The player and video game interplay in the gameplay experience construct

Among the many discussions and studies related to video games, one of the most recurrent, widely debated and important relates to the experience of playing video games. The gameplay experience – as appropriated in this study – is the result of the interplay between two essential elements: a video game and a player. Existing studies have explored the resulting experience of video game playing from the perspective of the video game or the player, but none appear to equally balance both of these elements. The study presented here contributes to the ongoing debate with a gameplay experience model. The proposed model, which looks to equally balance the video game and the player elements, considers the gameplay experience to be both an interactive experience (related to the process of playing the video game) and an emotional experience (related to the outcome of playing the video game). The mutual influence of these two experiences during video game play ultimately defines the gameplay experience. To this gameplay experience contributes several dimensions, related to both the video game and player: the video game includes a mechanics, interface and narrative dimension; the player includes a motivations, expectations and background dimension. Also, the gameplay experience is initially defined by a gameplay situation, conditioned by an ambient in which gameplay takes place and a platform on which the video game is played. In order to initially validate the proposed model and attempt to show a relationship among the multiple model dimensions, a multi-case study was carried out using two different video games and player samples. In one study, results show significant correlations between multiple model dimensions, and evidence that video game related changes influence player motivations as well as player visual behavior. In specific player related analysis, results show that while players may be different in terms of background and expectations regarding the game, their motivation to play are not necessarily different, even if their performance in the game is weak. While further validation is necessary, this model not only contributes to the gameplay experience debate, but also demonstrates in a given context how player and video game dimensions evolve during video game play.

An Empirical Evaluation of the Reversal Theory State Measure: Tracking Changes in the Experience of Video Commercials of Three Leading Running Brands

Abstract of paper delivered at the 17th International Reversal Theory Conference, Day 3, session 4, 01.07.15

An Empirical Evaluation of the Reversal Theory State Measure Using Three Running Brand Video Commercials

This paper reports on the first known empirical use of the Reversal Theory State Measure (RTSM) since its publication by Desselles et al. (2014). The RTSM was employed to track responses to three purposely-selected video commercials in a between-subjects design. Results of the study provide empirical support for the central conceptual premise of reversal theory, the experience of metamotivational reversals and the ability of the RTSM to capture them. The RTSM was also found to be psychometrically sound after adjustments were made to two of its three component subscales. Detailed account and rationale is provided for the analytical process of assessing the psychometric robustness of the RTSM, with a number of techniques and interpretations relating to component structure and reliability discussed. Agreeability and critique of the two available versions of the RTSM – the bundled and the branched – is also examined. Researchers are encouraged to assist development of the RTSM through further use, taking into account the analysis and recommendations presented.

Hatchery technologies and nutritional contents of cuttlefish (Sepia officinalis) spawners, eggs, hatchlings and live prey associated

Tese dout., Aquacultura, Universidade do Algarve, 2007

Evaluation of the H.264 scalable video coding in error prone IP networks

The Joint Video Team, composed by the ISO/IEC Moving Picture Experts Group (MPEG) and the ITU-T Video Coding Experts Group (VCEG), has standardized a scalable extension of the H.264/AVC video coding standard called Scalable Video Coding (SVC). H.264/SVC provides scalable video streams which are composed by a base layer and one or more enhancement layers. Enhancement layers may improve the temporal, the spatial or the signal-to-noise ratio resolutions of the content represented by the lower layers. One of the applications, of this standard is related to video transmission in both wired and wireless communication systems, and it is therefore important to analyze in which way packet losses contribute to the degradation of quality, and which mechanisms could be used to improve that quality. This paper provides an analysis and evaluation of H.264/SVC in error prone environments, quantifying the degradation caused by packet losses in the decoded video. It also proposes and analyzes the consequences of QoS-based discarding of packets through different marking solutions.

BitTorrent based transmission of real-time scalable video over P2P networks

The number of software applications available on the Internet for distributing video streams in real time over P2P networks has grown quickly in the last two years. Typical this kind of distribution is made by television channel broadcasters which try to make their content globally available, using viewer's resources to support a large scale distribution of video without incurring in incremental costs. However, the lack of adaptation in video quality, combined with the lack of a standard protocol for this kind of multimedia distribution has driven content providers to basically ignore it as a solution for video delivery over the Internet. While the scalable extension of the H. 264 encoding (H.264/SVC) can be used to support terminal and network heterogeneity, it is not clear how it can be integrated in a P2P overlay to form a large scale and real time distribution. In this paper, we start by defining a solution that combines the most popular P2P file-sharing protocol, the BitTorrent, with the H. 264/SVC encoding for a real-time video content delivery. Using this solution we then evaluate the effect of several parameters in the quality received by peers.

Comparing segmentation strategies for efficient video passage retrieval

We compare the effect of different text segmentation strategies on speech based passage retrieval of video. Passage retrieval has mainly been studied to improve document retrieval and to enable question answering. In these domains best results were obtained using passages defined by the paragraph structure of the source documents or by using arbitrary overlapping passages. For the retrieval of relevant passages in a video, using speech transcripts, no author defined segmentation is available. We compare retrieval results from 4 different types of segments based on the speech channel of the video: fixed length segments, a sliding window, semantically coherent segments and prosodic segments. We evaluated the methods on the corpus of the MediaEval 2011 Rich Speech Retrieval task. Our main conclusion is that the retrieval results highly depend on the right choice for the segment length. However, results using the segmentation into semantically coherent parts depend much less on the segment length. Especially, the quality of fixed length and sliding window segmentation drops fast when the segment length increases, while quality of the semantically coherent segments is much more stable. Thus, if coherent segments are defined, longer segments can be used and consequently less segments have to be considered at retrieval time.

Designing personalized video-based crossmedia informal learning environments beyond iTV

Tese de doutoramento, Informática (Engenharia Informática), Universidade de Lisboa, Faculdade de Ciências, 2014

Beach morphodynamics at Nazaré coast using video monitoring

Tese de doutoramento, Geologia (Geodinâmica Externa), Universidade de Lisboa, Faculdade de Ciências, 2014

Potencialidades do uso de visualizações para a aprendizagem do tema Tabela Periódica

Relatório da prática de ensino supervisionada, Mestrado em Ensino de Física e de Química no 3º Ciclo do Ensino Básico e no Ensino Secundário, Universidade de Lisboa, 2014

Virtual Infants in Zoo Indigo’s Under the Covers This is Now, This is Live…

The article This is Live this is now (2011), contextualises the performance Under the Covers (2009) by Zoo Indigo. The journal article is written by Ildiko Rippel on behalf of Zoo Indigo theatre company (Rosie Garton and Ildiko Rippel) and it is published in the online Body, Space and Technology Journal:

A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

CNN Interactive just got more interactive

Interactive gallery installation which playfully re-contextualised online news feeds from CNN’s website with a soundtrack of found music in order to comment on an online environment where 'serious' news and trivial 'infotainment' often occupy the same space. ‘CNN Interactive just got more interactive’ aimed to investigate the balance between information and ‘info-tainment’ on the web. It demonstrated how the authority and presence of global news corporations online could be playfully subverted by enabling the audience to add a variety of emotively titled soundtracks to the monolithic CNN Interactive website. The project also explored how a work could exist dually as website and gallery installation. ‘CNN interactive’ contributes to the taxonomy of new media art as a new form of contemporary art. One of the first examples in the world of a gallery installation using live Internet data, it is also one of the first attempts in a new media art context to address how individuals respond to and comprehend the changed nature of the news as an immediate phenomenon as relayed by network communications systems. 'CNN interactive’ continues Craighead and Thomson’s research into how live digital networked information can be re-purposed as artistic material within gallery installation contexts but with specific reference to online-international news events, rather than arbitrary data sources (see e-poltergeist, output 1). ‘CNN Interactive’ was commissioned by Tate Britain for the exhibition ‘Art and Money Online’. This was the first gallery exhibition in Tate Britain featuring work that utilised and explored new media as an artistic area, and the first work commissioned by the Tate to operate simultaneously as an online gallery artwork. Selected reviews and citations include ‘Digital Art’ by Christiane Paul, 2003; ‘Internet Art: The Online Clash of Culture and Commerce’ by Julian Stallabrass. (2002); ‘Thomson & Craighead’ by Lisa Le Feuvre for Katalog Journal of Photography and Video, Denmark. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Short films about flying

Online artwork which streams web-cam images live from the Internet and re-mixes them into disjointed narrative sequences, thereby producing cinema as a 'found object' made entirely of live material streamed from the internet. ‘Short Films about Flying’ is an online film which explores how a cinematic work can be generated using live material from the internet. The work is driven by software that takes surveillance video from a live camera feed at Logan Airport, Boston, and combines this with randomly grabbed audio from the web and texts taken from websites, chat rooms, message boards etc. This results in an endless open edition of unique cinematic works in real-time. By combining the language of cinema with global real-time data technologies, this work is one of the first new media artworks to re-imagine the internet in a different sensory form as a cinematic space. ‘Short Films about Flying’ was developed over the course of a year in collaboration with Jon Thomson (Slade) to explore how the concept of the found object can be re-conceptualised as the found data stream. It has informed other research by Craighead and Thomson, such as the web project http://www.templatecinema.com, and began an examination into relationships between montage and live virtual data –an early example of which would be ‘Flat Earth’, an animated work developed for Channel 4 in 2007, with the production company Animate. This piece has been cited in discussions on new media art, as a significant example of artworks using a database as their determining structure. It was acquired for the Arts Council Collection and has continuously toured significant international venues over the last 4 years. Citations include:’ Time and Technology’ by Charlie Gere (2006); 'The Wrong Categories' by Kris Cohen (2006); 'Networked Art - Practices and Positions' edited by Tom Corby (Routledge 2005) and Grayson Perry in The Times (9.8.06).

Automatic Video Analysis for Fisheries Survey Systems

Thesis (Ph.D.)--University of Washington, 2015