Correlates of objectively measured physical activity in preadolescent youth

Objective The purpose of this study was to identify the psychosocial and environmental correlates of objectively measured physical activity behavior in a diverse sample of sixth-grade students. Design Cross-sectional. Participants and Setting One hundred ninety-eight sixth-grade students from 4 public middle schools in Columbia, South Carolina. The study group was 52.0% female, 55.1% African-American, with a mean age of 11.4 +/- 0.6 years. Main Outcome Measures Time spent in moderate physical activity (MPA) and vigorous physical activity (VPA) was assessed using a uniaxial accelerometer (CSA WAM 7164) (Computer Science and Applications Inc., Shalimar, FL). Determinant variables included: age, gender, race/ethnicity (demographic); physical activity self-efficacy, social norms related to physical activity, and beliefs regarding physical activity outcomes (psychosocial); and perceived physical activity habits of parents and peers, involvement in community physical activity organizations, involvement in community-based sports programs, access to fitness/sporting equipment at home, and self-reported hours spent watching television or playing video games (environmental). Results For boys, physical activity self-efficacy, social norms related to physical activity, and involvement in community physical activity organizations were salient predictors of MPA and VPA. Among girls, only physical activity self-efficacy emerged as a clear predictor of objectively measured physical activity. Conclusions These findings are consistent with previous studies using self-reported physical activity and suggest that interventions to increase physical. activity in preadolescent youth should endeavor to boost physical activity self-efficacy by offering a wide selection of enjoyable, developmentally-appropriate physical activity options.

Abandoning the Magic Circle

As a concept, the magic circle is in reality just 4 years old. Whilst often accredited to Johan Huizinga (1955), the modern usage of term in truth belongs to Katie Salen and Eric Zimmerman. It became in academia following the publication of “Rules of Play” in 2003. Because of the terminologyused, it carries with it unhelpful preconceptions that the game world, or play-space, excludes reality. In this paper, I argue that Salen and Zimmerman (2003) have taken a term used as an example, and applied a meaning to it that was never intended, based primarily upon definitions given by other authors, namely Apter (1991) and Sniderman (n.d.). I further argue that the definition itself contains a logical fallacy, which has prevented the full understanding of the definition in later work. Through a study of the literature in Game Theory, and examples of possible issues which could arise in contemporary games, I suggest that the emotions of the play experience continue beyond the play space, and that emotions from the “real world” enter it with the participants. I consider a reprise of the Stanley Milgram Obedience Experiment (2006), and what that tells us about human emotions and the effect that events taking place in a virtual environment can have upon them. I evaluate the opinion espoused by some authors of there being different magic circles for different players, and assert that this is not a useful approach to take when studying games, because it prevents the analysis of a game as a single entity. Furthermore I consider the reasons given by other authors for the existence of the Magic Circle, and I assert that the term “Magic Circle” should be discarded, that it has no relevance to contemporary games, and indeed it acts as a hindrance to the design and study of games. I conclude that the play space which it claims to protect from the courts and other governmental authorities would be better served by the existing concepts of intent, consent, and commonly accepted principles associated with international travel.

Adapting “8-bit” motion style to 3D computer animation for Wreck-it Ralph

Tangled (2011) demonstrated that Walt Disney Animation has successfully extended the traditional Disney animation aesthetic to the 3D medium. The very next film produced by the studio however, Wreck-it Ralph (2012), required the animators (trained in the traditional Disney style) to develop a limited style of animation inspired by the 8-bit motion of 1980s video games. This paper examines the 8-bit style motion in Wreck-it Ralph to understand if and how the principles of animation were adapted for the film.

Connected Viewing: Selling, Streaming and Sharing Media in the Digital Era

As patterns of media use become more integrated with mobile technologies and multiple screens, a new mode of viewer engagement has emerged in the form of connected viewing, which allows for an array of new relationships between audiences and media texts in the digital space. This exciting new collection brings together twelve original essays that critically engage with the socially-networked, multi-platform, and cloud-based world of today, examining the connected viewing phenomenon across television, film, video games, and social media. The result is a wide-ranging analysis of shifting business models, policy matters, technological infrastructure, new forms of user engagement, and other key trends affecting screen media in the digital era. Connected Viewing contextualizes the dramatic transformations taking place across both media industries and national contexts, and offers students and scholars alike a diverse set of methods and perspectives for studying this critical moment in media culture.

Disciplining the screen through education: The Royal Commission into the moving picture industry in Australia

In this article, we investigate the complex relationship between concerns about children and young people’s exposure to cinema in 1920s Australia and the use of film in education. In part, the Royal Commission into the Moving Picture Industry in Australia aimed to ‘ascertain the effect and the extent of the power of film upon juveniles’ and Commissioners spoke to educationalists, psychologists, medical professions, police officers and parents to gain insight into the impacts of movies on children. Numerous issues were canvassed in the Commission hearings such as exposure to sexual content, ‘excesses’ in film content, children’s inability to concentrate at school following cinema attendance and the influence of cinema on youth crime. While the Commission ultimately suggested it was parents’ role to police children’s engagements with cinema, it did make recommendations for restricting children’s access to films with inappropriate themes. Meanwhile, the Commission was very positive about film’s educational role stating that ‘the advantage to be gained by the use of the cinematograph as an adjunct to educational methods should be assisted in every possible way by the Commonwealth’. We draw on the Commission’s minutes of evidence, the Commission report and newspaper articles form the 1920s to the 1940s to argue that the Commission provides valuable insight into the beginnings of the use of screen content in formal schooling, both as a resource across the curriculum and as a specific focus of education through film appreciation and, later, broader forms of media education. The article argues debates about screen entertainment and education rehearsed in the Commission are reflected today as parents, concerned citizens and educators ponder the dangers and potential of new media technologies and media content used by children and young people such as video games, social media and interactive content.

Veni Creator Spiritus: criatividade, cognição e comunicação nos videogames.

This dissertation has as its object the concept of creativity, as applied on entertainment products, more specifically on video games. Since this is a concept that has been used as an analysis category for researches within the CiberCog Research Lab, we want to problematize and redefine its parameters for future investigations. Thus our goal is to revise the concept of creativity, seeking to uncover how this category shall be used to study cognitive abilities that are required (and/or stimulated) for the fruition of entertainment products, most specially video games. The selected games for this study were divided into two groups (according to their genre): (1) action/adventure games, and (2) platform games. In the first group, we have Assassins Creed III (Ubisoft 2012); in the second, we have Rayman Origins (Ubisoft 2011). For the implementation of the research, there is a Cartographic-inspired method which stimulated the writing of collected data

The psychology of immersion and development of a quantitative measure of immersive response in games

This study sets out to investigate the psychology of immersion and the immersive response of individuals in relation to video and computer games. Initially, an exhaustive review of literature is presented, including research into games, player demographics, personality and identity. Play in traditional psychology is also reviewed, as well as previous research into immersion and attempts to define and measure this construct. An online qualitative study was carried out (N=38), and data was analysed using content analysis. A definition of immersion emerged, as well as a classification of two separate types of immersion, namely, vicarious immersion and visceral immersion. A survey study (N=217) verified the discrete nature of these categories and rejected the null hypothesis that there was no difference between individuals' interpretations of vicarious and visceral immersion. The primary aim of this research was to create a quantitative instrument which measures the immersive response as experienced by the player in a single game session. The IMX Questionnaire was developed using data from the initial qualitative study and quantitative survey. Exploratory Factor Analysis was carried out on data from 300 participants for the IMX Version 1, and Confirmatory Factor Analysis was conducted on data from 380 participants on the IMX Version 2. IMX Version 3 was developed from the results of these analyses. This questionnaire was found to have high internal consistency reliability and validity.

A Video Game-Integrated Electromyography Biofeedback Device for Use in Physical Therapy

We present a novel system to be used in the rehabilitation of patients with forearm injuries. The system uses surface electromyography (sEMG) recordings from a wireless sleeve to control video games designed to provide engaging biofeedback to the user. An integrated hardware/software system uses a neural net to classify the signals from a user’s muscles as they perform one of a number of common forearm physical therapy exercises. These classifications are used as input for a suite of video games that have been custom-designed to hold the patient’s attention and decrease the risk of noncompliance with the physical therapy regimen necessary to regain full function in the injured limb. The data is transmitted wirelessly from the on-sleeve board to a laptop computer using a custom-designed signal-processing algorithm that filters and compresses the data prior to transmission. We believe that this system has the potential to significantly improve the patient experience and efficacy of physical therapy using biofeedback that leverages the compelling nature of video games.

Flavian laws, the railway, the newspaper and Loring’s breads

It is abound the research on the formation, rise and failure of the financial and industrial network undertaken by the Loring-Heredia-Larios triangle, bourgeois families who introduced the Industrial Revolution in the south of Andalusia. On the contrary, there are almost nonexistent studies from the perspective of the mentality that sustained their business, social and ethical model in the algid decades of their action (1850-1860). In this paper we propose some hypotheses about the ideological structures of bourgeois group and point out some keys, clues and signs for a future reconstruction of this kind, which so far has not been incardinated that early and failed malaguenan industrial revolution in streams thinking of that time.

Human Computer Interaction using gestures for mobile devices and serious games: A review

The Human-Computer Interaction (HCI) with interfaces is an active challenge field in the industry over the past decades and has opened the way to communicate with the means of verbal, hand and body gestures using the latest technologies for a variety of different applications in areas such as video games, training and simulation. However, accurate recognition of gestures is still a challenge. In this paper, we review the basic principles and current methodologies used for collecting the raw gesture data from the user for recognize actions the users perform and the technologies currently used for gesture-HCI in games enterprise. In addition, we present a set of projects from various applications in games industry that are using gestural interaction.

“The impact of online ratings on video game sales”

Online third-party reviews have been grown over the last decade and they now play an important role as a tool for helping customers evaluate products and services that in many cases offer more than tangible features. This study intends to quantify the impact online ratings have over video game sales by conducting a linear regression analysis on 300 titles for the previous console generation (PlayStation® 3 and Xbox® 360) using a data from the video game industry to understand the existing influence on this particular market. The findings showed that these variables have a weak linear relationship thus suggesting that quality of a title explains little the commercial success of a video game and instead this should cover a wider range of factors. Afterwards, we compare results to previous ones and discuss the managerial implications for upcoming gaming generations.

La stratégie comme processus cognitif dans le jeu vidéo StarCraft

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Des typologies mécaniques à l'expérience esthétique : fonctions et mutations du genre dans le jeu vidéo

Cette thèse examine en profondeur la nature et l’application du concept de genre en jeu vidéo. Elle se divise en trois parties. La première fait l’inventaire des théories des genres en littérature et en études cinématographiques. Les propriétés essentielles du genre comme concept sont identifiées : il s’agit d’une catégorisation intuitive et irraisonnée, de nature discursive, qui découle d’un consensus culturel commun plutôt que de systèmes théoriques, et qui repose sur les notions de tradition, d’innovation et d’hybridité. Dans la deuxième partie, ces constats sont appliqués au cas du genre vidéoludique. Quelques typologies sont décortiquées pour montrer l’impossibilité d’une classification autoritaire. Un modèle du développement des genres est avancé, lequel s’appuie sur trois modalités : l’imitation, la réitération et l’innovation. Par l’examen de l’histoire du genre du first-person shooter, la conception traditionnelle du genre vidéoludique basée sur des mécanismes formels est remplacée par une nouvelle définition centrée sur l’expérience du joueur. La troisième partie développe l’expérience comme concept théorique et la place au centre d’une nouvelle conception du genre, la pragmatique des effets génériques. Dans cette optique, tout objet est une suite d’amorces génériques, d’effets en puissance qui peuvent se réaliser pourvu que le joueur dispose des compétences génériques nécessaires pour les reconnaître. Cette nouvelle approche est démontrée à travers une étude approfondie d’un genre vidéoludique : le survival horror. Cette étude de cas témoigne de l’applicabilité plus large de la pragmatique des effets génériques, et de la récursivité des questions de genre entre le jeu vidéo, la littérature et le cinéma.

La représentation du métro dans le jeu vidéo d'horreur : désorientation, angoisse et terreur

Ce mémoire s‘intéresse à la spatialité du jeu vidéo et à l‘adaptation vidéoludique de lieux réels. Il se concentre sur un lieu précis, le métro, et sur sa représentation dans le genre de l‘horreur. Cette recherche comprend trois niveaux d‘adaptation du lieu et de création spatiale, soit l‘adaptation systémique, l‘adaptation sociohistorique et finalement l‘adaptation technologique. À partir d‘exemples de jeux comparés aux réalités concrètes du métro, ces trois niveaux d‘adaptation sont analysés afin d‘explorer à la fois les impacts du lieu virtuel sur l‘expérience de jeu et les influences externes qui guident la conception vidéoludique.

De la réception filmique à la participation ludique : prolégomènes d’une étude sur l’énonciation vidéoludique

Ce mémoire étudie la dynamique communicationnelle et interactionnelle entre un joueur et un système de jeu par l’entremise des théories de l’énonciation et de la cognition. Par une analyse des jeux vidéo d’horreur en perspective à la première personne, il s’agit de conceptualiser une spirale heuristique de l’énonciation à partir des principes théoriques du Cycle Magique (Arsenault et Perron, 2009). Le propos se focalise sur la manière dont le joueur expérimente et traite les propositions ludiques et les propositions ludodiégétiques. L’intérêt est d’observer comment la valeur réflexive des marques de jeu et des marques de jouabilité sert à départager des relations d’attribution entre des formulations énonciatives (textuelles, verbales, visuelles, sonores ou procédurales) et des agents énonciatifs. Cette recherche rend compte, d’une part, de la gestion cognitive des faits énonciatifs et, d’autre part, de la modulation de leurs valeurs d’immédiateté-hypermédiateté et de leurs rapports de liaison/déliaison avec les agents énonciatifs. Il est expliqué que cette activité cognitive du joueur dirige la schématisation d’attitudes interactionnelles servant à structurer la signification – ludique ou narrative – des propositions ludiques générées au cours de l’activité de jeu. L’analyse cible des processus de mise en phase performative et de mise en phase méta-systémique ludique permettant la détermination de vecteurs d’immersion. En fonction du caractère d’opacité ou de transparence des vecteurs, il est question d’indiquer comment la posture d’expérience du joueur oscille entre un continuum immersif qui polarise une expérience systémique et une expérience diégétisée.