Hedonic Editing is a theory of behavioral finance based on prospect theory, attempting to predict whether individuals would segregate or integrate multiple outcomes to achieve to highest perceived value. We test the theory by an actual market data in Taiwan Futures Exchange. If the hypothesis holds, we should observe that investors would integrate losses more frequently than gains and integrate smaller losses with larger gains rather than the other way around. However, results do not support the hypotheses totally. We further test the theory by different trader types. Results show that domestic individuals exhibit the strongest biases of hedonic editing, followed by domestic corporations, and foreign institutions.

電影是門用畫面說故事的藝術，除了劇情上的編排，導演也必須思考如何運用鏡頭配置和運鏡技巧來渲染氣氛並傳達故事。電影拍攝製作上一直都是件費時費力的工程，儘管現在有不少電影後製工具，但專注在根據電影內容提升或改善拍攝手法的工具卻不多。本研究目標為開發智慧型電腦動畫攝影編輯輔助系統及互動操作平台，透過圖示化攝影機拍攝的結果作為選項的介面和推薦系統，讓使用者可以快速簡單的設置虛擬攝影機，配合智慧型回饋提醒系統檢查各鏡頭間是否違反拍攝規則，以達到輔助攝影初學者的目的，提供創新有效的動畫電影拍攝輔助工具。我們透過實驗讓不同攝影背景經驗的使用者操作，以驗證我們系統的可用性。 / Movie is the art of "storytelling." In addition to arranging story elements in a movie, a di-rector must also consider how to present the story by shots arrangement and operations. Filmmaking is a time-consuming process. Although there are many post-production tools available in the market, it is rare to find a tool focusing on facilitating shot arrangement to improve the quality of a movie. In this work, we have developed an intelligent camera editing system for computer animation, in which users can easily set up virtual cameras through se-lecting shot icons recommended by the system. It can also provide intelligent feedbacks to novice users and check if the shots selected by the users violate the rules in virtual cinema-tography. In order to show that the system is an innovative and effective tool for making an animation film, we have conducted an evaluation study by inviting participants with different photographic backgrounds to experience the system and verify the usability of our system.

多媒體編輯工具(Authoring Tools)是一種整合各式多媒體元件於一體，並賦於多媒體節目分枝(branching)、循環(looping)、等瀏覽路徑(navagational path)，進而使得其具有真正的交談性功能之工具。然而現今多媒體編輯工具在必須取用大量資料時，卻往往缺乏與資料庫系統做有效的連結。本研究的目的便在於探討多媒體編輯工具與資料庫連結介面之課題，就不同特性之多媒體編輯工具的功能特性與資料庫連結介面的查詢能力加以探討，並開發一雛形系統以驗證其與資料庫連結之查詢介面與資料擷取之功能，最後並就連結架構與多媒體編輯工具的特性作一比較。 　　在本研究中選定Microsoft所提出的開放性資料庫連結(ODBC: Open Data Connectivity)為連結架構，並以時間軸介面式(Time1ine-based)的Director 4.0 for Windows作為製作雛形系統的多媒體編輯工具，利用Windows環境的ODBC驅動程式透過SQL指令存取Foxpro資料庫中的資料，就查詢介面之設計方式加以探討，並經由實做的過程瞭解以ODBC架構連結資料庫方式的優缺點與可能發生之問題。 　　根據雛形系統的實做過程，ODBC確實能提供一個開放式的共同應用程式介面，在載入不同的資料庫驅動程式後，藉著傳入的SQL命令及相關參數使多媒體編輯工具達到擷取資料庫資源的目的，然而ODBC本身與多媒體編輯系統的結合也需考量執行速度與網路資料等諸多問題；另一方面，隨著多媒體編輯工具功能上的差異，對於設計其與資料庫的交談式連結介面也會產生相當的影響。

收視率對當代電視新聞的影響，是國內外傳播學者關切的議題之一，尤其以台灣的媒體生態而言，僅有一家收視率調查公司，所提供的收視率數據遭到挑戰，學者憂心新聞媒體為商業服務，恐將對新聞發展帶來不利的影響。 新聞組織需要一項評估的工具，「收視率」既然如此受到質疑，為何長期以來一直找不到收視率以外的機制足以取代？也就是說，如果要找到一項得以取代收視率的機制，外界必須先了解收視率如何在當代媒體機構中被使用，它與新聞組織到底存在什麼樣的共生狀態，過去外界透過短暫觀察與訪談，便對新聞室運作與收視率的關連下了評論，從實務經驗來看，並不認為其知其所以然。本研究將從實際新聞室的運作，對於收視率在新聞室中的流動，提供最直接的證據。 本研究將以電視編輯的對話分析，輔以資深人員訪談，解構收視率在新聞室中的工具性；繼之從傅柯的權力系譜學下，觀察新聞組織如何披著收視率的外衣，馴服新聞編輯，反之，新聞編輯如何透過權力的流動，利用收視率對組織進行反制。提供最實際的場域證據，展現新聞室與收視率的日常活動經驗，讓外界得以了解，並正視兩者之間的緊密聯繫，對未來提出改變收視型態建議時，能更臻成效。 關鍵詞：收視率、新聞編輯、工具性、傅柯、權力。 / The influence of TV rating cause to news organizations was a topic that gains most focus of the scholars in mass-communication era. Especially in Taiwan, there is only one institution provides such statistics, therefore the authenticity of these statistics has been widely quest about. Scholars also shown their worry about that the commercially development of news organizations will lead them heading to the iceberg. Indeed, News organizations need a tool to evaluate the effects of their programs to the audience. Even through TV rating has been queried by scholars, why the tool still irreplaceable? There must be something that deep inside between TV rating and news organizations that haven’t been noticed. To break into this connection, we must first realized that TV rating already been symbiosis with news organizations. And clear-out how the tool been used inside news organizations. For the time being, scholars have been reviewing such relation from outsider point of view and made the conclusion based on such basis. From which, we think is just skin-deep. In this study, we will provide evidences from inside the news room. This thesis is based on analyze of the communications between editors. Together with interviews of senior news producers, we try to assay the tool phenomenology of TV rating inside the news room. Further we observe how news organizations use rating to discipline news editors under the theory of genealogy of power form Michael Foucault. In contrary, how editors resist news organizations through floating power of rating. From such study we can clearly identified the reality of close connection between TV rating and news room. And then we could have more valid suggestions about replacing TV rating in the future. Keywords: TV rating, news editors, tool phenomenology, Foucault, power

本文將《臺灣民報》視為近代印刷文化下出版形式的一環，透過「傳達文本的客體」之概念，嘗試重構及回溯《民報》系列報刊在進入日刊階段前，在編纂成形和販售流通的生命歷程中，所遭逢經費收支、人事紛爭、報導分工、排版編輯、配送流通等環節的諸般問題的歷史緣由與脈絡，並解明其與日刊發行後的關連。因而本文陸續結合報刊資料、日記史料、報社文書、私人信件、官方公報和檔案，以及時人回憶文字等素材，重構報社組織架構、人事布局、新聞採訪、報導撰寫、編輯流程、納本檢閱與銷售流通等諸般環節的歷史景況，並將新竹出身的臺灣本地知識份子黃旺成的記者經驗貫串其間，說明他加入民報社的重層機緣與條件，及逐步鑲嵌進社內的科層組織中，職位與薪俸逐步攀升的進程，透過他於報社內的業務往來與編輯會議之參與，釐清原稿寄送、特別號發行、活動企畫、稿務分配、支局運作、取次店及外務員職務等諸般細節，期能較完整地闡述《民報》以報刊的樣貌呈現在讀者面前之前，所歷經採訪報導、編輯校對、納本檢閱、取次販售之「生產」及「發行」的生命史流程。最後，以「報社經營」、「文本特性」及「媒體環境」三個層面為總結，具體闡釋其歷史意義。

在過去傳統劇場展演的藝術型態，因爲欠缺互動，易形成台上的表演與台下觀眾互動不頻繁的隔閡。近年來，結合科技與藝術的數位互動展演成為一種創新的表演形態。但在開發互動展演會有技術難度，完成腳本後可能會因為缺乏彈性和擴充性，重複進行一樣的表演，或是再由專業的劇場與程式相關人員反覆修改需求。本研究為解決上述遇到的問題，研發應用在數位展演上的圖型化領域專屬語言編輯器，讓終端使用者可以藉由階段性的操作完成腳本，也可根據不同需求更新背景或角色函式庫。另外，透過實體與虛擬角色的骨架資料繫結的方式，也解決在整合虛擬與實體平台的互動中，實體裝置收到感測器資料，卻無法直接解析取得裝置名稱的問題。於系統上本研究增加使用者自主控制元件和創作腳本，使虛實互動的創作更加彈性。 / In traditional performance, there is little interaction between actors and their audience. Recently, due to the advance of information and communication technology, art and culture are combined with technology mediated interaction between actors and their audience to create a new style of digital interactive performance. However, there are still many technical barriers in developing digital interactive performance. Essentially, the scripts for such performance are usually fixed, or with limited programmability. As a result, one performance will be repeated played or requires a lot of efforts to modify it. This thesis aims to address the issue of programmable scripts with a visual editor and supporting execution environment. In particular, we focus on helping performance director to develop programmable scripts that enable the flexible interaction between physical characters and their virtual counterparts. Our editing tool allows end-users to write scripts using drag-and-drop elements we developed on top of the Blockly framework. Besides detailed descriptions of the design and implantation of our tool, preliminary evaluation results are also presented.

國際新聞向來不受重視，也常為人所詬病，過去對國際新聞的研究都以守門人觀念、內容分析、資訊不平衡、通訊社和記者為主。沒有人針對國際新聞的特性和從事編輯[編譯]工作者的人格特質，以及它們對工作滿足的影響進行研究。本研究企圖探討國際新聞的工作特性，編輯[編譯]人員的人格特質對工作滿足的影響進行研究。 本研究在人格特質上，採用成就取向、權威取向、權術取向、風險取向及內控取向等五個構面，在工作特性上，採用自主性、變化性、完整性、重要性和回饋性等五個構面。在工作滿足方面則採用內在及外在兩項工作滿足構面。並加入性別、年齡、職位、薪資、學歷和年資等因素，探討國際新聞編輯[編譯]人員的工作滿足。 本研究透過問卷方式調查，並以深度訪談進行質化研究。問卷內容包括人格特質以Robbins的「人格特質量表」衡量，工作特性以「工作診斷量表」與「工作特性量表」合製而成的量表進行衡量，工作滿足以「明尼蘇達短式問卷」衡量。深度訪談以Gieber (1956)的研究發現為主發展出的問題，分別訪問資淺、資深編輯[編譯]與主管人員。 研究發現： （一）人格特質構面的「成就取向」對內在滿足有顯著的解釋力。 （二）工作特性構面的「重要性與變化性」對內在滿足有顯著的解釋力。 （三）部分個人屬性變項對人格特質、工作特性與工作滿足造成差異性。 （四）國際新聞編輯[編譯]人員的人格特質有兩大改變，過去注重工作細節和態度是消極的，現在則注重社會責任與態度是積極的。 （五）工作滿足方面，由於外在滿足不易，因此多數國際新聞編輯[編譯]人員轉向追求內在滿足。 關鍵字：人格特質，工作特性，工作滿足，國際新聞編輯[編譯]。 / For many years, international news coverage in Taiwan has often been overlooked and subject to criticism. Previous studies have focused on the perception of the gatekeeper, content analysis, information imbalance, news agencies and the reporters. Moreover, little emphasis has been placed on the personality trait of the foreign news editors/translators, job characteristics and job satisfaction. This study aims to examine the correlation among the personality traits, job characteristics and job satisfaction for foreign news editors/translators in Taiwan. The dimension of personality consists of five items including locus of control, achievement orientation, authoritarianism, machiavellism and risk taking. The five components in the dimension of job characteristics are autonomy, task identity, task importance and skill variety. The dimension of job satisfaction consists of two components including intrinsic satisfaction and extrinsic satisfaction. In addition, demographic characteristics such as gender, compensation, and job rank are considered in our analysis. We utilize both quantitative and qualitative methods of analysis in this study. Specifically, data are collected on the aforementioned dimensions of interest using questionnaires and statistical analysis was conducted to assess correlations quantitatively. We also conducted depth-discussion with foreign news editors/ translators based on the Gieber study. The results of these discussions are summarized qualitatively. Our investigation leads to the following conclusions: 1. Achievement orientation of the personality trait has significant positive effect on intrinsic satisfaction. 2. Importance and variety of the job characteristics has significant positive effect on intrinsic satisfaction. 3. Parts of demographic characteristics cause various different effect on the personality trait, job characteristics and job satisfaction. 4. In personality trait, there are two changes, their emphasis changes from detailed work to social responsibility and their attitude changes from passive to positive. 5. In job satisfaction, it is not easy to get extrinsic satisfaction, they pursue intrinsic satisfaction instead. Keywords; personality trait, job characteristics, job satisfaction, foreign news editor/translator

近年互動設計、產品設計、設計思考等學門，無不重視原型設計，透過使用者快速的測試回饋，反覆修正，使產品更符合使用者的需求。如今科技產品不斷推陳出新，與無所不在運算的普及，科技產品以及感知互動的服務與日俱增；設計團隊須了解電子電機相關技術，以完成各種測試原型。但對於一般的設計師而言，必須額外費時學習電路設計、焊接與程式設計等專業技術，已成為原型製作的一項門檻。 許多研究學者注意到這樣的需求，針對不同的使用族群發展各種電子電路創作工具，希望降低互動產品的創作門檻，舉凡Arduino、Phidgets與Gadgeteer等，但使用者仍須具備基本電路知識或參與訓練課程；近兩年推出的Littlebits與Atoms選擇捨去電路設計、焊接與程式設計的過程，讓沒有電子電路經驗的使用者也可輕易使用，卻降低了創作時的彈性，侷限了原型製作的變化性。 本研究將針對非電子相關背景的設計師，設計一套電子電路創作工具 「Rapid Prototype」，藉由分析過去電子電路創作工具的使用族群與設計思維，結合電子電路物件與智慧型載具，設計一套圖型化編輯器，透過物件順序的編排，及物件行為的選擇，快速製作出原型產品，降低設計師學習門檻及提昇創作自由度。 本研究原型設計工具，有以下功能： • 增加智慧型載具的支援：智慧型載具提供圖型化的編輯器與電子電路互動模組結合增加製作彈性。 • 降低學習門檻：降低電子電路相關知識需求，且透過圖形化編輯比傳統程式語言更容易學習。 • 擴展創作空間：核心物件與行動載具無線溝通，減少距離限制。 • 分析使用經驗：分析使用者在電子電路互動模組的使用經驗與操作，作為未來電子電路原型製作工具的參考。 / As the demands for interaction design with electronics increase, it is necessary for design groups to understand the technology related to electronic and electrical engineering in order to produce different kinds of prototypes. However, there is a large gap between concept design and prototyping. Designers have to spend a lot of time to learn electrical circuit design, welding, programming, and other professional skills. More researchers have noticed the aforementioned demands and have thus developed various creative tools for use by different groups working in this field in the hopes of lowering the degree of creativity required for interactive products. This has already been seen in Arduino, Phidgets, Gadgeteer products and so on. These toolkits are target on developers that have basic knowledge on electronics and programming. In the last two years, meanwhile, Littlebits and Atoms have decided to abandon the need for designing electrical circuits, welding, programming, and other sophisticated processes. Instead, they have opened the way for young people to be able to use their tools easily, despite the fact that doing so has also limited flexibility in terms of the creativity and variability of prototypes. In this thesis, we present RapidPrototype: a tool for designers without electronic engineering backgrounds and programming skill. By using RapidPrototype, users can transform their creative ideas into a workable prototype easily and quickly. In addition, the study sought to determine how RapidPrototype combines with electronic and electrical circuit objects, visual programming toolkit, and tools that practically meet designers’ demands to enhance the degree of freedom in terms of creativity and lowering the basic skills demanded.

本論文的研究目的在探討影響電視新聞編輯編排的因素，以及24小時新聞台編輯因應這些因素發展出來的編排策略。依照Shoemaker〈1991〉所提的影響守門人因素的五個層次，包括個人層面、常規層面、組織層面、媒介外層面以及社會文化層面，作為分析架構，藉此了解電視編輯對於各層面的因素對其影響的程度，問卷調查總計訪問了127位新聞台的編輯人員，再針對問卷調查的分析結果，以深度訪談的方式訪問7位編輯人員。研究結果發現個人層面對新聞台編輯的影響主要包括：編輯在新聞價值判斷上偏重新聞的話題性及畫面的精采度；而越年輕、職務越低的編輯再編排新聞時越容易受到個人喜好影響；另外「獨家新聞」無論其新聞價值性如何，編輯普遍都盡量會排播。 常規層面部分，最主要影響的因素是「時間」面向，包括到帶時間及新聞播出的時間篇幅限制；而編輯負責的編排時段也會影響新聞的選擇，如是「黃金時段」新聞選擇較多樣化，「一般時段」就會考量「消化」新聞；而編輯一次負責編排的時數也會影響新聞的重複率；另外，晚夜時段編輯較早午時段編輯不偏愛SNG連線。編輯通常會選播做新聞品質較有口碑的記者的新聞；另外，編輯普遍認為一則普通新聞長度最好不要超過90秒；而平衡報導的操作模式已內化在編輯的操作模式中。 組織層面部分，部份編輯認為電視台屬性確實會影響其編排；而年紀輕、資歷淺、職務低的編輯也較會受到長官指示編排新聞；在「以編領採」的新聞室內，其新聞製作及編排方向越會以收視率為導向；而組織文化會影響編輯對於新聞品質的要求；本研究也發現組織獎懲對於編輯編排的影響不大。 媒介外層面部分，有93.7%的編輯認為其編排時會考量收視率，而且教育程度越高、年資越久的編輯影響越高，顯示收視率已逐漸內化成編輯判斷新聞的實考模式，而且前一天的收視率對於新聞規模及擺放位置有關鍵性指標；在禁止「每分鐘收視率」之後，編輯通常是以新聞區塊或新聞節奏思考觀眾喜好的趨向。另外被要求編排「業配新聞」對編輯而言是習以為常的事，通常編輯會將之排在新聞的最後，或依照業配新聞的性質隱藏在其他新聞之間。另外年紀越輕、資歷越淺、職務越低的編輯越容易受到其他媒體議題設定的影響；而本研究也發現，編輯是電視新聞「跟報風」的推手之一。 在社會文化層面，編輯認為若社會環境趨勢也是影響其編排的重大指標。另外編輯也認為馬賽克、消音等製播限制有逐漸增加趨勢，甚至在編播上有自我更加限縮的情況。本研究也發現，媒體自律隱隱成形，對於暴力、色情、自殺新聞的選擇並沒有放寬，尤其是自殺新聞基本上不選用。 比較五個層面的影響程度，編輯普遍認為媒介外層面是最主要的原因，其次為個人層面、接續是社會層面、組織層面及常規層面。 關於編輯編排策略上，研究發現編排模式會融合固定新聞模式及議題分散模式為主；編排節奏也趨於緊湊；新聞編排的重複率降低。除了TVBS恢復「整點開播」之外，其他新聞台仍是提早開播，因TVBS「整點開播」模式對其他台的收視率無明顯受衝擊，因此其他台均認為沒有跟進的必要。「短廣告」策略出現，其目的是為了減低觀眾廣告轉台機率，並且分散每段廣告時間的廣告量；此策略目前僅TVBS使用，其他台為跟進的原因是考量其觀眾的收視習慣不同。本研究也發現監看友台而調動新聞順序的頻率減少；並且插播新聞也已非隨到隨播；另外「假連線」已成目前新聞台的製播常態。 / This thesis aims to investigate the factors affecting TV news editing and the responsive strategy developed by editors in 24-hour news channel. It adopts Shoemaker’s (1991) five levels of gatekeeping decisions and forces, including individual, communication routines, organizational, extramedia, and social system level. Based on this analytical framework, the research was conducted by survey of 127 editors which was followed by in-depth interview of 7 editors. The research findings can be summarized into the five levels respectively. On individual level, editors preferred to evaluate news with the extent of controversy and excitement; the younger and lower-positioned editors were more easily to be subjective in editing news. Furthermore, “exclusive news” enjoyed higher priority to be broadcast regardless of its news value. On communication routine level, the influential factors are “time-related”. First, editors were concerned about the timing of videotape arriving and limited length of broadcasting time. Second, the session for which editors were responsible was also important. The news was more diversified in “prime time”, but more repetitive in “general session”. Third, editors of morning and noon sessions were more likely to conduct SNG connection than editors of late night session. Fourth, editors preferred to broadcast the news reported by reporters with fine reputation. Moreover, the consensus among editors was that general news should not be longer than ninety seconds; the principle of balanced report has been internalized in editors’ operational model. On organizational level, interviewees agreed that attributes of the channel and organizational culture were more consequential than reward system in news editing. The younger, lower-positioned, and junior editors were more likely to follow instructions from supervisors. Generally, the producing and editing of news were rating-oriented. On extramedia level, 93.7 per cent of interviewees would consider rating in news editing, especially the more educated and senior editors. This result indicated that rating has been internalized as the standard of editing. Specifically, the pridian rating is critical in deciding the length and placement of news in the following day. However, after the “rating per minute” was prohibited, editors inferred audience preference from news zone or news rhythm. Furthermore, “product placement” was placed in the end of or among other news according to its characteristics. This study also found that editors partook in promoting the trend of “follow suit” TV news. On social system level, editors thought that the social trend was critical in editing news. Some editors considered that constraints of broadcast such as blurring and muting were increasing which made editors more self-limited. This study also found that media self-regulation was in shape. The news about violence, pornography, and suicide were highly restricted or even abandoned. Based on interviewees’ response, the five levels can be listed in order of the extent of influence. The primary factors were on extramedia level which followed individual level, social system level, organizational level, and the communication routine level. This study found that editing strategies include: combination of fixed news model and issue diffusion model, tighter schedule, lower rate of repetition, and “short advertisement”. The last one was only used by TVBS channel in order to keep audience stay tune and to dilute quantity of advertisement in every intervals. TVBS was the only channel resuming “on the hour” news. Since this broadcast model had no significant impact on TV rating, other channels remained broadcasting a few minutes earlier. Last but not least, this study also found that “fake connection” has been commonly used and emergency news would not be broadcast on time. Fewer changes of broadcasting order due to monitoring news of other channels.

本研究係發想自政治大學「未來馬戲團」的展演活動表演方式，嘗試改進表演方式中的程式技術，以程式化方式整合展演藝術中實體與虛擬的互動平台，我們希望提供導演撰寫較為口語或展演描述方式的腳本敘述如『when ... other-wise ...』，如此一來就可以任意組合實體演員的肢體動作與指示虛擬環境的特效，因此我們採用了一套介接實體與虛擬環境應用程式的領域專屬語言- Digital In-teractive Performance Sketch (DIPS)，用以開發客製化的展演程式庫，並佈署於本團隊自行開發的執行引擎 Wearable Item Service runtimE (WISE)，提供導演在這個引擎上透過這個DIPS編寫前述口語的程式腳本，讓程式自行互動，達成展演效果的自動變化。 我們的系統會接收來自展演人員穿配的連網感應器上的訊號，並且根據導演寫好的腳本規則，自動根據接收到的裝置訊號判斷出該指示虛擬環境做出什麼樣的效果，以達到展演效果自動變化，完成虛擬與實體展互動的程式支援。 為了減少腳本程式撰寫前須具備的程式邏輯訓練，本研究開發一款所見即所得(WYSIWYG)的視覺化腳本編輯器 DIPS Creator，提供腳本編寫者可以直覺的方式組合編輯器中的展演詞彙方塊，完成腳本設計。 本研究展示了如何以較為口語或展演語意的方式敘述展演規則，以實現虛實互動的程式化，並且提供了具有彈性的客製化展演函式庫及圖形化展演規則編輯器的製作方式，未來可增加多演員層次的抽象支援以展現本研究系統的更多程式化能力，並加入表演階段設計、雙向溝通與規則互斥等能力，擴充系統功能。 / This research was inspired by “The Future Circus”, a cyber-physical interactive performance art developed in National Chengchi University. In this thesis, we pro-pose some mechanisms to support such performance art programmatically in a more effective manner. Specially, we provide a high-level scripting tool for directors to de-scribe the performance rules abstractly in the form of “when ... otherwise ...”, so that directors can compose arbitrary actions and effects easily. Underlying such abstract rules are a domain specific language – Digital Interactive Performance Sketch (DIPS), and a middleware. Wearable Item Service runtime (WISE), developed by our research team. Given a script with those abstract rules, our system will receive signals sent from a sensor on wearable devices of actors, and then it will command cyber environment perform effects, the performance effects or actions according to rules written by the director. Through our integration efforts, the performance effects in the cyber environment will change automatically in a programmatic way. Besides, for users without prior scripting experience, we developed a WYSIWYG GUI editor, DIPS Creator, that allows users to write a script intuitively by dragging and dropping pre-built rule blocks. We conduct a few experiments with real sensor device to demonstrate the programming support of our tool. The preliminary results are satisfactory in terms of prototype support. To further extend our tool for practical performance, we describe in detail a few directions such as support for multiple actor performance stage model-ing, and integrity check of related rules that will make our system more powerful.