2,905 research outputs found

    Measuring the Impact of China’s Digital Heritage: Developing Multidimensional Impact Indicators for Digital Museum Resources

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    This research investigates how to best assess the impact of China’s digital heritage and focuses on digital museum resources. It is motivated by the need for tools to help governing bodies and heritage organisations assess the impact of digital heritage resources. The research sits at the intersection of Chinese cultural heritage, digital heritage, and impact assessment (IA) studies, which forms the theoretical framework of the thesis. Informed by the Balanced Value Impact (BVI) Model, this thesis addresses the following questions: 1. How do Western heritage discourses and Chinese culture shape ‘cultural heritage’ and the museum digital ecosystem in modern China? 2. Which indicators demonstrate the multidimensional impacts of digital museum resources in China? How should the BVI Model be adapted to fit the Chinese cultural landscape? 3. How do different stakeholders perceive these impact indicators? What are the implications for impact indicator development and application? This research applies a mixed-method approach, combining desk research, survey, and interview with both public audiences and museum professionals. The research findings identify 18 impact indicators, covering economic, social, innovation and operational dimensions. Notably, the perceived usefulness and importance of different impact indicators vary among and between public participants and museum professionals. The study finds the BVI Model helpful in guiding the indicator development process, particularly in laying a solid foundation to inform decision-making. The Strategic Perspectives and Value Lenses provide a structure to organise various indicators and keep them focused on the impact objectives. However, the findings also suggest that the Value Lenses are merely signifiers; their signified meanings change with cultural contexts and should be examined when the Model is applied in a different cultural setting. This research addresses the absence of digital resource IA in China’s heritage sector. It contributes to the field of IA for digital heritage within and beyond the Chinese context by challenging the current target-setting culture in performance evaluation. Moreover, the research ratifies the utility of the BVI Model while modifying it to fit China’s unique cultural setting. This thesis as a whole demonstrates the value of using multidimensional impact indicators for evidence-based decision-making and better museum practices in the digital domain

    Communicating a Pandemic

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    This edited volume compares experiences of how the Covid-19 pandemic was communicated in the Nordic countries – Denmark, Finland, Iceland, Norway, and Sweden. The Nordic countries are often discussed in terms of similarities concerning an extensive welfare system, economic policies, media systems, and high levels of trust in societal actors. However, in the wake of a global pandemic, the countries’ coping strategies varied, creating certain question marks on the existence of a “Nordic model”. The chapters give a broad overview of crisis communication in the Nordic countries during the first year of the Covid-19 pandemic by combining organisational and societal theoretical perspectives and encompassing crisis response from governments, public health authorities, lobbyists, corporations, news media, and citizens. The results show several similarities, such as political and governmental responses highlighting solidarity and the need for exceptional measures, as expressed in press conferences, social media posts, information campaigns, and speeches. The media coverage relied on experts and was mainly informative, with few critical investigations during the initial phases. Moreover, surveys and interviews show the importance of news media for citizens’ coping strategies, but also that citizens mostly trusted both politicians and health authorities during the crisis. This book is of interest to all who are looking to understand societal crisis management on a comprehensive level. The volume contains chapters from leading experts from all the Nordic countries and is edited by a team with complementary expertise on crisis communication, political communication, and journalism, consisting of Bengt Johansson, Øyvind Ihlen, Jenny Lindholm, and Mark Blach-Ørsten. Publishe

    Comprehensive Evaluation of Matrix Factorization Models for Collaborative Filtering Recommender Systems

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    Matrix factorization models are the core of current commercial collaborative filtering Recommender Systems. This paper tested six representative matrix factorization models, using four collaborative filtering datasets. Experiments have tested a variety of accuracy and beyond accuracy quality measures, including prediction, recommendation of ordered and unordered lists, novelty, and diversity. Results show each convenient matrix factorization model attending to their simplicity, the required prediction quality, the necessary recommendation quality, the desired recommendation novelty and diversity, the need to explain recommendations, the adequacy of assigning semantic interpretations to hidden factors, the advisability of recommending to groups of users, and the need to obtain reliability values. To ensure the reproducibility of the experiments, an open framework has been used, and the implementation code is provided

    音楽演奏家を対象にした行動変容型健康増進プログラムの開発および効果検証

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    早大学位記番号:新9191博士(人間科学)早稲田大

    Understanding Agreement and Disagreement in Listeners’ Perceived Emotion in Live Music Performance

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    Emotion perception of music is subjective and time dependent. Most computational music emotion recognition (MER) systems overlook time- and listener-dependent factors by averaging emotion judgments across listeners. In this work, we investigate the influence of music, setting (live vs lab vs online), and individual factors on music emotion perception over time. In an initial study, we explore changes in perceived music emotions among audience members during live classical music performances. Fifteen audience members used a mobile application to annotate time-varying emotion judgments based on the valence-arousal model. Inter-rater reliability analyses indicate that consistency in emotion judgments varies significantly across rehearsal segments, with systematic disagreements in certain segments. In a follow-up study, we examine listeners' reasons for their ratings in segments with high and low agreement. We relate these reasons to acoustic features and individual differences. Twenty-one listeners annotated perceived emotions while watching a recorded video of the live performance. They then reflected on their judgments and provided explanations retrospectively. Disagreements were attributed to listeners attending to different musical features or being uncertain about the expressed emotions. Emotion judgments were significantly associated with personality traits, gender, cultural background, and music preference. Thematic analysis of explanations revealed cognitive processes underlying music emotion perception, highlighting attributes less frequently discussed in MER studies, such as instrumentation, arrangement, musical structure, and multimodal factors related to performer expression. Exploratory models incorporating these semantic features and individual factors were developed to predict perceived music emotion over time. Regression analyses confirmed the significance of listener-informed semantic features as independent variables, with individual factors acting as moderators between loudness, pitch range, and arousal. In our final study, we analyzed the effects of individual differences on music emotion perception among 128 participants with diverse backgrounds. Participants annotated perceived emotions for 51 piano performances of different compositions from the Western canon, spanning various era. Linear mixed effects models revealed significant variations in valence and arousal ratings, as well as the frequency of emotion ratings, with regard to several individual factors: music sophistication, music preferences, personality traits, and mood states. Additionally, participants' ratings of arousal, valence, and emotional agreement were significantly associated to the historical time periods of the examined clips. This research highlights the complexity of music emotion perception, revealing it to be a dynamic, individual and context-dependent process. It paves the way for the development of more individually nuanced, time-based models in music psychology, opening up new avenues for personalised music emotion recognition and recommendation, music emotion-driven generation and therapeutic applications

    The politics of content prioritisation online governing prominence and discoverability on digital media platforms

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    This thesis examines the governing systems and industry practices shaping online content prioritisation processes on digital media platforms. Content prioritisation, and the relative prominence and discoverability of content, are investigated through a critical institutional lens as digital decision guidance processes that shape online choice architecture and influence users’ access to content online. This thesis thus shows how prioritisation is never neutral or static and cannot be explained solely by political economic or neoclassical economics approaches. Rather, prioritisation is dynamically shaped by the institutional environment and by the clash between existing media governance systems and those emerging for platform governance. As prioritisation processes influence how audiovisual media services are accessed online, posing questions about the public interest in such forms of intermediation is key. In that context, this research asks how content prioritisation is governed on digital media platforms, and what the elements of a public interest framework for these practices might be. To address these questions, I use a within case study comparative research design focused on the United Kingdom, collecting data by means of semi-structured interviews and document analysis. Through a thematic analysis, I then investigate how institutional arrangements influence both organisational strategies and interests, as well as the relationships among industry and policy actors involved, namely, platform organisations, pay-TV operators, technology manufacturers, content providers including public service media, and regulators. The results provide insights into the ‘black box’ of content prioritisation across three interconnected dimensions: technical, market, and regulatory. In each dimension, a battle between industry and policy actors emerges to influence prioritisation online. As the UK Government and regulator intend to develop new prominence rules, the dispute takes on a normative dimension and gives rise to contested visions of what audiovisual services should be prioritised to the final users, and which private- and public-interest-driven criteria are (or should) be used to determine that. Finally, the analysis shows why it is crucial to reflect on how the public interest is interpreted and operationalised as new prominence regulatory regimes emerge with a variety of sometimes contradictory implications for media pluralism, diversity and audience freedom of choice. The thesis therefore indicates the need for new institutional arrangements and a public interest-driven framework for prioritisation on digital media platforms. Such a framework conceives of public interest content standards as an institutional imperative for media and platform organisations and prompts regulators to develop new online content regulation that is appropriate to changing forms of digital intermediation and emerging audiovisual market conditions. While the empirical focus is on the UK, the implications of the research findings are also considered in the light of developments in the European Union and Council of Europe initiatives that bear on the future discoverability of public interest media services and related prominence regimes

    Second-Person Surveillance: Politics of User Implication in Digital Documentaries

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    This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique. This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention. Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben Flüchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking. Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation. Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets. Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (Joël Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligent™ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance

    IMAGINING, GUIDING, PLAYING INTIMACY: - A Theory of Character Intimacy Games -

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    Within the landscape of Japanese media production, and video game production in particular, there is a niche comprising video games centered around establishing, developing, and fulfilling imagined intimate relationships with anime-manga characters. Such niche, although very significant in production volume and lifespan, is left unexplored or underexplored. When it is not, it is subsumed within the scope of wider anime-manga media. This obscures the nature of such video games, alternatively identified with descriptors including but not limited to ‘visual novel’, ‘dating simulator’ and ‘adult computer game’. As games centered around developing intimacy with characters, they present specific ensembles of narrative content, aesthetics and software mechanics. These ensembles are aimed at eliciting in users what are, by all intents and purposes, parasocial phenomena towards the game’s characters. In other words, these software products encourage players to develop affective and bodily responses towards characters. They are set in a way that is coherent with shared, circulating scripts for sexual and intimate interaction to guide player imaginative action. This study defines games such as the above as ‘character intimacy games’, video game software where traversal is contingent on players knowingly establishing, developing, and fulfilling intimate bonds with fictional characters. To do so, however, player must recognize themselves as playing that type of game, and to be looking to develop that kind of response towards the game’s characters. Character Intimacy Games are contingent upon player developing affective and bodily responses, and thus presume that players are, at the very least, non-hostile towards their development. This study approaches Japanese character intimacy games as its corpus, and operates at the intersection of studies of communication, AMO studies and games studies. The study articulates a research approach based on the double need of approaching single works of significance amidst a general scarcity of scholarly background on the subject. It juxtaposes data-driven approaches derived from fan-curated databases – The Visual Novel Database and Erogescape -Erogē Hyōron Kūkan – with a purpose-created ludo-hermeneutic process. By deploying an observation of character intimacy games through fan-curated data and building ludo-hermeneutics on the resulting ontology, this study argues that character intimacy games are video games where traversal is contingent on players knowingly establishing, developing, and fulfilling intimate bonds with fictional characters and recognizing themselves as doing so. To produce such conditions, the assemblage of software mechanics and narrative content in such games facilitates intimacy between player and characters. This is, ultimately, conductive to the emergence of parasocial phenomena. Parasocial phenomena, in turn, are deployed as an integral assumption regarding player activity within the game’s wider assemblage of narrative content and software mechanics

    Workshop Proceedings of the 12th edition of the KONVENS conference

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    The 2014 issue of KONVENS is even more a forum for exchange: its main topic is the interaction between Computational Linguistics and Information Science, and the synergies such interaction, cooperation and integrated views can produce. This topic at the crossroads of different research traditions which deal with natural language as a container of knowledge, and with methods to extract and manage knowledge that is linguistically represented is close to the heart of many researchers at the Institut für Informationswissenschaft und Sprachtechnologie of Universität Hildesheim: it has long been one of the institute’s research topics, and it has received even more attention over the last few years
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