This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.

基於保障少數族群傳播權益的理念下，全球第一家客家電視台於2003年七月一日成立後，經一年半的歷程中，有需要了解到底哪樣的人在收看客家電視？本研究旨在利用收視率的分析，勾勒客家電視台核心觀眾輪廓並探其變化。 本研究的主要目的 （一）依據特定人口學變項,勾勒客家電視台核心觀眾的基本輪廓。 （二）分析客家電視台核心觀眾在六季、週間、假日收視行為變化。 （三）以戲劇、綜藝、新聞類核心節目中，針對觀眾收視行為分析。 研究結果發現 1.客家電視台在整體收視以及六季收視變化，呈現出一樣的核心觀眾輪廓：「男性50歲以上」，「小學或以下」、「退休或無業」、「桃竹苗地區」、「常說客語族群」。 2.客家電視台週間假日收視情形，男性收視略優於女性收視率，女性在週間晚間八點到十點間收視率為一天之最，週間假日以50歲以上為主要收視群，其次為35-49歲的觀眾。 3.週間假日觀眾教育程度幾乎落在小學以下有較高的收視率，其次是國/初中，「工作狀況」來區分觀眾收視率情形，以無業退休較居高，家庭主婦其次。 4. 週間假日觀眾收視差異：假日時段整體收視表現較週間高，平均假日收視率是週間兩倍。收視波段在週間呈現多段的收視高峰，而在假日則是明顯以早、中、晚三波段的收視高峰呈現。 5. 週間假日觀眾收視差異：假日早上高峰時段，皆較週間往後推移一個小時，週間晚間收視高峰可以持續到晚上11點，而假日收視高峰在9點以後急速下降。 6.在核心節目觀眾的性別輪廓，戲劇類的「油桐花之戀」節目，較受女性觀眾青睞，綜藝類「鬧熱打擂台」、新聞類節目「非常短評」的收視觀眾性別，男性高於女性收視率。 7.在核心節目觀眾的年齡輪廓，戲劇類的「油桐花之戀」有年輕化趨勢，35-49歲女性人口收視率具可塑性。綜藝節目「鬧熱打擂台」、新聞類節目「非常短評」觀眾的年齡落在50歲以上男性女性為主要觀眾。 8.在核心節目觀眾的教育程度，新聞類節目「非常短評」以大專以上人口收視為多，綜藝類「鬧熱打擂台」、戲劇節目「油桐花之戀」的觀眾以小學以下和國初中為主要收視群。 / In compliance with the ideal as to safeguard the broadcasting rights for the ethnic minorities in Taiwan, a Hakka TV station, the first of its kind in the world, was founded on July 1, 2003. Since its inception one and a half year ago, however, people know little about the majority of its audience and whether its programs have met the requirements of Hakka community. This study has, through analysis of rating and reception quality, come up with a profile of Hakka TV station’s core audience as well as its audience flow. Upon comparison with that of the target audience, the data has provided Hakka TV station a vaulable reference tool for improvement in its future program productions. This study has managed to : 1.Work out a profile of the core audience of Hakka TV station. 2.Define how the profile of core audience of Hakka TV station changes with viewing time (segments of the day, seasons of the year, etc.) Discussions on the difference between them and audience flow have also been held. 3.Analyze the profile of core audience of the most popular programs in each season. Explore their difference as well as audience flow. Analysis was done through discussion on varied theories, documents and academic works , supplemented by data and information gathered from Hakka TV station itself. The secondary analysis was based on rating surveys by some broadcaster groups and on reception quality surveys conducted by market survey companies in their hometowns. These survey shows that the core audience of Hakka TV station during the 1-1/2 year period following its establishment had a profile as follows: male over 50 years of age (54%); with primary educational level or lower (49%); retired or unemployed (36%); living in the counties of Taoyuan, Xinzhu and Miaoli (46%); ethnic group speaking Hakka dialect frequently (44%). The definition of audience ’ speaking Hakka dialect frequently’ can be interpreted as that Hakka dialect has been their mother tongue. In a sense, dialect the audience use is considered the most important contributory factor to the core audience of Hakka TV station.

近年來，國內有越來越多藝文活動、表演組織出現，參與人數也漸漸成長，藝文活動對於國民的重要性提升。然而在表演藝術市場中，表演藝術團體必須面對的除了國內外表演團體作品增加，市場競爭激烈之外，表演藝術觀眾的消費常會受到社會、經濟因素等影響，使表演藝術團體收入無法穩定成長。因此，培養表演藝術觀眾，並提升觀眾對於表演藝術團體的喜好與忠誠度，讓觀眾願意持續觀賞表演，進而成為表演藝術團體的擁護者，對於表演組織而言為一重要課題。 　　本研究旨在了解表演藝術組織的觀眾如何從非觀眾成為忠實觀眾的過程，並以成立時間長、累積觀眾數多且與觀眾有密切互動關係的「屏風表演班」做為研究個案，藉由深入訪談，以了解觀眾在成為忠實觀眾過程中的內外在影響因素、心理狀態與行為。 　　本研究發現，觀眾的初次觀賞理由主要是透過不同管道認識表演團體、對於表演團體產生興趣，再加上口碑宣傳，增加對於表演的信任，提升購票意願。初次觀賞時，如果能將表演與自身經驗連結，從中獲得共鳴與感動，會讓觀眾留下深刻的印象。此外，能夠加上愉快地整體觀賞體驗與表演團體主動提供下一次的節目資訊與優惠，會提升觀眾持續觀賞的意願。觀眾在受到表演藝術團體的獨特之處、表演內外與觀眾生活的連結，與好的服務品質所吸引，在累積多次滿意的觀賞經驗後，對於表演品質信賴，成為忠實觀眾；而觀眾加入表演團體的會員與志工後，對於團體會有更高的忠誠度。培養忠實觀眾不僅能維持既有觀眾，還能透過口碑吸引新的觀眾。本研究透過了解成為忠實觀眾的歷程，以提供表演藝術組織培養忠實觀眾做為參考。 / Recently, there are more and more performing activities and organizations, and there are also a growing number of people willing to participate in these activities. The importance of performance activities to people is increasing; however, in performing arts market, the organizations have to face not only the competitive market, but also the unstable income because performing arts consumption is frequently affected by social, economic or other determinants. Therefore, audience development, increasing preferences for performing arts and enhancing loyalty which makes audiences keep watching the performances have become crucial for performing arts organizations. The purpose of this research is to understand the process from non-audience to loyal performing arts organization audience. This research uses The Ping-Fong Acting Troupe as a case, which was founded in 1980s and had established close relationship with its audiences. Through in-depth interviews, this research examines the internal and external factors to become the loyal audiences. The research finds out that, the audiences notice the performing arts organization by different ways in the beginning. Next, they become interested and trust in the organization due to word of mouth. They decide to buy the performance tickets for the first try. During the performance, when they feel connected to the performance, they would be touched and impressed deeply. Furthermore, if the audience have nice overall watching experiences, and the organization offer the discount for the next show initiatively, the audience will be more likely to keep watching the performance played by the organization. In this stage, the audiences are attracted to the unique merits of the organization, the connection between the show and their experience, and high service quality. After they have several satisfying watching experiences, they become having confidence in the performance quality, and become loyal audiences. After the audience join the membership system and become the volunteer of the organization, they will be more loyal to the organization. Developing loyal audience not only maintain the audience, but also appeal to new audiences by word of mouth. To sum up, the research focus on realizing the process of becoming the loyal audience and it is expected to contribute to both practice and theory in arts management.

Nous sommes à l’aube d’une nouvelle ère du data mining, celle du stockage, traitement, analyse et exploitation des données massives que l’on appelle Big Data. Les données sont devenues une nouvelle matière première, très prisée par les entreprises de tout type et de toute taille à travers le monde ; elles permettent d’analyser, de comprendre, de modéliser et d’expliquer certains phénomènes comme le comportement et les préférences des utilisateurs ou clients d’une entreprise donnée. La compréhension des préférences des utilisateurs et des clients d’une entreprise permet de leur proposer de la publicité ciblée afin d’augmenter les ventes et la satisfaction des clients et ainsi pouvoir améliorer les revenues de l’entreprise, ce que les géants du Web comme Google, Facebook, LinkedIn et Twitter ont bien compris. Cette thèse de doctorat a été réalisée dans le cadre d’une convention CIFRE entre le laboratoire L2TI de l’université Paris 13 et la start-up franco-américaineWork4 qui développe des applications de recrutement sur Facebook. Son objectif principal était la mise au point d’un ensemble d’algorithmes et méthodes pour proposer aux utilisateurs des réseaux sociaux les offres d’emploi les plus pertinentes. Le développement de nos algorithmes de recommandation a nécessité de surmonter de nombreuses difficultés telles que le préservation de la vie privée des utilisateurs des réseaux sociaux, le traitement des données bruitées et incomplètes des utilisateurs et des offres d’emploi, la difficulté de traitement des données multi-langues et, plus généralement, la difficulté d’extraire automatiquement les offres d’emploi pertinentes pour un utilisateur donné parmi un ensemble d’offres d’emploi. Les systèmes développés durant cette thèse sont principalement basés sur les techniques de systèmes de recommandation, de recherche documentaire,de fouille de données et d’apprentissage artificiel ; ils ont été validés sur des jeux de données réels collectés par l’entreprise Work4. Dans le cadre de cette étude, les utilisateurs d’un réseau social sont liés à trois types entités : les offres d’emploi qui leur sont pertinentes, les autres utilisateurs du réseau social auxquels ils se sont liés d’amitié et les données personnelles qu’ils ont publiées sur leurs profils. Les profils des utilisateurs des réseaux sociaux et la description de nos offres d’emploi sont constitués de plusieurs champs contenant des informations textuelles. / We are entering a new era of data mining in which the main challenge is the storing andprocessing of massive data : this is leading to a new promising research and industry field called Big data. Data are currently a new raw material coveted by businesses of all sizes and all sectors. They allow organizations to analyze, understand, model and explain phenomen a such as the behavior of their users or customers. Some companies like Google, Facebook,LinkedIn and Twitter are using user data to determine their preferences in order to make targeted advertisements to increase their revenues.This thesis has been carried out in collaboration between the laboratory L2TI andWork4, a French-American startup that offers Facebook recruitment solutions. Its main objective was the development of systems recommending relevant jobs to social network users ; the developed systems have been used to advertise job positions on social networks. After studying the literature about recommender systems, information retrieval, data mining and machine learning, we modeled social users using data they posted on their profiles, those of their social relationships together with the bag-of-words and ontology-based models. We measure the interests of users for jobs using both heuristics and models based on machine learning. The development of efficient job recommender systems involved to tackle the problem of categorization and summarization of user profiles and job descriptions. After developing job recommender systems on social networks, we developed a set of systems called Work4 Oracle that predict the audience (number of clicks) of job advertisements posted on Facebook, LinkedIn or Twitter. The analysis of the results of Work4 Oracle allows us to find and quantify factors impacting the popularity of job ads posted on social networks, these results have been compared to those of the literature of Human Resource Management. All our proposed systems deal with privacy preservation by only using the data that social network users explicitly allowed to access to ; they also deal with noisy and missing data of social network users and have been validated on real-world data provided by Work4.

Audience Response Systems (ARSs) provide a promising opportunity to address issues occurring in traditional higher education, e.g., the lack of interaction, by allowing students to participate anonymously in lectures using their mobile devices. This can promote the students' attention, increase the interaction between the lecturer and the students and foster active thinking during class. In order to choose an appropriate ARS, numerous surveys list and classify these systems according to different criteria, e.g., supported features and platforms. [From the introduction]

Der vorliegende Beitrag beleuchtet als Teil eines Blended-Learning Ansatzes vorrangig den Einsatz von Live-Umfragen (ARS – Audience Responce Systems) im Vorlesungsrahmen. Gerade naturwissenschaftlich geprägte Studiengänge (hier die Fachrichtung Physik) sind häufig durch Frontalunterricht geprägt. Das maßgebliche Ziel des Projektes war es, das Format durch gezielte Einbindung der Studierenden aufzulockern und die Diskussionskultur in der Lehrveranstaltung zu stärken. Einhergehend mit der Aktivierung erhalten die Lernenden eine unmittelbare Rückmeldung zu ihrem Wissensstand und die/ der Lehrende ein Feedback zu möglichen Wissenslücken. Die Live-Umfragen fanden über die Online- Plattform invote.de in Form von Single-Choice-Fragen statt. Erweitert wurde dieser Ansatz, indem diese Inhalte ebenfalls für eine asynchrone Wissensvermittlung im Lernmanagement-System (LMS) Moodle implementiert und mit Feedback flankiert wurden. Dies führte im Vergleich zu früheren Iterationen der Lehrveranstaltung zu einem höheren Aktivitätslevel des Plenums und fachlich fundierten Diskussionen. In Evaluationen zum Ende des Semesters sowie in persönlichen Gesprächen mit den Studierenden, wurde der Einsatz der Fragen in synchroner sowie asynchroner Form explizit als Zugewinn für die Qualität der Lehrveranstaltung herausgestellt.

Audience Response Systeme (ARS) sind in der Lage, Probleme in der universitären Lehre, wie die fehlende Interaktion zwischen dem Lehrenden und den Studierenden, durch die Benutzung technischer Werkzeuge in der Lehrveranstaltung zu lösen. Der Einsatz solcher Systeme bringt jedoch eigene Probleme mit sich: Der Lehrende muss oftmals sein Lehrkonzept an das jeweilig gewählte System anpassen, da dieses in seinem Funktionsumfang und seinen unterstützten didaktischen Konzepten sehr eingeschränkt ist. Eine Adaption oder gar eine Erweiterung des Funktionsumfangs zur Unterstützung selbst gewählter didaktischer Konzepte wird selten erlaubt, ebenso wie stark kollaborative Szenarien. Diese Arbeit stellt grundlegende Gedanken zur Konzeption und Umsetzung einer Lernumgebung vor, die in der Lage ist, verschiedenste didaktische Abläufe auf Grundlage eines einheitlichen (Meta-)Modells zu modellieren und ihren Funktionsumfang auf den gewählten Anwendungsfall anzupassen. Neben klassischen Anwendungsfällen sollen weitergehende, stark kollaborative Anwendungsfälle unterstützt werden und die Funktionalität einfach erweiterbar sein. Durch den Einsatz in realen Anwendungsszenarien und damit verbundenen Lasttests und Benutzerbefragungen soll das System evaluiert werden.

In recent years, the adoption of digital learning environments has been proven as a suitable complement to traditional lectures, allowing to involve students more actively. However, current approaches lack at supporting both lecturers' individual teaching scenarios and collaborative activities. Thus, this thesis introduces an adaptable collaborative learning environment that enables lecturers to model and execute customized teaching scenarios. In addition to expressive means of adaptation, it includes collaborative functions which support group and peer interactions. The approach was implemented in a role-based prototype called scenario-tailored Audience Response System (stARS), demonstrating its applicability through seven well-known teaching scenarios. Furthermore, a thorough evaluation based on various user studies and lecture experiments confirmed the ability to support lecturers' individual teaching scenarios and integrate advanced collaborative activities into digital learning environments.

No description available.

Though the field of dramaturgy is growing in size and scope in professional theatre, there are relatively few universities or colleges that offer undergraduate or graduate degrees in basic dramaturgical theory and practice. Brigham Young University (BYU) is an ideal setting for the development of such a program. There is a close community within and surrounding the university; the Theatre and Media Arts Department has high pedagogical expectations; and the Theatre program provides multiple opportunities for theatrical production. I saw these qualities as an invitation to develop a dramaturgy emphasis for undergraduate students that would allow them to network with the community and build intellectual skills that could be integrated into artistic performance. In order to create this emphasis, courses and protocol needed to be developed in order to establish a model dramaturgical procedure for undergraduate training. In this thesis, I address the following issues: