scholarly journals The impact of video game character viewpoints and task on perceptions of cognitive and similarity identification

2020 ◽  
Vol 14 (4) ◽  
Author(s):  
Vincent J. Cicchirillo
Keyword(s):  
Experimental Design ◽  
Current Literature ◽  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Theoretical Understanding ◽  
Task Motivation ◽  
Third Person ◽  
The Impact ◽  
And Task

The following study examines the effect of character viewpoints in a video game and task (motivation) on outcomes associated with identification and enjoyment. The study employs a 2 (first-person viewpoint vs. third-person viewpoint) × 2 (task vs. no task) experimental design to test potential theoretical impacts of identification. Specifically, this study looked at how first-person and third-person viewpoints impact identification (cognitive vs. similarity) and enjoyment after playing a video game. The results showed that third-person perspectives through manipulated gaming objectives (task) positively impacted identification. Furthermore, task was associated with higher game play enjoyment. This study adds to the current literature by comparing different type’s identification (cognitive vs. similarity) and how these concepts are impacted by point-of-view and motivation. Thus, extending our theoretical understanding of identification.

Why Can I See My Avatar? Embodied Visual Engagement in the Third-Person Video Game

2016 ◽  
Vol 12 (2) ◽  
pp. 179-199 ◽  
Author(s):  
Daniel Black
Keyword(s):  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Separate Entity ◽  
Entertainment Media ◽  
Film And Television ◽  
Representational Space ◽  
Third Person ◽  
The Third Person ◽  
Visual Engagement

This essay seeks to answer two questions raised by the success of video games where the player looks at the character she is playing rather than seeming to inhabit the same coordinates as the character within the game space. First, why is the experience of playing these games not innately inferior to that of playing games with a first-person point of view, given that the sense of being a character sensing and acting inside the game space could be expected to be much stronger when the character’s body seems to be one’s own rather than a separate entity in the game space? And second, if the first-person point of view is so “immersive” and provides such a sense of being “inside” the representational space as is sometimes claimed, why has it never been so prominent in other audiovisual entertainment media such as film and television?

scholarly journals How to Testify to the Emergence of an Idea in Conversation: Methodological Avenues for Exploring Children’s Interviews

2020 ◽  
pp. 1-18
Author(s):  
Christine Sorsana
Keyword(s):  
Cognitive Development ◽  
Social Interactions ◽  
Point Of View ◽  
First Person ◽  
New Thinking ◽  
Third Person ◽  
New Ideas ◽  
The Impact

In line with socioconstructivist works analysing the impact of social interactions on cognitive development, the present study discusses how to capture, describe, and analyse the emergent co-production of new ideas or creative cognitive solutions. After introducing the methodologies that are currently used in this field, we recall the relevance of pragmatic analyses of conversations. We then identify several possible methodologies for probing and finely analysing the emergence of children’s new thinking, by cross-referencing third-person (i.e., from the researcher’s point of view) and first-person (i.e., from the children’s point of view, following an explicitation interview) analyses.

scholarly journals From third-person to first-person cartographies with immersive virtual environments

2019 ◽  
Vol 2 ◽  
pp. 1-7 ◽  
Author(s):  
Florian Hruby
Keyword(s):  
Video Game ◽  
Theory And Practice ◽  
Future Research ◽  
Mediation Process ◽  
First Person ◽  
Spatial Presence ◽  
General Process ◽  
Third Person ◽  
Being There ◽  
The Impact

<p><strong>Abstract.</strong> Recent cognitive research indicates that immersive virtual reality (VR) systems can increase the impact of visualization products through the formation of spatial presence, defined as a sense of “being there” in a virtual place. These findings make VR a highly interesting tool for cartography, but challenge the subject’s self-conception in different regards. The present article aims at highlighting the fundamental characteristics of geovisualization with immersive environments. We will approach the challenge of 1:1 representation with a typology borrowed from video game theory, where players can experience games from a first-person or third-person perspective. These two categories provide a useful framework to describe the basic difference between non-/low- and high-immersive geovisualization. In order to project the first- vs. third-person metaphor from a gaming to a cartographic mapping context, we will try to semiotically express the general process of map use in form of a triadic sequence, where the representation mediates between users and geospatial phenomena. Compared with common cartographic products, this mediation process is fundamentally different in VR systems, as immersive applications merge map user and map space. A set of future research questions and further considerations on first-person cartography will close the text. These considerations on first- vs. third-person visualization shall facilitate a conceptually better integration of IVE into current cartographic theory and practice.</p>

Space and Media

2018 ◽  
pp. 29-38
Keyword(s):  
User Interfaces ◽  
Video Game ◽  
Computer Game ◽  
Point Of View ◽  
Relevant Aspect ◽  
Current Generation ◽  
Natural User Interfaces ◽  
Input And Output ◽  
Third Person ◽  
The One

The tool identified for data collection of this research project is a video game, which makes the topic of the representation of space in videogame an absolutely relevant aspect for the project. This work bases on the statement of Jenkins, according to which “game space never exists in abstract, but always experientially”. In the current generation of video games, talking about position of the camera assumes a different value than in film or television language, assuming the meaning of point of view from which the game is visually (and auditory) presented and determines the spatial perspective of a computer game. The most common distinction, with respect to the position of the camera, is between First Person Camera, where space is presented from the perceptive perspective of the player's avatar and Third Person Camera, where the perspective is not directly the one of the avatar. This category, in fact, is very extensive, and poorly lends itself to a single definition. Under the umbrella of Third Person Camera are both perspectives associated with the avatar, but framing it externally (a camera follows the avatar) and those in which the camera is fixed. Moreover, the position of the camera compared to the avatar (from behind, left, right, Orbit Camera, etc.), or with respect to the environment (from above, from a precise point of reference) is not a neutral choice. In the present work, we use the categorization proposed by Britta Neitzel (Neitzel, 2002), which, taking up the work of Jean Mitry about The Aesthetics and Psychology of the Cinema (Mitry & King, 1997), distinguishes between subjective, semisubjective or objectives views. The chapter provides examples of different perspectives, and introduces the concept of Natural User Interfaces, which include movements based on input and output, on discretion, on voice, and evolve towards an efficient use of the senses in the interaction with machines.

scholarly journals A matter of Motivation - The Effects of Risk Preference and Task Complexity on the Auditor’s Motivation

2019 ◽  
Vol 53 (2) ◽  
pp. 1-14
Author(s):  
Marco Haid ◽  
Sabine Graschitz ◽  
Peter Heimerl
Keyword(s):  
Task Complexity ◽  
Risk Preference ◽  
Task Motivation ◽  
Increased Risk ◽  
Preference Task ◽  
Specific Factors ◽  
The Impact ◽  
The Relationship ◽  
Case Based ◽  
And Task

Abstract This article examines whether and how several audit-specific attributes influence auditor’s motivation. Following the literature, the research project focuses mainly on the impact of risk preference, task complexity and the liability situation in this issue. A 2x2 mixed-subjects case-based experiment was conducted to gain data for in-depth insights. In sum 209 master students with a major in accounting and auditing participated in the experiment. The results indicate that increased risk aversion leads to a higher observed task motivation. Regarding the task complexity, data analysis shows that increasing task complexity lowers auditor’s motivation. This study contributes to the stream of judgment and decision making literature and offers new insights in to the relationship and dependence of inherent auditor-specific factors.

scholarly journals Pensamiento crítico versus razón arrogante

2005 ◽  
pp. 11-27
Author(s):  
Carlos Pereda
Keyword(s):  
Point Of View ◽  
The Other ◽  
First Person ◽  
Critical Thought ◽  
Ethical Implications ◽  
The Third ◽  
Third Person ◽  
Multiple Levels ◽  
The One ◽  
The Third Person

In this article, several levels in which can be proposed/presented the old dilemma of liberty and determinism are discussed and which is the task of critical thought or, particularly, of this critical thought that is philosophy. On the one hand, this dilemma is confronted in its metaphysical side. On the other, its epistemological and ethical implications are considered. Along this multiple levels I particularly consider the crash between the point of view of the first person and the third person.

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

scholarly journals The first-person perspective description error in naturalism

2021 ◽  
Vol 37 (3) ◽  
pp. 403-415
Author(s):  
Diana E. Gasparyan ◽  
Keyword(s):  
Point Of View ◽  
First Person ◽  
Person Perspective ◽  
Work Strategies ◽  
The World ◽  
Third Person ◽  
First Person Perspective ◽  
The Difference ◽  
Radical Naturalism ◽  
Third Person Perspective

In this article, it is shown that in some theories defending the non-reductive nature of the firstperson perspective it is possible to find a very inconsistent attitude. Such theories are associated by the author to a so-called moderate naturalism. The article demonstrates the difference between moderate and radical naturalism. Radical naturalism completely abandons the idea of subjectivity as unobservable from a third-person perspective. On the contrary, moderate naturalism defends the irreducibility of subjectivity, but believes subjectivity to be a part of the nature. As a case of moderate naturalism, the article considers the approaches of Lynne Baker and Thomas Metzinger. Exemplifying these approaches to the first-person perspective, it is shown that in the case of certain work strategies focused on the first-person perspective, it is possible that a so-called description error may appear, by which a description error of subjectivity — when it is placed in the world as a part of nature, existing according to its laws — is understood. The logic of this error points to one of Ludwig Wittgenstein’s statements about the incorrect placement of the eye in the perspective of the eye view itself. If the first-person perspective is introduced as a point of view (or a point of observation), then its subsequent shift to the observation result area leads to description error. If there is no observation, as well as no viewpoint, we lose the very idea of first-person perspective and actually take the position of radical naturalism.

scholarly journals HALO: Study protocol for a single-case experimental design study evaluating the moderating impact of a befriending intervention on the association between loneliness and health in older adults

2020 ◽  
Vol 3 ◽  
pp. 60 ◽  
Author(s):  
Caoimhe Hannigan ◽  
Paul Hanly ◽  
Frank Kee ◽  
Brian Lawlor ◽  
Eimile Holton ◽  
...  
Keyword(s):  
Older Adults ◽  
Mixed Methods ◽  
Experimental Design ◽  
Single Case ◽  
Later Life ◽  
Constructivist Grounded Theory ◽  
Mixed Methods Design ◽  
Theoretical Understanding ◽  
Study Results ◽  
The Impact

Background: Loneliness in later life is often addressed with befriending interventions, yet evidence for their effectiveness is limited. Meanwhile it is known that loneliness has a deleterious impact on health. The aim of the study is to evaluate whether a befriending service for older adults mitigates the impact of loneliness on health outcomes, and to identify mechanisms through which befriending interventions might impact upon health. Methods: A mixed methods design is used. The quantitative component utilises an AB single-case experimental design, to gather intensive longitudinal data. These data will be analysed using a generalised additive modelling approach. The qualitative component of the study uses semi-structured dyadic interviews, structured and analysed according to the principles of constructivist grounded theory. Findings will then be triangulated according to an existing mixed methods integration protocol. Discussion: This mixed methods design has the potential to inform national and international policy in relation to befriending interventions for older adults. In addition, there is the potential for study results to inform our theoretical understanding of the nature of the relationship between loneliness and health. Trial registration: ClinicalTrials.gov identifier NCT04301167 (10th March 2020). Protocol version 1.1, 26th June 2020.

Seeing first person changes gesture but saying first person does not

Gesture ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 158-175 ◽  
Author(s):  
Fey Parrill ◽  
Kashmiri Stec
Keyword(s):  
Mental Imagery ◽  
Point Of View ◽  
The Other ◽  
First Person ◽  
Second Person ◽  
Motor Action ◽  
The Third ◽  
Path Component ◽  
Third Person ◽  
The Third Person

Abstract Events with a motor action component (e.g., handling an object) tend to evoke gestures from the point of view of a character (character viewpoint, or CVPT) while events with a path component (moving through space) tend to evoke gestures from the point of view of an observer (observer viewpoint, or OVPT). Events that combine both components (e.g., rowing a boat across a lake) seem to evoke both types of gesture, but it is unclear why narrators use one or the other. We carry out two manipulations to explore whether gestural viewpoint can be manipulated. Participants read a series of stories and retold them in two conditions. In the image condition, story sentences were presented with images from either the actor’s perspective (actor version) or the observer’s perspective (observer version). In the linguistic condition, the same sentences were presented in either the second person (you…) or the third person point of view (h/she…). The second person led participants to use the first person (I) in retelling. Gestures produced during retelling were coded as CVPT or OVPT. Participants produced significantly more CVPT gestures after seeing images from the point of view of an actor, but the linguistic manipulation did not affect viewpoint in gesture. Neither manipulation affected overall gesture rate, or co-occurring speech. We relate these findings to frameworks in which motor action and mental imagery are linked to viewpoint in gesture.

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