Relating personality types with user preferences in multiple entertainment domains

Also published online by CEUR Workshop Proceedings (CEUR-WS.org, ISSN 1613-0073) Late-Breaking Results, Project Papers and Workshop Proceedings of the 21st Conference on User Modeling, Adaptation, and Personalization, UMAP 2013We present a preliminary study on the relations between personality types and user preferences in multiple entertainment domains, namely movies, TV shows, music, and books. We analyze a total of 53,226 Facebook user profiles composed of both personality scores (openness, conscientiousness, extraversion, agreeableness, neuroticism) from the Five Factor model, and explicit interests about 16 genres in each of the above domains. As a result of our analysis, we extract personality-based user stereotypes and association rules for some of the considered domain genres, and infer similarities of personality types related to genres in different domains.This work was supported by the Spanish Government (TIN2011-28538-C02) and the Regional Government of Madrid (S2009TIC-1542). The authors sincerely thank the members of myPersonality project for their kind attention and help on downloading and processing the provided data

"A step into the abyss" Transmedia in the UK Games and Television Industries

This article uses a media industries studies perspective to investigate the current state of transmedia production in the UK. Analysing the discursive statements of a range of industry participants from both UK television and games industries, the article reveals a series of contradictions and misunderstandings that may be limiting the effectiveness of multi-platform projects. By comparing overlapping discursive patterns around attitudes to risk, measures of success, authorship between the two industries, and repeated concerns over the balance of creative and commercial imperatives, the article argues that existing hierarchies of power between media industries threaten to derail future convergence

Engaged in Learning: The ArtsSmarts Model

Approximately a dozen internal research studies into student learning and program effectiveness were conducted during ArtsSmarts' first eight years. In the spring of 2006, we compiled the results of those studies, along with a like number of reports by outside researchers, to create a synthesis of possible directions for future work. Although we used a small sample of available outside studies, it was immediately and glaringly evident that the arts and educational communities are hungering for research that will "help us understand what the arts learning experience is for children, and what characteristics of that experience are likely to travel across domains of learning" (Deasy, 2002:99). It was equally evident to all ArtsSmarts partners that, while future ArtsSmarts research could be taken in any number of directions, it made the most sense to identify and build from ArtsSmarts' own strengths and successes. We also felt the need to align the research direction and the methods of data collection with our intended audiences.Different groups would find different aspects of ArtsSmarts compelling, and distinctly different types of data would be required for each. Partners identified educators (teachers, administrators, and senior Board office personnel) as the audience they most wanted to reach.With that in mind, the decision was made to develop a theory of learning that would serve the dual purposes of explaining ArtsSmarts' impact in Canadian classrooms and framing the research work of the next few years. We felt that establishing an ArtsSmarts theory of learning would help to answer the question, "If ArtsSmarts didn't exist, what would be lost?" Further, a theory of learning would assist teachers, artists and partners in identifying key, essential components of the ArtsSmarts experience, and would also prevent ArtsSmarts from being viewed as a pleasant but unnecessary add-on to classroom activity. The paper that follows develops an ArtsSmarts theory of learning centred on the concept of student engagement

Exploring digital comics as an edutainment tool: An overview

This paper aims t oexplore the growing potential of digital comics and graphic novels as an edutainment tool.Initially, the evolvement of comics medium along with academic and commercial initiatives in designing comicware systems arebriefly discussed. Prominent to this study, the methods and impact of utilizing this visual media with embedded instructional content and student-generated comics in classroom setting are rationallyoutlined.By recognizing the emerging technologies available for supporting and accelerating educational comic development, this article addresses the diverse research challenges and opportunities of innovating effective strategies to enhance comics integrated learning across disciplines

The performance of pain: the consequences for the performing body and its portrayal of mental health

In 2001 the performance artist Kira O’Reilly wrote an article for A-N magazine1 that reflected on the institutional anxieties provoked by ‘Wet Cup’ a performance that includes the cutting and suctioning of her flesh through ‘cupping’ to draw blood. The art institution, despite inviting O’Reilly to perform the work, demonstrated their fears at showing ‘risky’ work through a process which aimed to sanction the ‘health’ of the artwork and subsequently its reflections on the artist herself. They asked O’Reilly to respond to various health and safety demands to account for her mental state and bodily health to prove that she was ‘safe’ to perform2. In asking her to conform to their demands they were making both internal and public assurances that the work was art and not the product of catharsis or breakdown. The institutional unease that O’Reilly could be acting out a psychiatric or psychological disorder through ‘Wet Cup’ demonstrated the sense of mistrust the performing body can instill. Kira O’Reilly’s experience follows a tradition within performance art that inflicts physical pain or suffering. In situating the physical or psychological transgressive within easy and ‘live’ grasp this type of practice presents the performing body as a confrontation to be negotiated. Indeed, when an artist chooses to cut or open their body or remove it from social interaction, their motives are scrutinized for deviance, distress and sanity. Are they mad, eccentric or just responding to questions that ask what it is to be observed and physical creative objects? This paper will analyse the consequences of making performance from physical acts of pain and how this can be understood as sane regarding institutional and public risk. It will reflect on the trauma, stigma and perceptive danger involved with making performance work that includes cutting, or isolating the body from more regular, everyday activity. The paper will reflect on the consequences for the artist, and perceptions of their health both in, and beyond the gallery. The year long works by Tehching Hsieh and the exploration of physical and mental limits through performance by Marina Abramović with be examined along with O’Reilly

Process Drama in the Virtual World - A Survey

Process drama is a form of improvisational drama where the focus is on the process rather than the product. This form of improvisational activities has been used extensively in many domains. Role play, for example, has been used in health therapy as well as for training health personnel. Creative drama is a form of process drama that focuses on the use of story dramatization techniques; it has been extensively used to promote language and literature skills as well as creative and critical thinking. In these domains process drama exhibit itself in physical space. Recently, there have been many advances in technology that allows process drama to be exhibited in virtual space. In this article, we look at the form and structure of process drama. We specifically discuss process drama, especially Creative Drama. We outline several key factors of process drama that affect its effectiveness as a learning vehicle, including involvement and reflection. Through this lens, we survey several cases of virtual process drama both as a single person experience as well as a multiuser internet-based virtual experience

A Pedagogical Approach to Learning

This portfolio is a collection of four projects that represent a collective study in multiple modes and methods of pedagogical approaches relevant to the modern paradigm of the field of education. Though not originally written with the intention of being unified under a single theme, as the portfolio was being assembled a cohesion emerged among the four projects stemming from their shared emphasis on pedagogical applications. Each of the four projects is an effort to explore a unique perspective regarding a particular concept or aspect of the field of education, or to address an issue in a unique way organic to my own pedagogical approaches and methodologies