Category: Uncategorized

At 7th October I attended the Game Dev Days, and I found the talks quite interesting. Most of them provided valuable insights into the game development process. The speakers discussed how they created their games, whether it was a small indie game developed by a single person, like „Roto Force“, or a larger project sponsored by Apple, such as the Game „Gibbon“.

While it was motivating to see how proud the speakers were of their accomplishments, it was also intimidating to realize the amount of work required to create a game. For instance, one speaker showed the complexities of designing an algorithm for different NPCs that appear on different days. This involved ensuring that characters didn’t overlap, especially when interacting with the player, and that important storylines for various tasks were properly integrated. This level of detail in game development was something I hadn’t considered before.

Another revelation was when a developer who single-handedly created a game shared the number of hours it took. His game took approximately 4000 hours to develop, and the profit was the same, resulting in an hourly wage of just 1 €, which was quite frustrating to hear.

There were also talks with more general topics, such as the talk from Phil Strahls which was about choosing colors in games. I particularly enjoyed this talk because the speaker not only covered the theoretical aspects of color selection but also provided practical advice. For example, he explained that front colors should be darker than back colors and cautioned against using too many colors, which can create visual noise that is challenging to manage. These insights are not only useful for game design but can also be applied to other design fields, such as animation and illustration.

In summary, the talks at the event were truly inspiring. While I may not be ready to develop a game for my master’s thesis due to the potential overload, I am certainly interested in exploring topics like the intricacies of NPC algorithms for a possible thesis subject. I think some other talks where quite useful for my Master Thesis, like the one about colors, because this theory will be similar to User Interfacedesign. The event has broadened my perspective on the world of game development and design.

more about this topic:

https://books.google.at/books?hl=de&lr=&id=ZzihBgAAQBAJ&oi=fnd&pg=PP1&dq=game+dev+days&ots=PI9DLPqQNQ&sig=iHgiB25t1qnsIy5Urxthlc3AiO8&redir_esc=y#v=onepage&q=game%20dev%20days&f=false

Stages of Game Development | Your Guide On Game Development Process

On November 4th, I attended a musical called “Rebecca” at the Raimund Theatre. What stood out in this performance was the use of an adjustable transparent screen. It was interesting to see how it was incorporated into the show.

Throughout the production, actors positioned themselves behind the screen, cleverly utilizing it to create various effects. For instance, a phone booth was projected onto the screen, and where the actress stood, the screen became transparent, giving the illusion that she was inside the phone booth, even though the stage behind the screen was empty. It made the background of the show more interesting. Additionally, it added versatility to the on-stage furniture. For example, a real house wall was visible, and the screen projected moving leaves to simulate wind. Later, they even used it to project fire, creating the illusion of a burning building.

The use of such screens can generate impressive effects by projecting onto objects, potentially leading to savings on materials and stage design, as mentioned by the example of the phone booth.

I found it really cool to see how projection mapping works in action. While the application of projection mapping in live performances is fascinating it may not align with the focus of my Master’s thesis.

more about this topic:

https://www.tnl.de/projektion/projection-mapping/?gclid=CjwKCAiApaarBhB7EiwAYiMwqupwRleR_zXG6dLKqxNClnfR7zyuJbB-p7GoJ4NR6qa1jqsJxfGd4hoCEvsQAvD_BwE

I watched some talks at the World Usability Congress and found them quite interesting. While not all of them were my cup of tea due to some being a bit too technical, I did manage to take away something valuable from each one.

One presentation, titled “Measuring Emotional Engagement” by Bill Albert, stood out as my favorite, and I’d like to focus on it in this blog post. Albert discussed emotions in general, how we can test them in usability trials, and why understanding customer emotions during product testing is crucial. He highlighted common UX emotions like engagement, stress, frustration, affect, trust, and confidence. Measuring emotions, however, isn’t always easy due to the challenge of dealing with potentially noisy data. This is partly because not everyone has the same definition for each emotion. Communicating about emotions can be tricky as they are abstract, and some emotions, like trust, may be particularly elusive to analyze.

What caught my interest was the array of research tools used in UX for measuring emotions, something I wasn’t aware of before. Albert shared an example of real-time emotional measurement through eye tracking during usability tests and introduced other tools like self-reports, facial expression analysis, GSR, and behavioral observations.

I also appreciated the practical aspect of Albert’s talk. He provided insights into planning a usability test that focuses on measuring emotions, emphasizing the importance of asking questions such as: “What emotions do I care about? What tools do I need? What am I going to do with the results?” Moreover, he illustrated his points with a practical example that addressed potential risks.

In conclusion, I believe that incorporating emotion measurement into usability tests can be very helpful. As I plan to carry out usability tests for my Master’s thesis, it’s valuable to keep in mind the insights from the World Usability Congress.

more about this topic:

https://dl.acm.org/doi/abs/10.1145/2786567.2792902

https://www.tandfonline.com/doi/epdf/10.1080/10447318.2023.2221600?needAccess=true

Ich habe für die Bewertung die Masterarbeit „Printmedien im Digitalen Zeitalter : wie sich Medienunternehmen in Österreich den Herausforderungen der modernen Informations- und Kommunikationstechnologien stellen“ von Marina Tantscher gewählt. Sie ist 2014 an der Universität Graz erschienen.

Gestaltungshöhe

Die Gestaltungshöhe kann nicht beurteilt werden, da es sich hier um eine Standardformatierung handelt.

Innovationsgrad
Das Thema ist aktueller denn je und zeigt gut Probleme und Chancen der Printmedien im digitalen Zeitalter auf.

Selbstständigkeit
In der Masterarbeit wurden einige Lösungsansätze und Vorschläge erarbeitet.

Gliederung und Struktur
Die Arbeit ist angenehm und verständlich strukturiert und die Gliederung regt zum Weiterlesen an. Die Person geht zuerst auf das aktuelle Geschehen in der Medienwelt ein, setzt sich dann mit den Problemen auseinander und versucht im letzten Drittel der Arbeit Lösungsansätze zu finden.

Kommunikationsgrad
Die Arbeit enthält wissenschaftliche Elemente und Fachbegriffe, welche jedoch verständlich Erklärt und aufgezeigt werden. Sie ist für Laien gut verständlich und nachvollziehbar.

Umfang der Arbeit
Das Thema erstreckt sich auf rund 70 Seiten und wird somit gründlich aufgearbeitet.

Orthographie sowie Sorgfalt und Genauigkeit
Die Person hat sehr genau gearbeitet und alle Satzzeichen und Beistriche, Trennstriche etc. sorgfältig und korrekt verwendet. Dabei habe ich Stichprobenartig mehrere Seiten kontrolliert.

Literatur

Die Literatur setzt sich aus vielen Büchern sowie zum Thema passend sehr vielen Quellen von Zeitschriften und Zeitungen (digital sowie analog) zusammen. Man erkennt, dass die Person eine sehr tiefe Literaturrecherche betrieben hat und sich dabei auf renommierte und verlässliche Quellen stützt.

I will be reviewing “The effect of TikTok exposure on young adults’ sustained attention span and the comprehension of information in digital texts and videos” by Romy Victoria Siehoff.

Unfortunately I couldn’t find a master’s thesis with the topic/keywords “impact”, “social media”, “attention span”, therefore I have chosen this bachelor’s thesis hence it provided what my interests and further development of my master’s thesis desired.

Level of design: The study employs participant data to investigate TikTok’s impact on attention and comprehension among young adults, presenting a moderately complex design.

Degree of innovation: This research introduces fresh insights by exploring TikTok’s influence on cognitive abilities, particularly sustained attention, offering an independent perspective while acknowledging prior work on media multitasking.

Independence: Demonstrates autonomy by filling the gap in understanding TikTok’s effects on cognition, drawing on previous research while standing as a distinct investigation.

Outline and structure: The abstract maintains a coherent structure, effectively presenting background, research question, methodology, and primary findings concisely.

Degree of communication: Successfully shows the study’s objectives, methods, and significant findings with clarity and precision.

Scope of the work: Focuses on TikTok’s impact on attention and comprehension, potentially paving the way for broader cognitive research in the future.

Orthography and accuracy: The writing appears devoid of errors, but the accuracy of methodology and findings necessitates access to the complete research.

Literature: References prior research on media multitasking, highlighting a research gap related to TikTok’s cognitive influence, pointing out the study’s significance.

I evaluated the Master Thesis Instagram Use and Its Effect on Well-Being and Self-Esteem written by Briana Trifiro at the Bryant University.

Level of design

The level of design is quite high, as the author decided to use questionnaires for the method and was able to gather over 400 respondents. This makes the results very credible and supports the thesis.

Degree of innovation

For me, the results and the approach do not really seem new, as there is already a lot of research and knowledge in this area. Nevertheless, it makes sense to survey the user group itself and draw your own conclusions. In this sense, the results still provide added value.

Independence

The thesis was written on the basis of a lot of literature. However, due to the fact that the study was conducted by the author, it also contains a large proportion of independence and new insights gained by the author.

Outline and structure

First, the author gives an insight into the theory and explains all the necessary terms and background information. She then moves on to the method, explains it and how it was carried out and then explains the results. She concludes the thesis with the discussion. This corresponds to the normal structure of a scientific paper and is therefore clearly structured.

Degree of communication

The work is written in a comprehensible English and is easy to read.

Scope of the work

In my opinion, the work is too short and too little detail has been included. The content of the thesis is only 26 pages (with appendices a little more than 40). I would have liked a more detailed insight into the various areas and think that more could have been gained from over 400 questionnaires and more detailed results could have been presented.

Orthography and accuracy

The spelling is correct as far as I have seen. Sometimes a few points are very vague or briefly described, so they are not always completely accurate or well explained.

Literature

The author has used a lot of literature (the list of sources is more than 8 pages long!). Personally, the sources do not seem familiar to me, but the variety of different authors and types of sources is positively striking and speaks for the quality of the work.

Research Question: How does the end user perceive, experience and respond to dark patterns?

Level of Design:

Die Struktur der Arbeit erscheint gut organisiert. Kapitel und Unterkapitel sind klar dargestellt und nummeriert. Zudem sind die Abbildungen entsprechend zitiert. Die Arbeit wirkt, als ob sie den Richtlinien entspricht und ist angenehm zu lesen. Die Wahl der Schrift und die Größe sind angemessen. Allerdings fällt auf, dass sie im Vergleich zu anderen Masterarbeiten in unserem Studiengang eher schlicht ist und kein eigenes Layout aufweist (was vermutlich auch so an dieser Universität vorgeschrieben ist). Es könnte mehr Grafiken und Bilder geben, da die Arbeit als sehr textlastig wirkt.

Degree of Innovation:

Die Arbeit trägt durch eigene Interviews und deren Auswertung zur Forschung im Bereich der psychologischen Aspekte von Dark Patterns bei. Die Analyse der Interviews liefert neue Erkenntnisse zu diesem Thema und kann als eigenständige Forschungsleistung betrachtet werden.

Independence:

Die Dokumentation erklärt die Herangehensweise und zeigt den Fragebogen sowie Zitate der Testpersonen auf. Jedoch wäre eine stärkere visuelle Darstellung und Dokumentation wünschenswert. Es gibt nur ein einziges Bild welches Post-its herzeigt, jedoch sind diese leider nicht lesbar. Der Prozess hätte meiner Meinung nach ausführlicher gezeigt werden können.

Outline and Structure:

Die Kapitel erscheinen schlüssig. Ein Manko ist jedoch das Fehlen eines Inhaltsverzeichnisses. Die Arbeit beginnt mit einer Einführung, gefolgt von einer Auseinandersetzung mit psychologischen Aspekten und deren Verbindung zum Design. Es werden theoretische Konzepte wie das Fogg Behavior Model und Dark Pattern Definitionen behandelt. Der praktische Teil umfasst Interviews und deren Analyse.

Degree of Communication:

Der Schreibstil ist verständlich, und die Ergebnisse werden in schriftlicher Form präsentiert. Es werden wiederholt Aussagen der Testpersonen zitiert und analysiert.

Scope of the Work:

Der Umfang der Arbeit wurde erfüllt. Ein theoretischer Teil behandelt das Thema auf psychologischer Ebene, während der praktische Teil sich mit der Methodik, den gestellten Fragen und der Analyse der Interviews auseinandersetzt. Insgesamt wurden 14 Teilnehmer in qualitativen Interviews befragt.

Orthography and Accuracy:

Die Arbeit erfüllt den Punkt Orthografie und Genauigkeit. Gängige Fachbegriffe wie beispielsweise Human-Centered Design oder die HCI-Linien werden behandelt.

Literature:

Das Literaturverzeichnis ist umfassend und beinhaltet verschiedene Quellen aus Büchern und Online-Ressourcen. Die Zitate sind korrekt, wenn auch einige Quellen etwas veraltet sind (aus dem Jahr 2001 und 2003), aber insgesamt ist die Auswahl an aktuellen Quellen zufriedenstellend.

https://www.diva-portal.org/smash/get/diva2:1330920/FULLTEXT01.pdf

Last week, I had a meeting with glacier expert, who is engaged in a study on the accuracy of long-term weather forecasting in relation to glacial developments. Her research revealed notable challenges, particularly in polar regions, where long-term weather forecasts tend to be less reliable. One contributing factor is the scarcity of measuring stations in these areas compared to warmer regions or urban areas.

She also identified shortcomings in the current forecasting system, emphasizing its potential for improvement. This issue has significant global implications, given the crucial role of accurate forecasts in polar regions for predicting glacial development and, consequently, influencing broader climate patterns.

In January, she  plans to return to Spitzbergen, the location of her initial research, to further investigate her findings and collaborate with fellow researchers. I am currently working on documenting her research for my master’s film project, which involves various activities such as using snowmobiles to access remote measuring points, conducting ski tours with precautions against polar bears, and monitoring oceanic weather patterns.

Interestingly the whole thing has a lot to do with one of my previous entries. Chaos Theory: Weather behaves as a nonlinear equation, constituting a chaotic system. The accuracy of weather forecasts depends on precise initial values, and even minor variations in these values can lead to significantly different outcomes. For instance, a slight difference in initial conditions could result in a forecasted thunderstorm instead of sunshine a week later. This underscores the critical importance of obtaining and utilizing precise data in weather forecasting, especially in complex environments like polar regions.

Maybe Chaos Theory could prove an interesting angle to tell the story, although it also has the potential to be less engaging for the audience. In my mind, delving into the intricacies and consequences of chaotic systems is always fascinating, reminiscent of Ian Malcolm in Jurassic Park cautioning John Hammond about the doomed nature of his project due to a lack of knowledge about the initial conditions of the prehistoric, chaotic system he created. However, I recognize that for some, this might come across as too scientific and boring. Perhaps there’s another way to narrate this story. The butterfly effect, a manifestation of pure chaos, is likely more accessible and captivating. I need to ponder on this.

Regarding sponsorship, I’ve pinpointed key sponsors, including clothing brands. Currently, I’m in the process of designing sponsorship packages, ranging from small contributions for a mention in the credits to more significant contributions for direct product placements in the film. My initial rough estimate suggests that I’ll need about 4500 to 6000 Euros to realize this project. For potential sponsors, I’m preparing a concise presentation that includes a treatment and other essential information.

That’s all for now.

Finding my footing with the topic has proven to be a challenging journey since my last entry. Unfortunately, Dallas and the Norwegian Orca Survey are yet to respond to my emails, leaving me in a state of uncertainty. Despite the hurdles, I’ve decided not to abandon my chosen subject, yet the struggle persists. It’s a paradoxical situation.

In an attempt to reignite my passion for this topic, I took a step back and revisited the core reasons behind my initial interest. Here’s what I uncovered:

1. I aspire to create a guide.
2. The inclusion of science, particularly biology, resonates with me. (I can’t help but ponder whether marine biology might have been the ideal field of study for me, but now is not the time for such contemplation – a haunting thought, nonetheless.)
3. My guide should incorporate filmmaking know-how.
4. The desire for a unique and impactful topic persists.
5. The end goal is a thesis that is not only informative but also practical and influential.

As I reflected, it dawned on me that there must be others like me – individuals eager to capture the beauty of the outdoors through film but lacking either a biology background or cinematic expertise. Perhaps my guide could cater to both worlds: “Biology for Filmmakers” or “Filmmaking for Biologists.” Sustainability remains a crucial aspect, but maybe it’s more aptly termed as responsibility – the duty a conservation filmmaker holds toward their subjects and the environment, ensuring respect for boundaries and avoiding harm. Narrowing the focus to underwater filmmaking seems fitting, given the distinct conditions and requirements compared to land-based filming.

This comprehensive guide could equip filmmakers with the knowledge they need to navigate the intricacies of planning, producing, and publishing environmentally focused films.

On a completely different note, I had the idea for another thesis topic. It spawned from a project concept for a short film I had where a marine biologist who worked in the field for decades gets more and more depressed with the state of the ocean and ultimately drowns herself in it, because she can’t handle the lifeless once life full water anymore. This would convey a very strong emotional and also environmental message. A possible research question here could be, how to implement environmental messages in films.

I have to think about this.

While researching my current thesis topic, “Sustainable workflows in nature conservation films,” I discovered that sustainable practices in the film industry are predominantly applicable to major motion picture productions. Guidelines for sustainable practices in the film industry also primarily cater to these large-scale projects. The aspects relevant to my topic include on-set behavior and the streaming issue. The first point encompasses concerns such as habitat destruction, overexposure of certain locations, and disturbance of animals, as explored in my previous entry. Regarding the second point, filmmakers must weigh whether the film’s message outweighs the CO2 emissions generated through streaming.

However, this is insufficient to develop a comprehensive thesis. I attempted to broaden my perspective on sustainability to encompass ethical considerations, specifically the well-being of the environment and its inhabitants. For instance, I considered the potential disturbance caused by drones or the harm inflicted by flash photography on animals. Essentially, I contemplated the notion that no observation can occur without interfering with the observed subject, echoing Michael Crichton’s statement in his bestseller, “The Lost World”: “Discovery is always rape of the natural world. Always.”

Ethics, however, pose a challenging dilemma—where does one draw the line? When does filming for a conservation film harm the environment more than the film benefits in educating people about the subject matter?

It seemed like a dead end, but I was reluctant to abandon the topic. In recent days, I revisited the book I quoted (probably for the fifth time), “The Lost World.” It delves into subjects larger than dinosaurs wreaking havoc and killing people, exploring extinction and its connection to chaos theory. Earth has witnessed five major extinction events, each wiping out a significant portion of its inhabitants. We are now on the brink of the sixth major extinction event, predicted to be the most extensive loss of biodiversity in our planet’s history, possibly occurring sooner than previously estimated (Club of Rome revised the timeline from 2050 to 2035). The challenge lies in the unpredictability of these events—we cannot precisely calculate the outcomes due to unknown variables.

Using Yellowstone National Park as an example, when wolf populations dwindled into double digits within a few years, the entire ecosystem teetered on the verge of collapse. This illustrates the inherent instability of living systems, as nothing is in equilibrium—everything is in constant motion and change.

“Living systems are never in equilibrium. They are inherently unstable. They may seem stable, but they’re not. Everything is moving and changing. In a sense, everything is on the edge of collapse.” Michael Crichton, „The Lost World“.

“We don’t know what the key species are in every ecosystem. We don’t know which animal’s absence will lead to a cataclysmic chain reaction, and ultimately, we may be the ones facing dire consequences,” as Sir David Attenborough aptly puts it: “There is no reason to suppose that our stay here will be any more permanent than that of the dinosaur.”

Conservation films could serve as powerful tools to educate people and raise awareness about these critical issues. Perhaps the focus of nature documentaries should shift from merely showcasing animals and constructing fictional narratives to highlighting the research surrounding them.

Maybe here lies an opportunity to adapt my research question. I will ask Dallas who is in charge of Shark Week from National Geographic for help. I met him once in Croatia and maybe he’ll respond.