31 research outputs found
Exploiting music playrate in discovering implicit feedback features for music recommender systems
νμλ
Όλ¬Έ (μμ¬)-- μμΈλνκ΅ λνμ : μ΅ν©κ³ΌνκΈ°μ λνμ μ΅ν©κ³ΌνλΆ, 2018. 2. μ΄κ΅κ΅¬.λμ§νΈ μμ μμ₯ κ·λͺ¨κ° 컀μ§μ λ°λΌ μ¬μ©μλ λ°©λν ν¬κΈ°μ λμ§νΈ μμ 컬λ μ
μ μ κ·Όν μ μκ² λμμΌλ, λμμ κ·Έ μ€μμ μμ μ΄ μ΄λ€ μμ
μ μνλμ§ μ°Ύκ³ μ ννλ νμλ λμ± μ΄λ €μμ§κ³ λ§μ μκ°μ μλͺ¨νκ² λμλ€. μ΄μ κ°μ μ΄μ λλ¬Έμ μμ
μΆμ² μμ€ν
μ μ€μμ±μ΄ λΆκ°λλ©° κ·Έ μ±λ₯μ λμ΄κΈ° μν μ°κ΅¬λ€μ΄ λ€μν λ°©λ²λ‘ μ ν΅ν΄ μλλκ³ μλ€.
μΆμ² μμ€ν
μ λͺ©μ μ μ¬μ©μκ° μλΉνμ§ μμ μμ΄ν
μ€ μ νΈ/λ§μ‘±ν λ§ν μΆμ² μμ΄ν
μ μ°Ύλ κ²μ μμΌλ©°, νΉν μμ
λλ©μΈμμλ μ΄λ₯Ό μν΄ μ¬μ©μκ° μ΄λ€ μμ
μ μ΄λ€ κΈ°μ€μΌλ‘ μΌλ§λ μ νΈ/λΆνΈνμλμ§λ₯Ό λΆμνμ¬, λ€μμΌλ‘λ μ΄λ€ 곑μ λ£κ³ μΆμ΄ νλμ§, μ΄λ€ 곑μ λ€μ΄μΌ λ§μ‘±λκ° λμ κ²μΈμ§λ₯Ό μμΈ‘ν΄μΌ νλ€. μ΄μ κ°μ μΆμ² μμ€ν
μ λͺ©μ μΌλ‘ λ―Έλ£¨μ΄ λ³΄μμ λ μ¬μ©μμ μ νΈλλ μΆμ² μμ€ν
μ μμ΄μ κ°μ₯ ν΅μ¬μ μΈ μμλΌκ³ ν μ μμΌλ©°, κ·Έ λμμ μΆμ² μμ€ν
μ°κ΅¬λ€μμλ μ¬μ©μμ μ νΈλλ₯Ό λͺ¨λΈλ§νκΈ° μν΄ ν¬κ² λͺ
μμ νΌλλ°±(explicit feedback) κ³Ό μμμ νΌλλ°±(implicit feedback) λ°©μμ μ¬μ©ν΄μλ€. μ΄ μ€μμλ νΉν μμμ νΌλλ°± λ°©μμ μ¬μ©μλ‘λΆν° μ§μ νκ°λ₯Ό μ
λ ₯λ°μ§ μμλ λλ€λ μ μμ μμ
μ νΈλ, νΉμ νκ°λ₯Ό μΆμ ν λ κ°μ₯ ν° λ¬Έμ λ‘ λλλλ ν¬μμ± λ¬Έμ (sparsity problem)λ₯Ό 보μν μ μλ€λ μ΄μ λ‘ ν¬κ² κ°κ΄λ°κ³ μλ€.
μμ
λλ©μΈμμμ μμμ νΌλλ°±μ μ¬μ©μμ μμ
μ²μ·¨ κΈ°λ‘μ ν΅ν΄ μμ§λλ©°, μμ
μΆμ² μμ€ν
μμλ μ¬μ/μ€ν΅/μ μ§ λ±μ μ²μ·¨ νμλ‘λΆν° μ»μ μ μλ νΉμ± μ€μμλ νΉν νΉμ 곑μ λͺ λ² λ€μλμ§λ₯Ό λνλ΄λ μ¬μ νμ(playcount) κ° λλΆλΆ μ¬μ©λκ³ μλ€. μ΄λ¬ν μ¬μ νμλ κ°μνμ§ μλ(non-decreasing) νΉμ§μΌλ‘ μΈν΄ μ¬μ©μμ μ νΈλ κ°μλ₯Ό λ°μνμ§ λͺ»νκ³ , κ³ μ μ μΈ μμ§ κΈ°μ€μ κ°μ§κΈ° λλ¬Έμ μ¬μ©μλ§λ€ μμ΄ν μ μλ μ νΈλ κΈ°μ€μ λ°μνμ§ λͺ»νλ©°, μ νΈλ μ μμ μμ κ·Ήμμλ₯Ό μ μΈν λλ¨Έμ§ λλ€μ 곑λ€μ λν μ νΈλλ ꡬλ³νμ§ λͺ»νλ€λ νκ³μ μ μ§λλ€.
λ³Έ μ°κ΅¬μμλ κΈ°μ‘΄ μμ
λλ©μΈμμ λνμ μΌλ‘ μ¬μ©λλ μμμ νΌλλ°±μΈ μ¬μ νμμ νκ³μ μ 보μνκ³ μ¬μ©μμ μμ
μ νΈλλ₯Ό λ³΄λ€ μ λ°μν μ μλλ‘ νκΈ° μν΄ κΈ°μ‘΄μ μ°κ΅¬μ μ¬μ©μμ μ²μ·¨ κΈ°λ‘ λ°μ΄ν°λ₯Ό κΈ°λ°μΌλ‘ κ°μ€ μ¬μμ¨μ΄λΌλ κ°λ
μ μ μνκ³ , μ΄λ₯Ό λ°νμΌλ‘ λμ κ°μ€ μ¬μμ¨ λ° μ¬μνμ-νκ· κ°μ€ μ¬μμ¨ κ³±μ΄λΌλ μλ‘μ΄ μμμ νΌλλ°± νΉμ±λ€μ λμΆνλ€. λν μ¬μ©μ νκ°λ₯Ό ν΅ν΄ μ μλ νΉμ±μ΄ μ¬μ©μμ μ€μ μ νΈλλ₯Ό μ λ°μν μ μλμ§μ μμ
μΆμ² μμ€ν
μ μ μ©λμμ λ μ±λ₯μ μ°¨μ΄κ° μλμ§λ₯Ό κ²μ¦νλ€. μ΄ ν κ²°κ³Ό λΆμμ ν΅ν΄ λ³Έ μ°κ΅¬μ νκ³μ κ³Ό, μμ
μ νΈλ λͺ¨λΈλ§κ³Ό μμ
μΆμ² κ³Όμ κ³Όμ κ΄κ³μ±μ κ΄ν΄ κ³ μ°°νκ³ , μ΄λ₯Ό λ°νμΌλ‘ μ°κ΅¬μ κ²°λ‘ μ λμΆνλ€.μ 1μ₯ μλ‘ 1
μ 1μ μ°κ΅¬ λ°°κ²½ 1
μ 2μ μ°κ΅¬ λͺ©μ 7
μ 2μ₯ κ΄λ ¨ μ°κ΅¬ 8
μ 1μ μ΄λ‘ μ λ°°κ²½ 8
2.1.1 μμ
μ νΈλ λͺ¨λΈ 8
2.1.2 μΆμ² μμ€ν
μμμ μ¬μ©μ νΌλλ°± 9
2.1.3 μμ
μΆμ² μμ€ν
μ νκ° 14
μ 2μ μ ν μ°κ΅¬ 16
2.2.1 μμμ νΌλλ°±μ νμ©ν μΆμ² 16
2.2.2 μμ
μ¬μμ¨ κ΄λ ¨ μ°κ΅¬ 19
μ 3μ₯ μ°κ΅¬ λ°μ΄ν° λ° μ μ νΉμ± 20
μ 1μ μ°κ΅¬ λ°μ΄ν° 21
3.1.1 LFM-1b λ°μ΄ν°μ
21
3.1.2 νΈλ μ§μ μκ° λ°μ΄ν° μμ§ 22
μ 2μ μ μ μμμ νΌλλ°± νΉμ± 24
3.2.1 μ¬μμ¨ λ° κ°μ€ μ¬μμ¨μ μ μ 24
3.2.2 μ μ νΉμ± 1: λμ κ°μ€ μ¬μμ¨ 25
3.2.3 μ μ νΉμ± 2: μ¬μνμ-νκ· κ°μ€ μ¬μμ¨ κ³± 26
μ 4μ₯ μ¬μ©μ νκ° 27
μ 1μ νκ° κ³Όμ 28
μ 2μ μμ
μ νΈλ λͺ¨λΈ νκ° 30
4.2.1 νκ° λ¬Έν 1 30
4.2.2 νκ° λ¬Έν 2 32
μ 3μ μμ
μΆμ² μκ³ λ¦¬μ¦μμμ μ±λ₯ νκ° 33
4.3.1 λ‘μ§μ€ν± νλ ¬ λΆν΄ μκ³ λ¦¬μ¦ 34
4.3.2 λ°μ΄ν° μνλ§ 35
4.3.3 μμ
μΆμ² 리μ€νΈ νκ° λ°©λ² 36
μ 5μ₯ μ°κ΅¬ κ²°κ³Ό 38
μ 1μ μμ
μ νΈλ λͺ¨λΈ νκ° κ²°κ³Ό 38
5.1.1 νκ° λ¬Έν 1 κ²°κ³Ό 38
5.1.2 νκ° λ¬Έν 2 κ²°κ³Ό 42
μ 2μ μμ
μΆμ² μκ³ λ¦¬μ¦μμμ μ±λ₯ νκ° κ²°κ³Ό 44
5.2.1 μΆμ² 곑 리μ€νΈ νκ° κ²°κ³Ό 45
5.2.2 κ°λ³ μΆμ² 곑 νκ° κ²°κ³Ό 47
μ 3μ κ²°κ³Ό μ 리 λ° κ³ μ°° 54
5.3.1 μ νΈλ λͺ¨λΈκ³Ό μΆμ² κ²°κ³Όμμ κ΄λ ¨μ± 55
5.3.2 μμ
컨ν
μΈ μλΉ κ²½ν₯ μ°¨μ΄μ λ°λ₯Έ μ νΈλ λͺ¨λΈλ§ λ°©μ 57
μ 6μ₯ κ²°λ‘ 60
μ 1μ κ²°λ‘ λ° μ°κ΅¬ μμ 60
μ 2μ μ°κ΅¬μ νκ³ λ° ν₯ν μ°κ΅¬ 62
μ°Έκ³ λ¬Έν 63Maste
Axmedis 2005
The AXMEDIS conference aims to promote discussions and interactions among researchers, practitioners, developers and users of tools, technology transfer experts, and project managers, to bring together a variety of participants. The conference focuses on the challenges in the cross-media domain (which include production, protection, management, representation, formats, aggregation, workflow, distribution, business and transaction models), and the integration of content management systems and distribution chains, with particular emphasis on cost reduction and effective solutions for complex cross-domain problems
Appropriating Play: Examining Twitch.tv as a Commercial Platform
This thesis critically analyzes Twitch.tv, a gaming-oriented, online live-streaming site. Viewing the site as a βlean platformβ (Srnicek, 2017), it analyzes many aspects of Twitchβs business operations, including ownership structure, video game industry affiliations, use of data, and the monetization of user activity. This analysis then identifies three major areas of concern arising from these operations: the tendency toward monopolization in the gaming industry and its peripheral activities; the intensification of audience commodification; and, the tendency to turn professional streamers into precarious creative labourers. All of these implications point to a growing need for concerted labour organization. The goal of this thesis is to address gaps in the existing literature about Twitch and to provide a foundation for future critical inquiries into the site
Presentation adaptation for multimodal interface systems: Three essays on the effectiveness of user-centric content and modality adaptation
The use of devices is becoming increasingly ubiquitous and the contexts of their users more and more dynamic. This often leads to situations where one communication channel is rather impractical. Text-based communication is particularly inconvenient when the hands are already occupied with another task. Audio messages induce privacy risks and may disturb other people if used in public spaces. Multimodal interfaces thus offer users the flexibility to choose between multiple interaction modalities. While the choice of a suitable input modality lies in the hands of the users, they may also require output in a different modality depending on their situation. To adapt the output of a system to a particular context, rules are needed that specify how information should be presented given the usersβ situation and state. Therefore, this thesis tests three adaptation rules that β based on observations from cognitive science β have the potential to improve the interaction with an application by adapting the presented content or its modality.
Following modality alignment, the output (audio versus visual) of a smart home display is matched with the userβs input (spoken versus manual) to the system. Experimental evaluations reveal that preferences for an input modality are initially too unstable to infer a clear preference for either interaction modality. Thus, the data shows no clear relation between the usersβ modality choice for the first interaction and their attitude towards output in different modalities.
To apply multimodal redundancy, information is displayed in multiple modalities. An application of the rule in a video conference reveals that captions can significantly reduce confusion. However, the effect is limited to confusion resulting from language barriers, whereas contradictory auditory reports leave the participants in a state of confusion independent of whether captions are available or not. We therefore suggest to activate captions only when the facial expression of a user β captured by action units, expressions of positive or negative affect, and a reduced blink rate β implies that the captions effectively improve comprehension.
Content filtering in movies puts the character into the spotlight that β according to the distribution of their gaze to elements in the previous scene β the users prefer. If preferences are predicted with machine learning classifiers, this has the potential to significantly improve the userβ involvement compared to scenes of elements that the user does not prefer. Focused attention is additionally higher compared to scenes in which multiple characters take a lead role
Music Learning with Massive Open Online Courses
Steels, Luc et al.-- Editors: Luc SteelsMassive Open Online Courses, known as MOOCs, have arisen as the logical consequence of marrying long-distance education with the web and social media. MOOCs were confidently predicted by advanced thinkers decades ago. They are undoubtedly here to stay, and provide a valuable resource for learners and teachers alike.
This book focuses on music as a domain of knowledge, and has three objectives: to introduce the phenomenon of MOOCs; to present ongoing research into making MOOCs more effective and better adapted to the needs of teachers and learners; and finally to present the first steps towards 'social MOOCsβ, which support the creation of learning communities in which interactions between learners go beyond correcting each other's assignments. Social MOOCs try to mimic settings for humanistic learning, such as workshops, small choirs, or groups participating in a Hackathon, in which students aided by somebody acting as a tutor learn by solving problems and helping each other.
The papers in this book all discuss steps towards social MOOCs; their foundational pedagogy, platforms to create learning communities, methods for assessment and social feedback and concrete experiments. These papers are organized into five sections: background; the role of feedback; platforms for learning communities; experiences with social MOOCs; and looking backwards and looking forward.
Technology is not a panacea for the enormous challenges facing today's educators and learners, but this book will be of interest to all those striving to find more effective and humane learning opportunities for a larger group of students.Funded by the European Commission's OpenAIRE2020 project.Peer reviewe