Mass media and polarisation processes in the bounded confidence model of opinion dynamics

This paper presents a social simulation in which we add an additional layer of mass media communication to the social network 'bounded confidence' model of Deffuant et al (2000). A population of agents on a lattice with continuous opinions and bounded confidence adjust their opinions on the basis of binary social network interactions between neighbours or communication with a fixed opinion. There are two mechanisms for interaction. 'Social interaction' occurs between neighbours on a lattice and 'mass communication' adjusts opinions based on an agent interacting with a fixed opinion. Two new variables are added, polarisation: the degree to which two mass media opinions differ, and broadcast ratio: the number of social interactions for each mass media communication. Four dynamical regimes are observed, fragmented, double extreme convergence, a state of persistent opinion exchange leading to single extreme convergence and a disordered state. Double extreme convergence is found where agents are less willing to change opinion and mass media communications are common or where there is moderate willingness to change opinion and a high frequency of mass media communications. Single extreme convergence is found where there is moderate willingness to change opinion and a lower frequency of mass media communication. A period of persistent opinion exchange precedes single extreme convergence, it is characterized by the formation of two opposing groups of opinion separated by a gradient of opinion exchange. With even very low frequencies of mass media communications this results in a move to central opinions followed by a global drift to one extreme as one of the opposing groups of opinion dominates. A similar pattern of findings is observed for Neumann and Moore neighbourhoods.

Job characteristics and burnout among aging professionals in information and communications technology

The aim of this Study was to examine the relationship between job characteristics and burnout, i.e., exhaustion, cynicism and lack of professional efficacy, in a sample of 115 (49- to 61-yr.-old) information and communications technology professionals. Questionnaire survey data were collected at two time points. In 1995 (Time 1), higher quantitative overload and lower job control were associated with higher exhaustion. Job control was negatively associated with lack of professional efficacy. In 2001 (Time 2), quantitative overload and information overload were positively associated with exhaustion, but with job control negatively. Use of new information Was negatively associated with cynicism. In addition, job control and use of new information were negatively associated with lack of professional efficacy. job characteristics at Time 1 were not significantly associated with burnout at Time 2 when job characteristics at Time 2 were controlled.

Censoring the 1970s: The BBFC and the Decade that Taste Forgot

This book is a study of the British Board of Film Censors in the 1970s. In permitting and refusing specific material to be shown on cinema screens the BBFC were dictating patterns of taste and helping shape and determine notions of acceptability. Contentious and controversial texts like A Clockwork Orange (1971), Straw Dogs (1971) The Devils (1971) and Life of Brian (1979) have been used to draw attention to the way in which the BBFC operated in the 1970s. While it is true to say that these films encountered major censorship problems, what of the hundreds of other films which were being classified at the same time? Did all films struggle with the British censors in this period, and can these famous examples be fitted into broader patterns of censorship policy and practice?

In studying over 250 film files from the BBFC archive, this work reveals how 1970s films such as Vampire Circus (1971), Confessions of a Window Cleaner (1974) and Carry on Emmannuelle (1978) also ran in to trouble with the film censor. This work explores the complex process of negotiation and compromise which affected all film submissions in the 1970s and the way in which the BBFC actively, and often sympathetically, negotiated with film directors, producers and distributors to assign the correct category to each film. The lack of any defined formal censorship policy in this period allowed the BBFC to work alongside the film industry and push cultural, social and artistic boundaries; however it also left the Board open to accusations of favouritism, subjectivity and personal bias.

This work is not simply a study of controversial films and contentious issues, but rather engages with wider issues of changing permission, legal struggles, the influence of the media and the legislative and governmental controls which both helped and hindered the BBFC in this important post-war decade. The approach used within this work focuses on historical and archival research, making it importantly inter-textual and offering a great deal to scholars from a number of associated disciplines, including history, social policy, media and communications and politics.

Hagar Qim and Mnajdra Visitor Centre, Ggantija Visitor Centre:Prehistoric World Heritage Sites visitor centre media and academic content

2010-12 Expert Assistance with research material, digital illustration and text for Visitor Centres in Malta and Gozo (Heritage Malta) and National Museum

A New Irish? Problems of communication in modern Irish media and new speakers.

While the Gaeltacht (Irish speaking) areas of Ireland are geographically isolated from each other and relatively small in area, it is expected that the number of second language Irish speakers throughout the country should ensure the future of the language. Nevertheless, while the official standard grammar has been established for many decades, there is still a tendency in the spoken language to give precedence to regional dialectal variants in schools and the broadcast media which often raises barriers between native speakers themselves and between learners and native speakers.
All pupils in school in the Republic and many in Northern Ireland learn Irish and there has been a great increase in the number of pupils attending immersion Irish language Gaelscoileanna. But concern has been expressed about the phonetic and structural accuracy achieved in schools, all of which contributes to communication breakdown.
This paper discusses how a greater awareness of the link between phoneme and grapheme in Irish and the proposals for the Lárchanúint (Central Dialect) in the 1980s and current discussions on Caighdeán Leathan agus Caighdeán Cúng (Broad and Narrow Standard) would mitigate these concerns.

Arenedicarboximide Building Blocks for Fluorescent Photoinduced Electron Transfer pH Sensors Applicable with Different Media and Communication Wavelengths

N-(aminoalkyl)-4-chloronaphthalene-
1,8-dicarboximides 1, N-
(aminoalkyl)-4-acetamidonaphthalene-
1,8-dicarboximides 3 and N,N'-bis(aminoalkyl)-
perylene-3,4:9,10-tetracarboxydiimides
4 show good fluorescent off ±
on switching in aqueous alcoholic solution
with protons as required for fluorescent
PET sensor design. The excitation
wavelengths lie in the ultraviolet
(lmaxˆ345 and 351 nm) for 1 and 3 and
in the blue-green (lmaxˆ528, 492 and
461 nm) for 4; the emission wavelengths
lie in the violet (lmaxˆ408 nm) for 1, in
the blue (lmaxˆ474 nm) for 3 and in the
yellow-orange (lmaxˆ543 and 583 nm)
for 4. Compound 4b shows substantial
fluorescence enhancement with protons
when immobilized in a poly(vinylchloride)
matrix, provided that 2-nitrophenyloctyl
ether plasticizer and potassium
tetrakis(4-chlorophenyl)borate additive
are present to prevent dye crystallization
and to facilitate proton diffusion
into the membrane, respectively.

Location decision-making of 'creative' industries: the media and computer games sectors in Dublin, Ireland

There has been significant research undertaken examining the “creative class” thesis within the context of the locational preferences of creative workers. However, relatively little attention has been given to the locational preferences of creative companies within the same context. This paper reports on research conducted to qualitatively analyse the location decision making of companies in two creative sectors: media and computer games. We address the role of the so-called “hard” and “soft” factors in company location decision making within the context of the creative class thesis, which suggests that company location is primarily determined by “soft” factors rather than “hard” factors. The study focuses upon “core” creative industries in the media and computer game sectors and utilises interview data with company managers and key elite actors in the sector to investigate the foregoing questions. The results show that “hard” factors are of primary importance for the location decision making in the sectors analysed, but that “soft” factors play quite an important role when “hard” factors are satisfactory in more than one competing city-region.

Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.