Feb 132022

Gostava de ter acesso a este artigo:
“Do Real-Time Strategy Video Gamers Have Better Attentional Control?”
Do real-time strategy (RTS) video gamers have better attentional control? To examine this issue, we tested experienced versus inexperienced RTS video gamers on multi-object tracking tasks (MOT) and dual-MOT tasks with visual or auditory secondary tasks (dMOT). We employed a street-crossing task with a visual working memory task as a secondary task in a virtual reality (VR) environment to examine any generalized attentional advantage.

Similar to action video games, RTS video games require players to switch attention between multiple visual objects and views. However, whether the attentional control advantage is limited by sensory modalities or generalizes to real-life tasks remains unclear.

In study 1, 25 RTS video game players (SVGP) and 25 non-video game players (NVGP) completed the MOT task and two dMOT tasks. In study 2, a different sample with 25 SVGP and 25 NVGP completed a simulated street-crossing task with the visual dual task in a VR environment.

After controlling the effects of the speed-accuracy trade-off, SVGP showed better performance than NVGP in the MOT task and the visual dMOT task, but SVGP did not perform better in either the auditory dMOT task or the street-crossing task.

RTS video gamers had better attentional control in visual computer tasks, but not in the auditory tasks and the VR tasks. Attentional control benefits associated with RTS video game experience may be limited by sensory modalities, and may not translate to performance benefits in real-life tasks.

+infos(oficial): LINK

Dec 312021

Gostava de ter acesso a:
“M. Kuwahara and N. Umezu, “Learning Environment based on an Interactive Projection Table for Children,” 2021 IEEE International Conference on Artificial Intelligence and Virtual Reality (AIVR), 2021, pp. 109-113, doi: 10.1109/AIVR52153.2021.00026.
Abstract: This paper proposes a tabletop learning environment for children. Some physics-based phenomena such as reflection and refraction of light are difficult for children to understand. Our interactive projection significantly help children understand behaviors of light through watching simulated light particles and interacting with them by moving real objects on the table. Our system consists a PC, video projector, and depth sensor. Depth-based object detection is performed with each of captured frames at 60 FPS. In the prototype of our implemented system for learning behaviors of light, simulated light particles reacts in realtime with actual objects moved by a user hand, which would greatly help people including children understand behaviors of light such as propagation and reflection. Our future work includes to conduct a series of user experiments in local museums to evaluate usability of the proposed system. Development of other learning applications are also of high importance”

+infos(oficial): LINK

Dec 182021

Gostava de ter acesso a:
“LEGO: THE TOY OF SMART INVESTORS” de Victoria Dobrynskaya, Julia Kishilova

Do resumo surge:
“We study financial returns on alternative collectible investment assets, such as toys, using LEGO sets as an example. Such iconic toys with diminishing over time supply and high collectible values appear to yield high returns on the secondary market. We find that LEGO investments outperform large stocks, bonds, gold, and alternative investments, yielding an average return of at least 11% (8% in real terms) in the sample period 1987–2015. LEGO returns are not exposed to market, value, momentum, and volatility risk factors but have an almost unit exposure to the size factor. A positive multifactor alpha of 4%–5%, a Sharpe ratio of 0.4, a positive return skewness, and low exposure to standard risk factors make the LEGO toy and other similar collectibles an attractive alternative investment with good diversification potential.”

+infos(oficial): LINK

Dec 182021

Gostava de ter acesso a:
“Studying interrelations of computational thinking and creativity: A scoping review (2011–2020)” de Rotem Israel-Fishelson, Arnon Hershkovitz

do resumo surge:
Both computational thinking (CT) and creativity have been recognized as key skills for today’s learners. Over the last decade, research of both skills in a single context has emerged. In this paper, we present a scoping review of 62 such empirical from 2011 to 2020. Our goal was to have a thorough understanding of the educational settings in which research on both CT and creativity was conducted, the theoretical foundations it has laid down, and the research tools used. Our findings indicate a geographical bias (dominance of the US and prominence of developed European countries), as well as a focus on secondary education and on STEM-related disciplines; this could be explained by the current situation of CT spread. We also found that when studying CT and creativity jointly, it is most common to define CT in a broader perspective than merely programming of computer science. Additionally, while creativity is largely referred to as product-related, CT is barely referred to as such. Taken together, our findings point out some gaps in the current research of CT and creativity and suggest how it should be expended on the fertile grounds of creativity, as the latter crosses geographical, age, and subject borders. Doing so may build a bridge between CT and creativity in a way that will benefit both.

+infos(oficial): LINK

Dec 182021

Gostava de ter acesso a este artigo: “Using Simple Design features to Recapture the Essence of Real-Time Strategy Games” de Hsuan MIN Wang; Chia-Yuan Hou; Chuen-Tsai Sun

eal-time strategy (RTS) games simulate battlefield leadership and tactical and strategic operations. Most overemphasize the number of actions per minute (APM), which encourages players to click rapidly and constantly rather than apply deliberate and finely tuned strategies or tactics. New RTS games with unconventional game mechanics that reduce APM demand and promote strategic planning are being released. We created three versions of a single RTS game, recruited players, recorded their game control data, and asked them to complete a simple after-game questionnaire. Data were used to analyze tactical and strategic applications. Player actions were observed and player opinions analyzed in an attempt to identify an optimal game structure as measured by strategic and tactical play.

+infos(artigo): LINK

Dec 182021

Texto em livro: Artountabilzty: Art and Algorithmic Accountability

Given the complexity of the inner working of algorithms and the ulterior effects these systems may have on society, the European Union has begun an ‘Algorithmic Awareness-Building exercise to inform policy-making on algorithmic decisions’ challenges and opportunities. We contribute to this effort by identifying how art can have a strong voice in promoting algorithmic accountability and transparency in the public debate. After introducing algorithmic accountability and transparency concepts, we focus on the cognitive, affective, societal, educational, and ethical functions art can have in realising Europe’s goals.

Discussion and Conclusion:
Individuals’ characteristics and preferences are used to build profiles and combined with automated decision-making to make products and services more precise and effective. While there may be some benefits, algorithmic profiling and automated decision-making processes can impact individuals and society at large, for example, by invading individual privacy or rising inequality. Given the complicated processes in such algorithmic systems and the existing legal framework, there may be a bit of a responsibility gap. Increasing transparency, embedding privacy into the technologies, and raising awareness are commonly proposed to increase accountability in this area. The European Union, for instance, has begun an ‘Algorithmic Awareness-Building’ exercise to inform policy-making on algorithmic decisions, challenges and opportunities. An often overlooked area that could nevertheless contribute is the role of art in this arena. This chapter thus explored how art can have a strong voice in promoting algorithmic accountability and transparency in the public debate.

After introducing the intersection of algorithmic accountability and art, we then elaborated upon the concept of algorithmic accountability and what exactly it constitutes. Algorithmic accountability needs to follow the system’s life cycle, where there are ex-ante, in medias res, and ex-post considerations that should be taken into account. Accountability, wherever it is located in a system’s life cycle, is facilitated and operationalised through other principles such as traceability, reviewability, fairness, and the more abstract principle of transparency. The present contribution in assessing the role of art regarding algorithmic accountability focuses on the more abstract level of transparency.

We then analysed the concept of transparency and its multiple dimensions. Transparency as information makes underlying operations perceivable and detectable, which entails the idea of verifiability and the notion of explainability and inspectability. While this understanding of transparency enables accountability and auditability, this understanding should be embedded within the other dimensions of transparency. One such dimension is performative transparency, Where organisations perform transparency by outlining how it processes data, which it can do in a transparent or opaque manner. Another critical dimension of transparency related to the performativity element is the relational dimension ablllty tocuses on the more abstract level or transparency.

We then analysed the concept of transparency and its multiple dimensions. Transparency as information makes underlying operations perceivable and detectable, which entails the idea of verifiability and the notion of explainability and inspectability. While this understanding of transparency enables accountability and auditability, this understanding should be embedded within the other dimensions of transparency. One such dimension is performative transparency, where organisations perform transparency by outlining how it processes data, which it can do in a transparent or opaque manner. Another critical dimension of transparency related to the performativity element is the relational dimension of transparency. Only with the audience in mind, ie, the information provided is targeted towards the relevant audience, can transparency be effectively performed and lead to accountability. Finally, transparency is embedded within a legal, regulatory, and organisational context. While the GDPR mandates transparency and accountability, a ‘transparency by design’ approach may help in addressing shortcomings.

While attempts to increase the legibility of algorithmic decision-making to bring about accountability are critical, it is also essential to acknowledge the limits of transparency as a responsive action. As Ananny and Crawford have noted concerning calls for transparency around algorithmic decision-making systems, transparency on its own will not mean users can change or influence these systems, as transparency can promote seeing without knowing.

Next, the chapter delved into the role of art in promoting algorithmic accountability and transparency. The five functions of art — cognitive, emotional, social, educational, and ethical — were examined. The cognitive function of art in promot- ing algorithmic accountability and transparency lies in its potential to foster awareness, evoke thought, and challenge existing narratives that may be harmful or considered inappropriate in contemporary times. An important project in this area is the MoRM, which challenges participants to think about how AI systems operate critically. Art also has an emotional or aflective function. An AI produces artwork that engages with AI systems or that can, for example, foster empathy and allow individuals to feel similar to someone affected by an AI system.
In this sense, art broadens perspectives and can potentially create transparency in a more grounded, personal, and relational manner. Also, art has a social function by bringing together different stakeholders around a topic and creating novel communities. By doing so, art might interest new audiences in Al, transparency, and accountability or engage people emotionally. As such, the social function is connected to the other functions of art. The educational function of art fosters the artist’s personal development and a deeper understanding of transparency, enabling alternative design visions that can hold different parties to account and create communities of practice. The ethical function of art addresses what it means to be subject to what algorithms can understand what is correct or not, and more importantly, whether how algorithms function is ethically justifiable or not.

Art has the power to explicate power dynamics and raising awareness of societal issues and could be determinant in shaping a collective and societal understanding of AI societal consequences, increasing the throughput from transparency to accountability. Art can also bring many different stakeholders together, from young audiences to engineers, to policymakers, to vulnerable groups, subject to the discriminatory effect of such systems. Because of the multiplicity of stakeholders and art projects, artwork in general ‘works’ on several levels. First, by making use of the AI technologies, engineers, and the industry use. Second, creating meaning and understanding about the ambiguous, complex, and controversial elements found in the way AI in context is developed and works. Third, by offering itself as an object to reflect upon, being present as a way to question without answering
(being as art should be useful in its uselessness).


+infos: LINK

Jul 132021

Gostava de ter acesso “Handbook on Interactive Storytelling” de Jouni Smed, Tomi ‘bgt’ Suovuo, Natasha Skult, e Petter Skult.

“Electronic games are no longer considered “mere fluff” alongside the “real” forms of entertainment, like film, music, and television. Instead, many games have evolved into an art form in their own right, including carefully constructed stories and engaging narratives enjoyed by millions of people around the world.

In Handbook on Interactive Storytelling, readers will find a comprehensive discussion of the latest research covering the creation of interactive narratives that allow users to experience a dramatically compelling story that responds directly to their actions and choices.

Systematically organized, with extensive bibliographies and academic exercises included in each chapter, the book offers readers new perspectives on existing research and fresh avenues ripe for further study. In-depth case studies explore the challenges involved in crafting a narrative that comprises one of the main features of the gaming experience, regardless of the technical aspects of a game’s production.

Readers will also enjoy:

A thorough introduction to interactive storytelling, including discussions of narrative, plot, story, interaction, and a history of the phenomenon, from improvisational theory to role-playing games
A rigorous discussion of the background of storytelling, from Aristotle’s Poetics to Joseph Campbell and the hero’s journey
Compelling explorations of different perspectives in the interactive storytelling space, including different platforms, designers, and interactors, as well as an explanation of storyworlds
Perfect for game designers, game developers, game and narrative researchers and academics, and undergraduate and graduate students studying storytelling, game design, gamification, and multimedia systems, Handbook on Interactive Storytelling is an indispensable resource for anyone interested in the deployment of compelling narratives in an interactive context.”

+infos(oficial): https://www.wiley.com/en-pt/Handbook+on+Interactive+Storytelling-p-9781119688136

Jun 102020

“This encyclopedia collects and organizes theoretical and historical content on the topic of video games, covering the people, systems, technologies, and theoretical concepts as well as the games themselves.

This two-volume encyclopedia addresses the key people, companies, regions, games, systems, institutions, technologies, and theoretical concepts in the world of video games, serving as a unique resource for students. The work comprises over 300 entries from 97 contributors, including Ralph Baer and Nolan Bushnell, founders of the video game industry and some of its earliest games and systems. Contributing authors also include founders of institutions, academics with doctoral degrees in relevant fields, and experts in the field of video games.

Organized alphabetically by topic and cross-referenced across subject areas, Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming will serve the needs of students and other researchers as well as provide fascinating information for game enthusiasts and general readers.”

Esta seria uma enciclopédia que não me importava nada de ler.

+infos(oficial): LINK

+infos(preview): LINK

May 262020

Learning Java with Games de Xu, Chong-wei, 2018

“This innovative approach to teaching Java language and programming uses game design development as the method to applying concepts.

Instead of teaching game design using Java, projects are designed to teach Java in a problem-solving approach that is both a fun and effective. Learning Java with Games introduces the concepts of Java and coding; then uses a project to emphasize those ideas. It does not treat the object-oriented and procedure and loop parts of Java as two separate entities to be covered separately, but interweaves the two concepts so the students get a better picture of what Java is.

After studying a rich set of projects, the book turns to build up a “Three-layer Structure for Games” as an architecture template and a guiding line for designing and developing video games. The proposed three-layer architecture not only merges essential Java object-oriented features but also addresses loosely coupled software architecture. ”

+infos(oficial): https://www.springer.com/gp/book/9783319728858

Java in Two Semesters Featuring JavaFX de Quentin CharatanAaron Kans, 2018

“This easy-to-follow textbook teaches Java programming from first principles, as well as covering design and testing methodologies. The text is divided into two parts. Each part supports a one-semester module, the first part addressing fundamental programming concepts, and the second part building on this foundation, teaching the skills required to develop more advanced applications.

This fully updated and greatly enhanced fourth edition covers the key developments introduced in Java 8, including material on JavaFX, lambda expressions and the Stream API.”

+infos(oficial): https://link.springer.com/book/10.1007%2F978-3-319-99420-8