” (proven by the fact that it’s now being aired on E!) was the only true
success from 2012. Given the significant changes in direction, we can assume that most of the digital
networks figured out that they got it all wrong last year.
Netflix and Hulu are subscription streaming services with social media presences. Netflix was founded in 1997 and has 60 million US and 150 million worldwide subscribers, while Hulu was founded in 2007 and has 28 million US subscribers. Netflix has the strongest social media presence, especially on Instagram and Twitter, posting humor and new content. Hulu's presence is weaker, focusing on Twitter over Instagram and Facebook. Both use social media to engage followers and promote shows, but Netflix sees more engagement due to its larger content library.
Measuring The Success of Tourism & Event Queensland’s ‘Instameet’ CampaignDarryl Woodford
Queensland's "Instameet" campaign organized 89 meetups across the state to promote tourism on Instagram. Over 6,000 images were posted with campaign hashtags on the day of the event, far more than typical. The campaign resulted in over 6,000 new Instagram followers for Tourism and Events Queensland. While increased social media engagement does not guarantee more tourism, the campaign was successful at generating imagery and attention around Queensland as a destination on social media.
Slicing Big Data: Gambling, Twitter & Time Sensitive InformationDarryl Woodford
Presented at the Internet Researchers conference in Denver, CO -- 26 October 2013. Discusses Gambling, Reality TV, and World Events in the Context of Twitter Data, and selecting usable data from big data.
IR14 Pre-Conference Workshop Lightning Talk: Social Media Methods & EthicsDarryl Woodford
This document discusses various methodological challenges in analyzing large datasets from social media platforms. It notes that Twitter's streaming API only allows access to about 1% of tweets and that large tweet datasets can be difficult to work with due to size and format. It also explores options for data analysis tools, including using Tableau, databases, and simple visualizations. The document emphasizes finding the right balance between advanced tools and communicating findings clearly to different audiences.
This document discusses approaches to regulating virtual worlds and games. It examines lessons that can be learned from the offshore online gambling industry and from issues that arose in EVE Online. Both environments experienced problems with bots, disputes between players and administrators, and a lack of formal regulation. Successful models for resolving disputes in gambling involved reputation-based regulation and participant-driven mediation panels. The document argues these approaches could provide alternatives to formal regulation for virtual worlds that may face increasing pressure to address issues like gambling mechanics.
Constructing the Ideal EVE Online Player: The CheatsDarryl Woodford
The document discusses exploits and cheating in EVE Online. It describes how players will often seek to optimize their gameplay through any means possible, even if it differs from the designer's intentions. This includes using exploits if the game code allows for certain actions. The document provides examples of exploits from EVE Online that are banned, such as duping exploits, using bugs to become invulnerable, macroing, or spamming chat invites during PvP. However, whether something qualifies as an exploit or not is sometimes unclear for players and the community.
This document discusses digital methods and social media analytics. It begins by outlining the key steps in digital methods like data gathering, processing, analysis and representation. It then discusses the rise of big data and how computational social science is using large datasets. Specific examples are given of using hashtags on Twitter to study public discussions and map the structure of conversations. Challenges discussed include data access issues, research ethics concerns, and the need for researchers to have interdisciplinary skills in areas like computer science, design, writing and communication.
Dispute Resolution Across Platforms: Offshore Gambling Industry & EVE OnlineDarryl Woodford
The document discusses dispute resolution across virtual environments and the gambling industry. It notes similarities between the two contexts in terms of geographical disparity, lack of formal regulation, and potential for disputes. It also discusses the concept of "advantage play," where players seek to optimize or gain an advantage through allowed behaviors. Examples from EVE Online and the gambling industry are provided to illustrate how communities identify and address cheating behaviors.
- The document discusses rule interpretation and exploits in EVE Online. It provides examples of sanctioned exploits from the game's developer like botting, spamming, and using bugs to become invulnerable. The developer warns players about exploiting chat systems for an unfair advantage in PVP. However, some exploits exist in a gray area as "advantage play" that are technically allowed by game rules but considered cheating by some players. Interpreting what is an exploit versus allowed strategy depends on how rules are defined.
The Paper Jam allows authors to present their work and receive feedback from others in small group discussions. Attendees will hear 8-9 presentations each day and then sign up to provide input on 3 of interest. Staff will facilitate discussions between authors and attendees to improve papers, identify opportunities for collaboration, and benefit all participants. The goal is for authors to gain feedback and attendees to apply knowledge from others to their own work.
The document discusses the concept of the "magic circle" that is used to describe games as separate spaces protected from real-world rules and consequences. The presenter argues that the magic circle concept is flawed because virtual worlds and real worlds constantly influence each other in both directions. As games continue to become more integrated into society, governments and lawyers will play a larger role in regulating games, and players will realize that their in-game actions can have real-world value and consequences.
Hanging out is Hard to do: Ethnographic Methodology in Non-Avatar EnvironmentsDarryl Woodford
This document discusses the challenges of applying traditional ethnographic methodology used to study virtual worlds and online games to Eve Online, a multiplayer online game without avatars. Specifically, it notes that Eve Online provides limited opportunities for in-game communication, access to end-game spaces is restricted based on skills and time played, and directly observing certain sub-cultures could violate ethics guidelines. It considers options like ignoring end-game spaces, combining data from multiple ethnographers, and using meta-game resources like forums and blogs to develop a more complete narrative. The document argues the best approach is a combination of the latter two options and that the challenges have implications for studying other online spaces as well.
This document discusses power relationships in online dispute resolution, particularly in the gambling and gaming industries. It notes that companies currently hold most of the power due to legal agreements and their ability to withhold funds or shut down services. However, the offshore gambling industry has experimented with player-led reputation and arbitration systems that have been more effective at resolving disputes than formal regulations. The document suggests a similar self-governance model could help address the imbalance of power for players in online gaming virtual worlds.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Fix the Import Error in the Odoo 17Celine George
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1. Introducing Telemetrics
Darryl Woodford, Katie Prowd, Axel Bruns, Ben
Goldsmith, Stephen Harrington, Jean Burgess
Queensland University of Technology
Association of Internet Researchers Conference
(IR15)
Daegu, South Korea
24 October 2014
2. INTRODUCTION
• The State of Play
• From Sabermetric to Telemetrics
• Social Media Audiences & Australian Telemetrics
• The HypometerTM for industry metrics
• The Big Brother HypometerTM
5. NIELSEN SOCIALGUIDE TWITTER RATINGS
Cable
Channel vs
Major
Network?
Why is
having more
followers the
important
statistic?
(Follower
counts are
problematic)
6. BUT ALSO
Cable
Channel vs
Major
Network?
Why is
having more
followers the
important
statistic?
(Follower
counts are
problematic)
2.5 hour
special
1 hour
show
7. AND YOU NEED TO GET IT RIGHT
Beamly Screenshot: 31 May 2014
8. AND YOU NEED TO GET IT RIGHT
Beamly Screenshot: 31 May 2014
9. BIG BROTHER USA VS AU (AUDIENCE)
• In US, for Big Brother (&
shows generally), there is little
correlation between viewers
and tweets.
• In Australia, for Big Brother
and other shows in our one-week
pilots, high correlation
between viewer count and
tweets.
• Highlights that applying US
models to Australia is not
possible
11. BASIC VS ADVANCED METRICS
• From ERA to xERA: Includes factors under pitchers control (hits, walks
etc) other than Earned Runs..
• From xERA to FIP: Accounts for the shortcoming of fielders beyond a
scorers adjudication of errors.
• Replacement Value: Just as a ‘free agent’ in baseball has some minimal
level of performance, anything shown at 8pm on CBS or Nine will get
*some* viewers.. Ratings shouldn’t start at 0 (unless it’s a Houston Astros
game)
• Essentially, we shouldn’t just take the raw numbers..
12. THREE KEY METRICS
• Weighted Tweet Index - Measured Engagement with a broadcast through
social media within the context of country, network & programming slot
• Excitement Index - Measures ‘excitement’ across the audience base
through social media, without regard to volume, at different levels of
granularity (per episode, per segment, per minute etc)
• Hype Score - Measures engagement between episodes through social
media within the context of country, network, etc..
13. SEASONAL MODELS • Blue Line represents the
ratio of total viewers,
Orange Line represents ratio
of tweets (to season average
per show).
• In both one run seasons
(top) and those with mid-season
break (bottom),
tweets are highly
exaggerated version of
traditional ratings model.
• In other words: Users tweet
much more around
premieres & finales than
regular shows. Metrics must
account for this.
16. INDUSTRY RESISTANCE
• Across entertainment industries in general, appears to be a resistance to
‘Big Data’ - e.g. HalfBrick (Banks & Woodford, 2013)
• Whether game designers, network executives or Hollywood decision
makers, ‘artistic vision’ seems dominant when deciding which game to
make, which pilot to pick up, which movie to dedicate millions to marketing.
• Clear parallels to sabermetric movement in US sports -- Moneyball etc.
• “Facts that challenge basic assumptions—and thereby threaten people's
livelihood and self-esteem—are simply not absorbed. The mind does not
digest them. This is particularly true of statistical studies of performance,
which provide base-rate information that people generally ignore when it
clashes with their personal impressions from experience.” (Kahneman,
2011)
17. HYPE IN THE LITERATURE
• “At four weeks out, trailer search volume on Google coupled with both
the franchise status of the movie and seasonality can predict opening
weekend box office revenue with 94% accuracy.” (“Quantifying Movie
Magic with Google Search”, 2012)
• “[S]ome reality programmes are engaged in the intentional production of
a perfume of scandal and controversy” (Biltereyst, 2004 , p. 123).
Similar pattern with UK, Australian & US Reality shows (c.f. Woodford &
Prowd, 2014)
• “[E]x ante analysis can produce reasonable estimates that allow studios
to decide whether to commit additional financing and make appropriate
adjustments to marketing promotions to try and induce greater gross
upon release” (Kaplan, 2012, p. 1)
18. THE IMPORTANCE OF HYPE
• Traditional ratings measure
what people have watched, but
have limited impact on what
people *will* watch.
• That is, they are divorced from
the “decision moment”.
• Yet, companies spend millions
promoting shows and
attempting to influence viewer
behaviour, both through TV
ads and through social media.
• How do we measure that?
19. HYPE ALSO ALLOWS PREDICTIONS
• Hype is a significant input to a
prediction algorithm for social
media conversation.
• By including hype, and
applying other weightings to
raw social media statistics, it’s
possible to significantly
improve predictions vs. a
rolling average of previous
shows.
• Yet, this information still
appears to be widely ignored.
20. THE HYPOMETERTM
• iOS app developed as functional prototype
to act as a ‘modern TV Guide’ for Australian
television
• Calculates ‘hype’ via a proprietary algorithm
which accounts for national and industry
context
• Ongoing evaluation of both hype figures and
predictions vs. post-show TV ratings and
social media engagement.
• Clear trend towards ‘dynamic’ audiences; a
proportion of the population on whom
broadcasters should focus.
21. THE BIG BROTHER HYPOMETER TM
• Social media as a predictive
tool for reality TV
• Social media mentions closely
match results of in-show voting:
e.g. Lawson & Aisha 51.8% in
public vote, separated by a few
hundred interactions.
• Twitter mentions of ‘track’ &
housemate name closely
mirrored early evictions.
• Analysis continues: see
TheConversation.com