KISAH (STORYTELLING) PADA PEMBELAJARAN ANAK USIA DINI DALAM KAJIAN NEUROSAINS PENDIDIKAN ISLAM

Religious, inspirational, and motivational storytelling can develop hard a work ethic, and also cultivate spirituality that implicates the nation's progress. On the contrary, storytelling that "lulled" people will make the nation's generation become lazy, thus do not have work hard ethic. Children's stories in Indonesia are still contaminated with Isra'iliyat stories and contain trickery, even mystique, and sexual contents. Therefore it has implications for the nation's condition which is corrupt, adolescent free-sex, and rampant practice of political shamanism. This research examines the storytelling in Early Childhood Education in the study of the neuroscience of Islamic education. The research setting was conducted at Early Childhood Education institutions in Yogyakarta. This research was using a descriptive qualitative approach. Research data were children's storybooks and storytelling methods in early childhood learning practices. Elements of children's stories were analyzed in descriptive, interpretative, and comparative ways based on neuroscience learning theories, thus can be known which stories fit the brain work characteristics. The results showed that children's stories can be divided into three, which are robotic stories, the stories that could be damaging children's brain potential; academic stories, stories that could be emasculating children's brain; and scientific stories or neurostory telling, the stories that have the potential to optimize the children's brain

Multimodal Adapted Robot Behavior Synthesis within a Narrative Human-Robot Interaction

International audienceIn human-human interaction, three modalities of communication (i.e., verbal, nonverbal, and paraverbal) are naturally coordinated so as to enhance the meaning of the conveyed message. In this paper, we try to create a similar coordination between these modalities of communication in order to make the robot behave as naturally as possible. The proposed system uses a group of videos in order to elicit specific target emotions in a human user, upon which interactive narratives will start (i.e., interactive discussions between the participant and the robot around each video's content). During each interaction experiment, the humanoid expressive ALICE robot engages and generates an adapted multimodal behavior to the emotional content of the projected video using speech, head-arm metaphoric gestures, and/or facial expressions. The interactive speech of the robot is synthesized using Mary-TTS (text to speech toolkit), which is used-in parallel-to generate adapted head-arm gestures [1]. This synthesized multimodal robot behavior is evaluated by the interacting human at the end of each emotion-eliciting experiment. The obtained results validate the positive effect of the generated robot behavior multimodality on interaction

Engaging females with a model for affective storytelling

Female gamers have been underrepresented in some game genres. One of the reasons for this is the gender difference in players’ emotional experience. According to psychological studies, females are more likely to be concerned with other’s emotions and tend to involve their emotions in the storytelling by empathising with the characters and experiencing other-directed emotions [12]. Given these considerations, this paper proposes a model for affective storytelling which aims to create an engaging emotional experience and involve the player’s emotion with the characters. More importantly, the player’s emotions, evoked by appraising the story and empathizing with the characters, determine the character’s behaviors and therefore have an impact on the whole storyline. Since the model for affective storytelling aims to create an engaging emotional experience for the player without following a goal-oriented narrative approach, it appears that males and females might have a different user experience in this model for affective storytelling. Future work therefore will be carried out to develop an affective storytelling system and test if females are more engaged and satisfied with the affective storytelling system

"Do you like my body?": an interpersonal approach to the growth of bikini competitors on YouTube

2017 Spring.Includes bibliographical references.This study investigates the popularity growth of bikini competitors on the social media outlet of YouTube. This content falls into the category of "fitspiration" content, otherwise known as fitness social media content that advocates for health and well-being. While fitspiration content has been shown to be damaging to the consumer regarding body image and self-esteem, consumers are increasingly choosing to engage with it. Therefore, this project takes an audience approach, probing why this phenomenon is spreading rapidly regardless of its potentially harmful effects. Using a qualitative interview approach, I explore the appeal of this YouTube content by interviewing women who actively engage with the YouTube videos of bikini competitors. I utilize three communication theories—social identification theory, parasocial interaction theory, and narrative theory—to explore why the fitspiration YouTube content of bikini competitors is becoming more popular. The findings indicate that all three theories play a role in drawing women to fitspiration content, although identification seemed to be the most reported factor. The findings not only provide valuable insights about the appeal of fitspiration content, but also about the potentially damaging effects of fitness-related social media and bikini competitions regarding privilege, body image, and expectations of media consumers

A emoção e o storytelling nos videojogos

O principal objectivo desta dissertação é compreender a relação entre o storytelling, a emoção e os videojogos. Actualmente os videojogos representam uma grande percentagem do lucro no mercado do entretenimento. São cada vez mais uma tendência e a comunidade gamer tem crescido substancialmente nos últimos anos. No entanto, a realidade é que os videojogos também já não se assemelham de todo aos seus “antepassados”. Esta inclinação para os videojogos está relacionada com factores que antes não eram tidos em conta, aquando a sua criação. Hoje, os videojogos conseguem transmitir emoções graças ao seu storytelling e à sua interactividade e nesta dissertação iremos abordar estes conceitos, recorrendo a autores de renome das diversas áreas de estudo. Os primeiros três capítulos contemplam um enquadramento teórico. O primeiro incide sobre o conceito de storytelling, o segundo sobre o conceito de videojogos e o terceiro incide sobre os seus conteúdos, assim como a presença da emoção. Esta primeira parte é importante para contextualizar e enquadrar a temática discutida. É essencial definir estes conceitos principais, assim como analisar o mercado dos videojogos, que tem vindo a sofrer uma evolução. Nesta dissertação olhamos para o grande desenvolvimento tecnológico que impulsionou a indústria dos videojogos e como este se reflectiu nos consumidores e no mercado. No quarto e último capítulo é apresentada a análise de um videojogo, na qualidade de observadora participante. É feita a descrição dos personagens, assim como dos cenários envolventes, e a estória principal é contada através da minha experiência como jogadora. As emoções são um factor importante nesta análise, sendo que serão também eles descritos, de forma a responder aos objectivos propostos nesta dissertação. Esta análise propõe-se, no fundo, a construir uma ponte entre as emoções de um jogador e um videojogo, assim como a sua experiência de jogabilidade. O videojogo escolhido tem elementos fortes de interactividade, assim como um storytelling impactante.The main objective of this dissertation is to understand the relationship between storytelling, emotion and videogames. Currently videogames represent a large percentage of the profit in the entertainment market. The trend is to play videogames and the gamer community has grown substantially in recent years. However, the reality is that videogames also no longer resemble at all like their “ancestors”. This decision for videogames is related to factors that were not taken into account when they were created in the past. Today, videogames are able to transmit emotions thanks to the storytelling and to their interactivity, and in this paper we will approach these concepts, resorting to well-known authors from the different areas of study. The first three chapters contemplate a theoretical framework. The first focuses on the concept of storytelling, the second on the concept of video games and the third focuses on their content, as well as the presence of emotions. This first part is important to contextualize and frame the topic that is discussed. It is essential to define these main concepts, as well as to analyze the video game market, which has been suffering a big evolution. In this dissertation, we look at the great technological development that boosted the video game industry and how it was reflected in consumers and the market. In the fourth and final chapter, the analysis of a video game, as a participant and an observer, is presented. The characters are described as well as the surrounding scenarios, and the main story is told through my experience as a player. Emotions are an important factor in this analysis, and they will also be described, in order to respond to the objectives proposed in this dissertation. This analysis aims to build a bridge between the emotions of a player and a video game, as well as their experience of gameplay. The chosen video game has strong elements of interactivity, as well as a shocking storytelling. Keywords: emotions

Emotion-driven interactive storytelling.

Interactive storytelling has attracted plenty of research interest in recent years. Most current interactive storytelling systems follow a goal-oriented approach to story representation, i.e. the user is engaged with the story through fulfilling a number of goals rather than empathising with the characters and experiencing anenriched emotional experience (Pizzi and Cavazza 2007). This fails to satisfy potential users who are oriented to traditional media, such as movies (Louchart et al. 2008) and demographic groups who are interested in attractive and challenging stories (Duh et al. 2010). Given this consideration, an emotion-driven interactive storytelling approach is proposed in this research. In contrast to the goal-oriented interactive storytelling approach, emotion-driven interactive storytelling attempts to create an engaging emotional experience, and involve the user’s emotion with the characters. More importantly, the user’s emotions, evoked by empathising with the characters, determine the character’s behaviours and therefore have an impact on the whole storyline. In this sense, emotions, as a driving force, directly and explicitly contribute to storytelling and the user experience. An interactive video was made by re-editing existing TV material to interpret the concept of emotion-driven interactive storytelling. The examination of user experience of playing this interactive video revealed that non-gamers were more likely to be emotionally involved with the interactive video and empathise with the character. Participants in this group also exhibited higher enjoyment and engagement than gamers. In addition, females were found more likely to empathise with the character and satisfy with the storyline. However because the TV material used to make the interactive video was female-oriented, males failed to enjoy and engage themselves as much as females. But it is important to note that in comparison to males’ previous experience of watching TV Ugly Betty, emotion-driven interactive storytelling increased their enjoyment and engagement. Therefore, emotion-driven interactive storytelling enriches the approach to developing interactive storytelling systems and has the potential to provide an engaging user experience to some types of users. Future research possibilities are discussed with respect to a wider population and research where materials suitable for both genders are presented

Élaboration d'un outil d'intelligence compétitive utile à la gestion stratégique en PME

Dans l’environnement économique moderne, les capacités des gestionnaires à accéder à l’information qui concerne les performances de l’entreprise et l’état de son marché sont essentielles. Dans l’optique où les entreprises évoluent dans des marchés de plus en plus changeants, l’analyse de l’environnement externe, soit l’Intelligence compétitive, doit faire partie intégrante du processus de planification stratégique des entreprises. L’arrivée du Web 2.0 et des technologies Big Data promettent un changement important dans la façon dont les entreprises implanteront ou modifieront leurs pratiques d’Intelligence compétitive. Cette recherche a pour objectif principal de développer et de vérifier la pertinence d’un outil d’Intelligence compétitive novateur qui s’intègre à la gestion stratégique d’une PME. Dans une perspective des technologies de l’information, la conception de ce type d’outil, que nous appelons écran stratégique, s’inspire des meilleurs pratiques et des technologies de l’Intelligence d’affaires, du Big Data et de la visualisation de l’information en vue d’exploiter le Web 2.0 comme principale source de données. Les écrans stratégiques sont en quelques sortes une version du tableau de bords adaptés au contexte et aux besoins spécifiques de l’Intelligence compétitive. Pour en arriver à proposer un prototype, la méthodologie de recherche Design Science identifie deux étapes, soit la conception de l'artéfact et son évaluation. D’abord, une méthode de conception et une infrastructure technologique sont proposées afin de supporter un outil d’Intelligence compétitive utile dans la gestion stratégique des PME. La conception et l’utilisation d’un prototype d’outil sont alors documentées dans une preuve de concept. Il s’agit en fait d’un cas de planification stratégique réel dans une PME que nous appellerons Neventure. Ensuite, un modèle de mesure, une version adaptée du CI Measurment Model (CIMM) de Davison (2001), est utilisé afin d’estimer la valeur du projet d’Intelligence compétitive, d’évaluer la pertinence de l’outil d’Intelligence compétitive dans son contexte d’utilisation et de critiquer l’expérience d’utilisation de cet outil de visualisation. L’analyse des résultats du modèle de mesure permet de tirer trois principales conclusions : 1. L’utilisation de l’outil d’Intelligence compétitive engendre un retour sur investissement positif estimé et une réduction de l’incertitude par rapport à la prise de décision stratégique. 2. Le processus de gestion stratégique itératif est pertinent au cas de Neventure en laissant toutefois place à certaines améliorations. 3. L’outil d’Intelligence compétitive est utile et pertinent au processus de gestion stratégique itérative. Cependant, la conception d’un tel outil laisse encore place à différentes améliorations au niveau de la facilité d’usage et des capacités de visualisation. Quarte enjeux principaux ont été rencontrés lors du développement du prototype : la complétude du Web 2.0 en tant que source de données d’Intelligence compétitive, les limites d’intégration des données, les finalités d’utilisation de l’outil et la maîtrise du domaine de connaissance et d’expertise. Conjointement, une amélioration au modèle de mesure de Davison (2001) est proposée. Les résultats de cette recherche sont transposables à la gestion stratégique d’une PME, plus particulièrement une startup. Le CIMM de Davison (2001) a été adapté au contexte de cette recherche afin d’évaluer adéquatement l’outil d’Intelligence compétitive. Il est aussi à noter que le développement de l’outil n’a subi aucune itération, ce qui le rend sujet à certaines améliorations. Enfin, les retombés de cette recherche sur la discipline d’Intelligence compétitive concernent la transférabilité du cadre conceptuel de l’Intelligence d’affaires, les combinaisons applicatives du Web 2.0 et du Big Data et les défis en matière de visualisation de données