Rina Kotake
email: kotake.rina@entcomp.esys.tsukuba.ac.jp

Junichi Hoshino
email: jhoshino@esys.tsukuba.ac.jp

Make-up Support System Based on the Colors of Favorite Image

Keywords: Make-up, Face image processing, Reflecting preferences 1

It is difficult to choose the right combination of make-up to reflect each individual taste since there are many products for each part of your face such as your cheek and mouth. Here we propose a make-up support system based on your choice of facial color. This system will present a make-up simulation image based on your favorite facial image and a list of make-up products to make that happen from the user's favorite facial image and the user's own facial image. From the user's evaluation, this system will suggest a color simulation image and make-up products that will bring you closer to your choice of facial image color and we have confirmed that this will help you choose the right combination of make-up products that will reflect your taste.

Introduction

Since your face is an important part of your body that leads to your overall attractiveness [1], women mainly use make-up as a method of changing the impression of their face[2]. However, with make-up, there are many products for each part of your face such as your cheek and mouth, therefore it is difficult to choose which products to buy and how to combine them.

To resolve this issue, you can get advice from a make-up advisor to suit your skin color and facial contour but your desire may fade due to the difference between the advice offered and your own preference. As a method of reflecting the preference of an individual such as when deciding on a hairstyle at a hair salon, you designate a particular style from a magazine or a catalogue. With make-up, as well, if you can choose a facial picture that you want to be from a facial image with make-up done and decide on the make-up, we believe each individual's taste can be reflected to the fullest. However, it is not simple to determine a specific make-up method and products to bring you close to the facial picture chosen.

Therefore, in this paper, we propose a make-up support system based on the facial image chosen by an individual to help you do make-up that reflects your taste. The outline of the system is shown in Fig. 1. If you input the facial image chosen by the user and the user's own facial image into the system, the system will show a make-up simulation image that will bring the user close to her favorite facial image and a list of make-up products to realize the simulation. We believe, by using this system, user's will have an image of their own face with make-up done reflecting their taste and will make it easier for the user to choose the right combination of make-up products to realize that. As of April 2017, iOS application "YUMEKA" which uses part of the result of this paper is open to the public(http://yumeka.tokyo/). (1) Facial image of the user and characteristics of the user's favorite facial image is outputted and the user manually adjusts the points and saves the result (2) From the characteristics saved each part of the face where color is to be extracted is identified (3) The specific color of each facial region that has been identified is extracted (4) From the specific color of each area of the two facial images, the color to be superimposed to the user's facial image is calculated

(5) Simulation area to be superimposed to the user's facial image is determined from the characteristics and a mask is generated (6) The mask is superimposed to the user's facial image With regards to [b], the name and number attached as information of the color included in make-up products differ between cosmetic companies. Therefore, in this paper, we propose a technique of obtaining make-up product images from an internet mail order site and analyzing the product color by image processing and presenting products which match the make-up color extracted from the favorite facial image.

Experiments

The result and study of subjective evaluation by the user will be noted. The assessors are 18 women aged between 18 to 27 years of age (average age 22.2 years old, SD ±1.9) and the assessors used an iOS application running on iPad Air2 and answered questions in the questionnaire. Each question was given a score of 1 to 5((a)(b):1. Do not think so 2. Probably not 3. Neither 4. Probably so 5. Think so, (c):1. I don't know 2. Hard to tell 3. Neither 4. Probably understand 5. Understand)and evaluated in 9 grades of 0.5 intervals. image is presented, average score was more than 4.0 with each make-up. The comments received regarding (a) was that it was easy to imagine the actual make-up by viewing the simulation image and that it would lead to the desire to purchase the product such as "it was easy to imagine what it would be like when the same make-up as that of the favorite facial image was done to my face and I thought it would make me want to buy that product" and hence we were able to confirm that this system was very useful in presenting a simulation image. Comment received regarding (b) was "I was able to understand what cosmetics to use and which colors to combine to bring me closer to my favorite facial image" and hence we were able to confirm that the system was very useful in presenting make-up products.

With regards to (c), whether you understand the make-up combination reflecting your taste, the paired t-test result for both before and after the system use showed significant difference of 0.1% (p < 0.001), and before use<after use. Significant difference was seen in the increased level of understanding, therefore there is a high likelihood that this system of presenting a simulation image and make-up products bringing the user closer to their favorite facial image will help find make-up reflecting the taste of the assessor. However, since the increase in the level of understanding did not go above 3.5 points there is a possibility that the information provided by the system is not sufficient to do make-up that will bring the user close to their actual preferred facial image. From comments like "I could find out the right combination but I could not understand how to do the make-up", technical advice of presenting how to use makeup products was seen to be necessary to improve the level of understanding.

Among others there was a comment of "I did not know the color of the cheek that I was after but after using this system it was good to find out that it was not pink as I thought but an orange type of color", hence it led to the discovery of the preference of the assessor who did not understand her own preference. Therefore, we were able to confirm the usefulness of doing make-up that will bring you closer to your preferred face which reflects your taste.

Conclusion

We proposed an assistance system that presents simulation and products that will bring the user closer to the color of the facial image desired by the user. The result of the subjective user evaluation confirmed that the proposed system presented color simulation image and make-up products bringing the user closer to the favored facial image color and this assisted in combining make-up reflecting the user's preference.

Fig. 1 .

 1 Fig. 1. Outline of system

Fig. 2 .

 2 Fig. 2. Color simulation image generation technique based on your preferred facial image

  (a) Do you think color simulation close to your favorite facial image is presented? (b) Do you think make-up products which will bring you close to your favorite facial image is presented? (c) Do you understand the combination of make-up reflecting your own taste?

Fig. 3 .

 3 Fig. 3. Average and SD of questionnaire evaluation result(* : p < 0.001)With regards to (a), whether you think color simulation close to your favorite facial image is presented, each make-up's average score excluding the cheek was above 4.0. With regards to (b), whether you think make-up products which will bring you close to your favorite facial


Naoko Tosa
email: tosa@media.kyoto-u.ac.jp

Yunian Pang
email: pang.yunian.87r@st.kyoto-u.ac.jp

Liang Zhao

Ryohei Nakatsu
email: ryohei.nakatsu@design.kyoto-u.ac.jp

Genesis: New Media Art Created as a Visualization of Fluid Dynamics

Keywords: Fluid Dynamics, High Speed Camera, Air Gun, Dry Ice, Media Art

We have been working on the creation of media art utilizing technologies. As an extension of our previous research, this time we have focused on the visualization of behaviors of fluid. This area has been named as "fluid mechanics" or "fluid dynamics" and there have been various researches in this area. As some of the fluid motion look beautiful, there is another research area called "visualization of fluid motion."

However most of these results show only stable fluid behaviors and lacks of unstable or in other words unpredictable behaviors that would be substantial for the creation of art. Therefore, to create various unstable or unpredictable fluid behaviors in trials to create artworks, we have introduced several new methods such as usage of dry ice, injection of paints into fluid, and usage of air gun to create an explosive effect. This paper proposes the basic concept of new video art called "Genesis" based on the visualization of fluid dynamics, describes details of the above mentioned three ideas that were introduced to create unpredictable fluid dynamics based phenomena, and then describes details of new media art we have created combining these ideas.

Introduction

We have been creating media art where new technologies play an essential role. Recently we have been interested in the usage of a high speed camera by using which we have found that hidden beauty in various physical phenomena could be revealed. Based on this methodology we have been trying to create new type of media art [START_REF] Chen | Sound Based Scenery Painting[END_REF]. In our previous trial, we used viscous fluids such as paints with various colors, gave vibration to the fluids, and made them jumping up. Jumping up paints created beautiful forms that change in a very short time which were shot by a high speed camera and then based on editing of the obtained video a new type of media art was created [START_REF] Pang | New Approach of Cultural Aesthetic Using Sound and Image[END_REF]. Also some of such media art were exhibited in the form of projection mapping [START_REF] Tosa | Projection Mapping Celebrating RIMPA 400th Anniversary. 2015 Conference on Culture and Computing[END_REF]. Figures 1 and2 illustrate several scenes of the artwork called "Sound of Ikebana" we have created and also a scene of its projection mapping held at ArtScience Museum in Singapore in 2014. As an extension of our previous research, this time we have focused on the visualization of behaviors of fluid. This area has been considered as "fluid mechanics" or "fluid dynamics" and there have been various researches in this area [START_REF] Bruce | Fundamentals of Fluid Mechanics[END_REF] [START_REF] Bernard | Fluid Dynamics[END_REF]. As some of the fluid motion look beautiful, there is an another research area called "visualization of fluid motion" [START_REF]Flow Visualization: Techniques and Examples[END_REF]. One of such beautiful fluid motions is well known "milk crown" [START_REF] Krechetnikov | Crown-forming Instability Phenomena in the Drop Splash Problem[END_REF].

However most of these results show only stable fluid behaviors and lacks of unstable or in other words unpredictable behaviors that would be substantial for the creation of art. Therefore, to create various unstable or unpredictable fluid behaviors in trials to create artworks, we have introduced several new ideas such as usage of dry ice, injection of paints into fluid, and usage of air gun to create an explosive effect. This paper proposes the basic concept of new video art based on the visualization of fluid dynamics, describes details of the above mentioned three ideas that were introduced to create unpredictable fluid dynamics based phenomena, and then describes details of new media art we have created combining these ideas. This paper consists of the following contents. In Section 2, the basic concept of visualization of fluid dynamics as a method to create artworks will be described. In Section 3, the detailed description of three physical phenomena introduced in the visualization process of fluid dynamics to create new artworks will be described. In Section 4, the details of actual art creation process based on the combination of these three physical phenomena will be described. And in Section 5 conclusion and future work of the paper will be discussed.

Visualization of Fluid Dynamics as a Method to Create Media Art

Study of behaviors of fluid, especially in an environment where several obstacles exist in the pathway of fluid has been a long time research topic in physics and this area has been called as "fluid dynamics" [START_REF] Bruce | Fundamentals of Fluid Mechanics[END_REF] [START_REF] Bernard | Fluid Dynamics[END_REF]. In physics, fluid dynamics is a sub-discipline of fluid mechanics that deals with fluid flow -the science of fluid (liquids and gases) in motion. It has several sub-disciplines itself, including aerodynamics (the study of air and other gases in motion) and hydrodynamics (the study of liquids in motion). Fluid dynamics has a wide range of applications including calculating forces and moments on aircraft, determining the mass flow rate of petroleum through pipelines, predicting weather patterns, understanding nebulae in interstellar space and modeling fission weapon detonation. How to explicitly show the behavior of fluid is another research area called "visualization of scientific phenomena" [START_REF]Flow Visualization: Techniques and Examples[END_REF]. Based on this visualization process it became possible for people to watch the actual process of fluid behavior and it has been recognized that various beautiful fluid motion can be created depending on various conditions. As beauty is the fundamental concept of art, utilizing fluid dynamics as a method to create artworks has been one of the key concepts of art creation. There are various artworks that utilize the concept of fluid dynamics. These approaches can be classified into two ways.

One is an approach from purely scientific side. Fluid motion, especially when there are obstacles in the pathway of the fluid, look beautiful and sometimes the visualized result of such fluid motion are considered as art. Figure 3 shows a result of visualization of a stable flow called "laminar flow." As the ratio between inertia and viscosity, called "Reynolds number," increases, the laminar flow changes into unstable flow called "turbulence." In turbulence frequently various types of vortex occur, some of which look beautiful. Figure 4 shows one example of such vortex. Other examples are special types of fluid behaviors. One of such behaviors is a well-known phenomenon called "magnetic fluid" or "ferrofluid" which forms itself in specific and beautiful way when it is placed near magnet [START_REF] Krechetnikov | Crown-forming Instability Phenomena in the Drop Splash Problem[END_REF]. Inspired by the beauty of such magnetic fluid several artists have been trying to create artworks. Figure 5 shows an example of the phenomenon of magnetic fluid. Although various types of beautiful forms can be created based on such approaches, created forms based on such approaches are not considered as pure art. The reason is that these phenomena or created forms are still too much physics-based and it is difficult to include in the form creation process "intention of artists." There is a clear distinction between physical phenomenon and art works and the border is how much intention of the artists to create artworks is involved in the created work. If there is no intention or such intention is too weak, created forms are considered physical phenomenon rather than art works. In other words, forms created as physical phenomenon are controlled by laws of physics and there is only a small space where something unexpected happens. And this unexpectedness is very important core part of art works. On the other hand, there is different approach from art side. Here the usage of fluid is strongly controlled by artists and unexpected phenomena or chance phenomena that happen in the process of fluid usage is utilized by the artists to include something unexpected into their art works. One representative such art creation processes is "Action Painting" [START_REF] Fleck | Action Painting[END_REF] led by Jackson Pollock [START_REF] Landau | [END_REF]. Action painting is a form of art creation in which, instead of drawing paintings using paintbrush, artists throw or draw paints on a campus. Basically artists have intentions of what kind of paints they use and where on the campus they throw or draw pains. Therefore, in addition to the intensions of artists, a kind of contingency caused by thrown or drawn paints influence the final form of the created artwork. Figure 6 shows one of the representative artwork of Jackson Pollock. Although he is highly evaluated and appreciated in modern history of art, a problem with his art works is that the lack of pure beauty, which has been long time a core concept of great art, and therefore which has confused many people.

Based on the problems included in these two approaches, we think that there should be another way of new art creation somewhere in between these two approaches. We have started from the former approach but tried to include more unexpectedness in created forms. In the next Section several methods to realize this will be described.

Physical Phenomena Introduced to Realize Unexpected Behavior of Fluid

We have introduced three new methods into fluid dynamics to realize unexpected behaviors of fluid; namely "injection of paints into fluid," "usage of dry ice as obstacles in fluid pathway," and "usage of air gun to generate explosive effect."

Injection of paints into fluid

As a basic material to observe behaviors we chose color paints. In our previous work to create artworks also we chose color paints and in creating various types of beautiful and mysterious forms by giving vibrations to them [START_REF] Chen | Sound Based Scenery Painting[END_REF][2] [START_REF] Tosa | Projection Mapping Celebrating RIMPA 400th Anniversary. 2015 Conference on Culture and Computing[END_REF]. And therefore we are familiar with behaviors of color paints. This time, instead of giving them sound vibrations, we tried to inject them into water. Based on various preliminary experiments we found that color paints injected into water from droppers can create interesting forms that resemble the phenomenon of volcano eruption or something similar (Fig. 7). As water and color paints even in the case of oil-based pains there is some affinity and threrefore injected paints and water are mingled rapidly and the whole water became a kind of "colored water" rapidly. As what we want to create is interesting behaviors of injected paints, this rapid mingling process is not preferable. Then we tried to add agar into water to increase its viscosity. And we have found that in the case of water with certain amount of viscosity has the effect of delaying such mingling process. Also we have found that level of viscosity based on the amount of added agar plays an important role by changing the mingling time to some extent. This finding was important to create interesting behavior of injected paints. However, basically behaviors of injected paints are based on diffusing process and, as the time passes, water and paint are mixed based on one-way process. Therefore it is difficult to generate something unexpected based on this basic method. Therefore, some new mechanism of creating unexpected phenomenon should be introduced. To realize this, we have introduced the usage of dry ice which is described in next subsection.

Usage of dry ice as obstacles in fluid pathway

Based on fluid dynamics study we have learned that the existence of obstacles in the pathway of fluid motion is the key to generate beautiful and mysterious forms. the same time, we have learned that such obstacles should not be fixed ones. Fixed obstacles gives fixed effects to the behaviors of fluid and this process is not effective in generating something unexpected. Therefore, such obstacles should move around. Also it is preferable that the moving patterns of such obstacles would be unstable or even unexpected. In addition, it would be preferable if forms of the obstacles would change unexpectedly. We have carried out various kinds of experiments to find out such obstacles and finally found that the use of dry ice is very effective to be used as obstacles to be interacted with injected paints. Dry ice is the solid form of carbon dioxide. It is used primarily as a cooling agent. Its advantages included lower temperature than that of water ice and not leaving residue. At the same time, dry ice has been frequently used as a material to create mysterious stage effect, as it creates huge amount of fog when it is put into water. People have been focusing on the effect of fog generation when they use dry ice. However, we have focused on the early process of fog generation. When dry ice is put into water, based on the temperature difference between water and dry ice, rapid vaporization process of dry ice occurs. Many small bubbles, each of which contains carbon dioxide fog, are generated as the result of vaporization and these small bubbles rise from dry ice at bottom to water surface and finally create fog. Watching this process by using a high speed camera, we have found that such bubbles have interesting forms with each bubble having a different form. And during the process of its rising up to water surface the bubble always changes its form. This phenomenon gives us an impression that each bubble is a kind of living creature (Fig. 8). Then we had an idea that the combination of these bubbles and injected paints described in the previous subsection would be ideal to generate a new type of phenomenon based on fluid dynamics. Therefore, we have adopted the usage of dry ice as an obstacle material in the pathway of injected fluid.

Usage of air gun to generate explosive effect

Based on our observation we have found that each of the two described effects and especially their integration could create really new fluid dynamics based effect that would be described in detail in the next section. At the same time, we have found that it would be important and necessary for us to have another phenomenon that can create surprising effect such as an explosive effect. In our previous work we used an air gun to explode frozen flowers and this could create really beautiful and at the same time surprising effect [START_REF] Tosa | Projection Mapping Celebrating RIMPA 400th Anniversary. 2015 Conference on Culture and Computing[END_REF]. Based on our experience we have decided to use again an air gun to realize a new effect. Based on various kinds of experiments, we have found that shooting an air gun bullet into water could create a surprising phenomenon. By being shot into water with relevant speed, firstly an air gun bullet creates a big hollow ball with nothing inside. Then the ball crashes itself quickly by intriguing surrounding water as if there is an internal waterfall in water. This process is difficult to watch by our naked eye but is observable once the process is shot by a high speed camera. This process is shown in Fig 9 and 10 and because of an amazing effect it can create, we have decided to adopt it in combination with the above mentioned two methods.

Physical Phenomena Introduced to Realize Unexpected Behavior of Fluid

By combining three types of new effect creation methods described in the previous Section, we tried to create new type of physical phenomena. As a first step, we have combined two methods described in subsections 3.1 and 3.3. The actual process is as follows. Firstly, combination of color paints is selected. Of course single color is acceptable. But combination of several colors is more effective as it can generate beautiful and deep effect. At the same time, an air gun bullet is shot into water aiming the injected color paints. As this whole process occurs in a very short time, this process can become visible only by being shot using a high speed camera. Several examples of obtained images are shown in Figs. 11. We have found that the water falling effect, that occurs when a hollow bubble created by a shot bullet, gives us the feeling that comic dust is being drawn into a black hall. This is the main reason that we have decided to call our new artwork as "Genesis" which means the end and also reborn of our cosmos, life, etc. As a next step we tried to integrate two methods described in subsections 3.1 and 3.2. Firstly, we put a small block of dry ice into water letting it generate bubbles with carbon dioxide fog inside. Then a combination of several color paints is injected into water. Without dry ice based bubbles, the injected color paints quickly diffuse making the whole water as a colored water. There are two ways to avoid this somewhat boring event to happen. One is that, as is described in subsection 3.1, we have used agar to increase water viscosity to some extent. Based on several experiences we have found that there is a certain range of viscosity in which the diffusion of color paint into water occurs slowly. Then under such condition we added dry ice into water. As described in subsection 3.2, various dry ice bubbles are generated as the result of vaporization process of dry ice where forms of dry ice bubbles are different each other and even their forms change continuously while rising up in water to water surface. Then injected color paints interact with these various bubbles and create various complex forms as shown in Fig. 12. These created forms are beyond the forms we often see as the result of scientific visualization and look very artistic. Combining images obtained in the first step and the second step can become sophisticated media art that has never been created.

Conclusion

In this paper we have proposed a new type of media art creation method and described its details. As an extension of our previous experience of creating media art based on the movement of color paints that are vibrated and jumped up forming various types of surprising and mysterious forms, we have tried to explore different type of fluid dynamics based phenomenon. This time we have decided to explore the behavior of color paints in water. To give people different type of sense of surprise and mystery we have introduced three methods to create new fluid dynamics phenomenon. One is an effect obtained by injecting color paints into water with various viscosity. Second is to use dry ice as obstacles that would interact with the flow of injected paints and based on this to create surprising and mysterious liquid forms. In addition to these phenomena, we have decided to use an air gun and we have found that an air gun bullet shot into water could create a new type of explosive effect. By integrating these three methods in a relevant way and also by using a high speed camera to shoot and visualize generated phenomena that occur in very short time, we have tried to create various kinds of new phenomena. Interestingly enough what we could create is something beautiful, noble, and inspiring that never existed and that is somewhere between existing two types of art creation process. One is a purely scientific process and its aim is to find out beauty in the process of liquid motion as a physical phenomenon. Another is the usage of liquid as a basic material for creating drawing. Here the basic idea of art creation is controlled by an artist but in the final art making process of paint throwing and dropping a randomness, that is one of basic natures of physical phenomena, is included to add values to the created artwork.

We have found that our proposed method situates somewhere in between these two different processes. Its feature is that on one hand it can keep pure beauty included in physical phenomenon that is something missing in the art creation process called Action Painting. On the other hand, our method can get rid of a feeling associated with too scientific phenomena which we would have when watching works created purely based on uncontrolled physical phenomenon. Therefore, we believe that we succeeded in creating a new type of artwork. We are going to exhibit our newly created artworks at various exhibitions over the worlds to know responses from people in different countries and cultures. We hope and expect that our new artwork would be welcomed by people in various countries with different cultures.

Fig. 1 .

 1 Fig. 1. Several shots of "Sound of Ikebana."

Fig. 2 .

 2 Fig. 2. A scene of the projection mapping of "Sound of Ikebana" carried out at ArtScience Museum in Singapore.

Fig. 3 .

 3 Fig. 3. An example of laminar flow.

Fig. 4 .

 4 Fig. 4. An example of vorlex.

Fig. 5 .

 5 Fig. 5. An example of magnetic fluid.

Fig. 6 .

 6 Fig. 6. One of Jackson Pollac's drawings.

Fig. 7 .

 7 Fig. 7. Injection of color paints into fluid .

Fig. 8 .

 8 Fig. 8. Bubbles generated by dry ice.

Fig. 9 .

 9 Fig. 9. Effect of an air gun bullet shot into fluid.

Fig. 10 .

 10 Fig. 10. Break down of a bubble created by an air gun bullet.

Fig. 11 .

 11 Fig. 11. Several examples of interaction between a bubble created by an air gun bullet and injected color paints.

Fig. 12 .

 12 Fig. 12. Several examples of interaction between bubbles created by dry ice and injected color paints.


Martijn J L Kors

Karel Millenaar
email: k.millenaar@hva.nl

Erik Spek

Gabriele Ferri
email: g.ferri@hva.nl

Ben A M Schouten
email: bschouten@tue.nl

Tim Marsh
email: t.marsh@griffith.edu.au

Erik D Van Der Spek
email: e.d.vanderspek@tue.nl

Shaping Attitudes Across Realities. Exploring Strategies for the Design of Persuasive Virtual, Augmented and Mixed Reality Games

des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

Towards Immersive Persuasive Games

It took well over two decades for Virtual Reality to make a commercial comeback after its backlash in the late eighties / early nineties. And even though its future is still uncertain, many have already embraced the new wave of Virtual Reality technologies for various objectives, among which persuasion. Similarly uncertain in its outlook, but not less interesting, we see an increasing proliferation of consumer-grade Augmented Reality devices, such as mobile phones, Google Glass and Microsoft Ho-loLens. Together, these new or resurgent technologies blur the boundaries of the magic circle. They place you virtually inside the body of another person, or change the world around you to reflect another person (or fictional character)'s reality. The experiences in these alternate reality devices can be designed not only to be entertaining, but also hold the intent to shape how players think and feel about issues in their own reality [START_REF] Kors | A Breathtaking Journey. On the Design of an Empathy-Arousing Mixed-Reality Game[END_REF].

As we playfully interact with this alternate reality, thus we engage in gameplay, experientially gleaning meaning from this digitally enhanced virtual or augmented world. Bogost pointed at the unique persuasive properties of digital games in general, coining the term 'procedural rhetoric'. Procedural rhetoric, in Bogost's words, is seen as "the art of persuasion through rule-based representations and interactions rather than the spoken word, writing, images or moving pictures" [START_REF] Bogost | Persuasive games: The expressive power of videogames[END_REF]. Through rules and procedures, the way simulations play out, games can covertly present players with enthymemes framed to tell something about issues in their own reality. A classic example of such a Persuasive Game is 'Darfur is Dying', a game that "was created in 2006 to put you [the player] in the shoes of a displaced Darfurian refugee" [START_REF] Ruiz | Darfur is dying[END_REF] to have the player experience 'what it feels like' to be a refugee, shape her attitudes, and hopefully stimulate to take action in the real world. Looking at the contemporary media landscape, there is probably no other field in which questions of empathy and persuasion play a more vibrant role than in that of immersive technologies. Through these technologies it has become significantly easier to immerse the player in a virtual world, creating a sense of presence, and have her stand in someone else's shoes [START_REF] Grigorovici | Persuasive Effects of Presence in Immersive Virtual Environments[END_REF][START_REF] Kors | A Breathtaking Journey. On the Design of an Empathy-Arousing Mixed-Reality Game[END_REF]. Artists like Milk have already dubbed Virtual Reality the "ultimate empathy machine" [START_REF] Milk | How virtual reality can create the ultimate empathy machine[END_REF], and the salience of this topic is further illustrated by recent Virtual and Mixed Reality projects like Project Syria, DeathTolls Experience, and one of our own projects, A Breathtaking Journey [START_REF] Kors | A Breathtaking Journey. On the Design of an Empathy-Arousing Mixed-Reality Game[END_REF]. These projects are all designed with the intent to, just like 'Darfur is Dying' over a decade ago, raise empathy and shape attitudes towards refugees by placing the player in their shoes. The idea of placing the player in someone else's shoes relates to the concept of role-playing, perspective taking and direct-experience, which have shown to support persuasion [START_REF] Maio | The psychology of attitudes and attitude change[END_REF]. However, despite the captivating persuasive potential of immersive technologies [START_REF] Carpenter | Flying with Icarus: narrative transportation and the persuasiveness of entertainment[END_REF], we unfortunately still lack the design know-how to advance the design of these immersive persuasive games. This workshop is organized to address this gap in design knowledge. Through a Research through Design inspired approach [START_REF] Zimmerman | Research through design as a method for interaction design research in HCI[END_REF], participants design and evaluate ideas on-the-spot in an iterative manner [START_REF] Fullerton | Game Design Workshop: A Playcentric Approach to Creating Innovative Games[END_REF]. We focus on low-fidelity, life-size, prototyping and role-playing techniques, thereby mimicking a Mixed Reality environment without having to rely on technical implementation during the workshop. By reflecting on design practices and player experiences we construct a body of knowledge, collect exemplar work and distil best-practices that to help in formulating design strategies.

Workshop Planning

The workshop will be held as a single-day event and is expected to host approximately 12 participants. We will distribute the call for papers through social media, industry platforms, mailing lists, special interest groups and the workshop's website.

We will also invite experts of exemplar work to join and share their perspective. The following table presents a preliminary planning for the workshop.

Time

Activity 09:00 -10:30

PechaKucha. After a short introduction by the organizers, we ask each participant to present their PechaKucha presentation [START_REF] Klein | [END_REF] based on their submitted abstract, with particular focus on design related factors. After each presentation, we will shortly recap the highlighted design opportunities or issues, which will serve as input for the initial ideation and prototyping session. 10:30 -11:30 Initial Ideation. After dividing the group into teams of 3-4 participants we will explain the persuasive message as starting point for their game; including several background stories and a persuasive game design toolkit. Teams then explore the topic, draft possible arguments, set player experience goals [START_REF] Fullerton | Game Design Workshop: A Playcentric Approach to Creating Innovative Games[END_REF] and have a first through about suitable gameplay possibilities. 11:30 -12:00 Lunch Break. 12:00 -16:00

Prototyping. In the third session each team will have four hours to iteratively [START_REF] Fullerton | Game Design Workshop: A Playcentric Approach to Creating Innovative Games[END_REF] work on their prototype using techniques like Bodystorming [START_REF] Schleicher | Bodystorming As Embodied Designing[END_REF]. Each teams is asked to create a low-fidelity, life-size, prototype using the provided material and tools. This setup will mimic an immersive and embodied interactive Mixed Reality environment, without the need to rely on technical implementation. Throughout we will intervene with Role-playing techniques [START_REF] Simsarian | Take It to the Next Stage: The Roles of Role Playing in the Design Process[END_REF] to evaluate player experience. During these interventions, the team will act as the game's mechanics, while someone from another team acts as the player. As informed by a Research through Design approach [START_REF] Zimmerman | Research through design as a method for interaction design research in HCI[END_REF] we will discuss and document interesting, unexpected and valuable insights throughout the design process for later reflection. 16:00 -17:00 Formulating Design Insights. In the fourth session, we will discuss the insights and formulate possible strategies, techniques and best-practices that were supportive for the ideation and prototyping processes.

Expected Workshop Outcomes

All accepted submission will be included in the workshop proceedings that are accessible through the workshop's website. After the workshop we will share a summary of the workshop; including a collection of the formulated design strategies and best-practices for later reference, as well as an overview of the prototypes that can serve as exemplar work. After the workshop we also invite authors to submit a casebased design-oriented abstract for review to be included in the Persuasive Gaming in Context book, funded by the Netherlands Organization for Scientific Research [START_REF]Persuasive gaming. From theory-based design to validation and back[END_REF].

4

Primary Workshop Organizers Martijn J.L. Kors is a doctoral candidate and game designer at the Eindhoven University of Technology and Amsterdam University of Applied Sciences. In his design-research he studies the design of immersive interactive entertainment with persuasive intent. Karel Millenaar is an experienced game designer who supports research as a designer and lecturer at the Amsterdam University of Applied Sciences. He also found-ed FourceLabs, a company that designs serious games for attitude and behavior change.

Submissions

Abstracts should have a maximum of 500 words and include the name of the participant(s), affiliation, background, a motivation for joining the workshop, and preferably ideas for novel persuasive game design. No technical skills are required to participate in the workshop, but an affinity with one of the following topics is recommended:

• Design or analysis of immersive, persuasive games, techniques, prototypes and concepts. • Persuasive game design strategies, approaches, techniques or best-practices.

• Interviews, experimental or ethnographic studies on the development of immersive persuasive games.

Abstracts need to be submitted before the 30th of June 2017 and will be reviewed based on their relevance, quality, and contribution to the workshop.


Rina Kotake
email: kotake.rina@entcomp.esys.tsukuba.ac.jp

Kazuma Kimura

Akiko Kawabata

Go Sato

Momoka Shiohara

Junichi Hoshino
email: jhoshino@esys.tsukuba.ac.jp

AirMeet: Communication Support System by Temporarily Sharing Personal Information for Social Gathering

Keywords: Social gathering, Communication support, Personal Information 2 System Overview

In this paper, we propose a system "AirMeet" that supports temporary communication within the venue of the social gathering by limiting personal information to be shared at the time of the social gathering according to its purposes. As a result of carrying out the experiment at the social gatherings, we confirmed that we can promote sharing within the boundary of meeting venue by limiting the personal information participants had not disclosed on the Web. In addition, it confirmed that communication is supported by sharing personal information according to the purpose of the social gathering and using the application in the venue, and it showed the usefulness of the application.

Introduction

A "social gathering" is regarded important that supports new connections by collecting many people who are first meeting. However, in the real world, it is difficult to find a chance to start conversation with the other person as personal information is invisible. Here, it sometimes helps solve problems by distributing nameplates containing personal information and hanging them from necks of the individuals. In order to make a chance of conversation at academic meetings or exhibitions for example, personal information according to the purpose of a social gathering such as "contents of presentation" that may be a trigger of conversation is written in many cases on the nameplate. In addition, the nameplate can be viewed only by people inside the social gathering, realizing privacy protection in places where many and unspecified people gather.

However, there are problems in the limited amount of information that can be written, or problems that the written information is visible only from close distance. Therefore, in this paper we propose a system "AirMeet" that supports communication by temporarily sharing personal information that should be shared at that time according to the purpose of the social gathering only to people in the social gathering venue. As of April 2017, iOS application "AirMeet" which used part of the result of this paper is open to the public (http://airmeet.tk/).

Fig. 1. Outline of System

The organizer of the social gathering has a role of establishing items of personal information to be shared at the place and at the time according to the purpose of the social gathering and a role of judging whether participants are inside the meeting venue.

At the social gathering, after participants enter the profile information to be shared within the meeting place, they see the profile information of other participants on the screen shown in Fig. 2 and discover a person whom he/she wishes to communicate with and triggers a conversation. This is supposed be how it works. Also, in order to support creating connections, there is a "MEET function" that exchanges profile information with the person who communicated.

When a participant exit from the venue, information shared with other smartphone terminals and servers is automatically deleted, and information on other participants is deleted also from the smartphone terminal of the participant exited. At that time in case "MEET function" had been used for exchanges of profile information with the person, the information on the smartphone terminal of the person with whom he/she had been communicating will not be deleted. The configuration of the installed system is shown in Fig. 2, and the explanation below is added.

[1] Register the venue information from the terminal possessed by the organizer through HTTP communication.

[2] The organizer's terminal is responsible for determining whether participants are in the venue by use of beacon communication.

[3] When it is determined that the participant is in the venue, HTTP communicates reception of venue information, sharing and exchange of personal information.

[4] When it is judged the person is not in the venue, it will disconnect communication and erase personal information from the database on the server side.

[5] Information exchanged is stored in the client database.

Experiments

We conducted an operational experiment at two social gatherings held on the night of the first and second days of the 2 nights / 3 days overnight workshop conducted by the Japan Software Society Interactive System and Software (ISS) Study Group.

The results are described below. Profile information shared within the venue is judged and set by the author to activate discussion and communication that would serve the purpose of the social gathering held during the workshop, namely "company / school" "job title / grade" "research field", "presentation title", " trademark gag ", "favorite programming language". Regarding the usage of the application, 72 of the 162 participants in the workshop owned the iOS terminal and agreed to cooperate launched the application. There were 44 participants on the first day and 29 on the second day and 19 participated on both days, totaling 54 who offered cooperation in the event to enter the profile information. 38 people used the MEET function.

Described results of questionnaire after using / application for cooperators who participated in the event. The evaluator was 9 people (3 males and 6 females) with ages 22 to 43 (average age 27.8, standard deviation ± 11.3). In order to verify whether participants can promote sharing of personal information in the confined venue, we have set questions on each item about the scope of disclosure of profile information on the Web, and summarized the input situation to applications as shown in Fig. 3 [A]. In all the items, there were evaluators who entered profile information to the application, which they make limitedly public or undisclosed on the Web.

As "information is shared only among the people who are at the place and not remaining on the Web" etc., sense of security is obtained by allowing share of information in a controlled manner at limited place and time in a natural way. Comments were given indicating the usefulness of information sharing limited in a venue for a temporary time. In order to verify whether it will be supporting communication by sharing personal information according to the purpose of the social gathering, [B] Whether there was someone who wanted to talk to looking at the information available on the application and was able to talk actually, [C] Whether it has been possible to establish a connection; Result of these questions are summarized in Fig. 4.

[B] There were 7 evaluators out of 9 who saw the information on the application and wanted to talk to them, and among them 6 evaluators who were able to speak to them actually. In the free description of the evaluator who had someone whom he/she wanted to speak to, it was noted that he/she wanted to talk to looking at profile items such as "face photograph", "job title / grade", "research field" and "presentation content", and it was confirmed that sharing the characteristic personal information according to the purpose of the social gathering will be helpful in communication support at the social gathering. In addition, there was a dialogue asking / being asked "if you are using AirMeet?" indicating that use of an application became a trigger of conversation.

[C] Seven of the nine evaluators were able to make a connection at least once at this social gathering, and six of the evaluators used the application. In order to make a connection with Facebook communication in the real world, it is necessary to search the name with an accurate notation and search for the other party. In this application, there were many advantages as being able to easily make connections using the MEET function on condition that they are inside the venue.

Conclusion

We proposed AirMeet which temporarily shares personal information according to the purpose of the social gathering only to the people inside the social gathering venue. By conducting the experiment at the social gathering and limiting the Web restricted profile information to stay only within the venue to be shared by the participants, it has been confirmed that the sharing can be promoted by participants.

In addition, we have clarified that it will support communication by sharing participants' profile information according to the purpose of the social gathering and using the application within the venue.

Fig. 2 .

 2 Fig. 2. System configuration and system screen

Fig. 3 .

 3 Fig. 3. Survey results : Can promote the sharing of personal information through information sharing was limited at the social gathering?

  9

  .Comparison of items for disclosure on the web and input situation on AirMeet ■Public/Filled in ■Limited Public ■Private/Not Filled in □Nothing

Fig. 4 .

 4 Fig. 4. Survey results : Can support communication by sharing personal information according to the purpose of the social gathering?

  the social gathering ■you wanted to talk to looking at the information ■you spoke with the application as a trigger ■you made connection on this social gathering ■you made connection using the application [Number of people]


Letizia Jaccheri
email: letizia.jaccheri@ntnu.no

The Little Doormaid: An initial Literature Review toward a Video Game about Mentoring, Social Innovation and Technology

Keywords: Video Games, Mentoring, Social innovation, Technology, Gender, Women in Videogames, Crowdfunding, Literature review

The Little Doormaid is a fairy tale about mentoring, social innovation and technology. In order to shed light on the research questions of how to develop the fairy tale into a video game and how to evaluate the effect of the game experience for its audience, we run a preliminary literature review. This paper reviews related efforts that will guide the development and evaluation of the Little Doormaid game prototype. We report about an initial set of relevant papers and an initial organization of the literature according to trends, such as interactive fairy tale development, Video game design and play as a space of resistance, creativity and sociability; Crowdfunding for production; The learner/player experience; Designing for diversity by evaluating for diversity.

1

Introduction

The Little Doormaid is a story about technology, social innovation, and mentoring. This story, a modern fairy tale, has been presented in three workshops held with different demographics (one held with children age ten; one with immigrants recently arrived to Norway; and one with women) [START_REF] Jaccheri | The Little Doormaid[END_REF]. The purpose of this paper is to provide a preliminary literature review as part of the larger project of developing The Little Doormaid from a written story into a video game. The goal of this literature review is to identify research papers that may be used to answer either of the two research questions: 1. How could we develop this fairy tale into a video game? 2. How could we evaluate this video game? 2

Literature Review

The process started by searching Google Scholar using the following keywords: 'gender video games education' 'video games fairy tales' 'designing "inclusive video game" gender'. Searches were initially confined to results from 2012 or after, and were then repeated without that restriction. After establishing a narrower scope for the paper, further search terms were used: 'video games, technology, mentoring and social innovation.' This search was used to curate a bibliography of recommended resources for the next phase of research and development for this project. The following trends emerge from an initial revision of the literature. [17] reports about NeuroWander, an example of interactive fairy tale (Hansel and Gretel) development. NeuroWander utilizes a BCI interface with the objective to realize the principle: "think and make it happen without any physical touch". The interactive story implemented in [START_REF] De Lima | Social Interaction for Interactive Storytelling[END_REF] corresponds to a short story in the genre of swords and dragons.

Fisher and Jenson [START_REF] Fisher | Producing Alternative Gender Orders: a Critical Look at Girls and Gaming[END_REF] posit digital game creation as a way in which participants (girls) can be active in the construction of their own subjectivities, leveraging different aspects of their identity and/or exercising an institutionally sanctioned (albeit temporary) autonomy to resist discursive positioning.' [START_REF] Bryce | J: Gender Dynamics and the Social and Spatial Organization of Computer Gaming[END_REF] explores the relation between gender and computer games. Christou et al. [START_REF] Christou | Designing and evaluating sociability in online video games[END_REF] proposes a framework for video game design and evaluation aimed at enhancing knowledge about the creativity and sociability structures they place into their online games One new tool or space for resisting the gendered nature of digital gamingboth in the production of video games and in the games themselvesmay be crowdfunding. Marom et al [START_REF] Marom | Gender dynamics in Crowdfunding (Kickstarter): Evidence on Entrepreneurs, Investors, Deals and Taste-based Discrimination[END_REF] investigated crowdfunding, as a new form of venture finance, that can reduce the barriers of female entrepreneurs to raise capital. [START_REF] Marom | Gender dynamics in Crowdfunding (Kickstarter): Evidence on Entrepreneurs, Investors, Deals and Taste-based Discrimination[END_REF] shows that both the gendered nature of technology development and the persistent (and false) perception of gamers as male contribute to a continuing lack of games designed for inclusion. Crowdfunding may then provide a significant alternative route for people seeking more diverse gaming experiencesboth consumers-as-funders and game leadsto fund and produce games designed for inclusion.

Young et al [START_REF] Young | Our Princess is in another Castle a Review of Trends in Serious Gaming for Education[END_REF] found that evidence supporting the positive impact of the learner/player game experience on student academic achievement was consistent. This finding was based on a thorough review of more than 300 articles and studies related to interactions between video games and academic achievement. De Lima et al [START_REF] De Lima | Social Interaction for Interactive Storytelling[END_REF] describe the creation and evaluation of an innovative system for creating interactive narrative storytelling, arguably a type of video game. The authors note that motivation for the project was partly based on the observed enrichment leant to online games by the mid-and post-game discussions held among players, discussions which 'gamers love' and which 'contribute to the culture of the game.' This study focuses on how integrating social media into a video games user interface can change the experience of the game for its players. This study sets a useful precedent for novel ways of involving learner/players in in-game storytelling. In the experimental game created by De Lima et al, the nature and appearance of the world were essentially fixed, but the story as a "text" was uniquely open to interpretation and elaboration. The world and stock narratives created by De Lima et al were founded on "swords and sorcery" story-telling building blocks. The use of social media integration by De Lima et al was a deliberate attempt at accessing players' expectations and ease of discussing the game and collaborating socially.

Lacasa et al [START_REF] Lacasa | Developing new Literacies using Commercial Videogames as Educational Tools[END_REF] investigate video games primarily in relation to how they contribute to the development of narrative thought. Their study employs gender as a context, but questions more deeply how media messagesspecifically video games -'create an environment that can teach people about the rules, attitudes, values and norms of society.' The main results of the study show that 'children's reconstructions of videogames stories are dependent on specific contexts; for example, whether they are re-elaborating the content of the game while they are playing it, writing a script some days later, or developing a web page.' This study's conclusions provide a useful answer to research question one: designing a game with interactive narrative elements that require or invite the player to contribute elaborations could make that game more engaging for a diverse audience and/or facilitate stronger positive outcomes for the game as a learning tool. Admiraal et al [START_REF] Admiraal | Gender-inclusive Game-based Learning in Secondary Education[END_REF] hypothesized that although [digital] 'game-based learning is more acceptable to boys than to girls… game-based learning might improve the performance of both boys and girls, depending upon the instructional design.' On completion of the authors' experimental study, they found that, 'Analysis of covariance revealed that both boys and girls of the game intervention group showed a higher test performance, compared to students of the control group.' Mora et al. [START_REF] Mora | Anyboard: A Platform for Hybrid Board Games[END_REF] proposes a framework for developing interactive board games based on barcodes and RFID technology. To develop a game for learning starting from a game concept, one has to define the logic and rules, the interactions of the players with the game tokens, and the interaction among them as well as customization of the software libraries, production of objects that are not computerized, like the board and cases to tailor the appearance of tokens, e.g. using 3D-printing.

Prior research has established video games as effective pedagogical tools for Second Language Acquisition [START_REF] Admiraal | Gender-inclusive Game-based Learning in Secondary Education[END_REF]. However, Rankin et al [START_REF] Rankin | Diversity by Design: Female Students' Perception of a Spanish Language Learning Game[END_REF] found that 'few game studies evaluate the gameplay experience from foreign language students' perspective,' and 'even fewer game studies specifically examine women's perceptions of language learning video games.' To foster better understanding of how to design for diversity by evaluating for diversity, it is important that future educational games developers pay attention to learning outcomes and reception of the game environment among a diverse group of participants. Beltrán et al. [START_REF] Beltrán | Inclusive Gaming Creation by Design in Formal Learning Environments: "Girly-Girls" User Group in No One Left Behind[END_REF] report about a social innovation project, called "No One Left Behind" that evaluates how the software Pocket Code can become as attractive as possible to different female teenager user groups. Becoming creators of their own programs will transform them from mere consumers to active creators.

There is clearly a need to go a step further and run a systematic literature review (SLR) shaped by our revised research questions and position our SLR with respect to other reviews, like [START_REF] Gorriz | Engaging Girls with Computers through Software Games[END_REF], [START_REF] Kafai | Editors: Diversifying Barbie and Mortal Kombat, Intersectional Perspectives and Inclusive Designs in Gaming[END_REF], and [START_REF] Young | Our Princess is in another Castle a Review of Trends in Serious Gaming for Education[END_REF].

Fig. 1 .

 1 Fig. 1. Doory Mentor, Iva Aggressi, Sissi, and The Little Doormaid (Tappetina).


Nobumitsu Shikine

Toshimasa Yamanaka

Junichi Hoshino
email: jhoshino@esys.tsukuba.ac.jp

A Game System for Learning Mathematics with Pacing Considering Individual Motivation and Feeling

Keywords: e-Learning, Remedial Education, Math Anxiety, Video Learning, Novel Game, Instructional Pacing

In these days, there are many e-learning system for studying by yourself. In these systems, learner can make their own pacing in for each learning section. But many learner needs more shorter term pacing adjusted to individual motivation and feeling in one session. Many video learning system has lack of interaction. On the other hand, novel game type e-learning system can interact to learner. But, previous novel game system can not keep the prosody information. So this paper proposed new novel game system "NOVELICA" which segmented the lesson to conversation size. And you can easily see the head of conversation with no stress by using NOVELICA. We compared with NOVELICA to previous novel game system and video learning system. And we investigate how different in these 3 contents. Finally, we found that NOVELICA is tend to be less stressful and keeping arousal in learning mathematics.

Introduction

There are many students who are not good at or have anxiety towards math [START_REF] Stoet | Countries with Higher Levels of Gender Equality Show Larger National Sex Differences in Mathematics Anxiety and Relatively Lower Parental Mathematics Valuation for Girls[END_REF]. Many situations exist in math above the high school level that require cross-referencing of knowledge of various units, and depending on the student, there are those who are good at and those who are not, creating the need for instructional pacing that suits the individual. In recent years there have been many examples of adaptive learning that introduce an e-Learning system as a follow-up to the one-to-many lecture format, and various systems are being developed according to use. In particular, the self-study system for visual lessons is easy to match to a schedule and is often used in universities and corporate training. However, some issues that are raised concerning these systems is that they don't take into account the pace of students, there's no interaction with a teacher, and it is difficult to maintain the motivation to study [START_REF] Nakamura | Ghost-Tutor": A Learning Support System Suggesting Learning Pace for on-Demand Learning[END_REF], which leads to stress during learning. It is known that stress during studying puts pressure on working memory and has a negative effect on learning study contents, and importance is being placed on stress management in school and at home [START_REF] Vukovic | Mathematics anxiety in young children: Concurrent and longitudinal associations with mathematical performance[END_REF] [START_REF] Berkowitz | Math at home adds up to achievement in school[END_REF]. Although stress comes from various sources, such as from a dislike of a subject or circumstances at home, either source negatively affects learning. There are numerous scales when speaking generally about instructional pacing, and we can even consider choosing what to study on a certain day based on a monthly study schedule as instructional pacing. Conventional systems split study into sections such as "trigonometric functions" and "differentials and integrals" according to a learner's comprehension and even use single lessons to keep up pace with the student. However, there has been no consideration made so far for attentive pacing corresponding to motivation and mood for studying in one lesson. To consider this, it will be necessary to review a new time structure that differs from that held by existing contents such as videos. Therefore, this study focuses on the time structuring of e-Learning systems and examines a statistical model of the time characteristics of comprehension of discussion contents within lessons by looking at how a majority of user utilize these systems. It also conducts a real-time appeal corresponding to the study situations of users and develops a system that assists in improving comprehension and maintaining concentration and study motivation. As a first step, this paper conducted a survey regarding how to split up time segments for study contents.

2

Our Propose "NOVELICA"

Time structure of existing system

The existing self-study e-Learning systems can be split up into the two types of automatic progression and manual progression when classifying it based on the pace of lesson progression, and each has their own issues. The visual lesson system falls under automatic progression and basically progresses unilaterally without keeping pace with the student. Although it is possible to control it by changing playback speed, fast forwarding, or rewinding, it is difficult for listening again to speech when wanting to hear a part over again. On the other hand, manual progression systems which primarily consist of text and illustrations are used quite often. This paper collectively refers to this type of system as the novel game format. Many of these systems which use study agents are also researched and are taken into consideration more so than visual lessons for their interactivity with students. But while they are tailored for carefully progressing through anxiety areas, there is the nuisance of the student being required to control progression all on their end. In addition, since contents with accompanying voices are often marked by separate speech units, the rhythms of pausing (intervals), speech speed, and pitch in voice conversations break down and don't allow for natural comprehension of voices (Fig. 1,2). The visual lesson system can be watched with comfort, and since the novel game system has the time structural advantage of being able to carefully read data, we examined a time segmenting method that allows us to incorporate both of these.

Summary of proposed system

NOVELICA is a novel game system which splits lessons into time segments of single response prompts of conversations in order to solve the aforementioned issues. These are referred to as "blocks". One block consists of a single voice file, and text and images are displayed in sync with the conversation from that voice file. One block therefore maintains prosodic information intended by the teacher (Fig 1).

5 to 10 seconds is recommended for one block. Somewhere around this length is recommended since one response in a conversation can fit within this range. There is also no essential need for clicks in between each block, and a video experience is made possible by having the game automatically progress. A huge difference when compared with video is that the producer can insert click prompts (response prompts) in between blocks anywhere they choose. In other words, they can basically progress it automatically like a video while leaving it to the student to progress in situations where they want to put emphasis on speech or give the student time for deliberation.

In addition, it is a semi-automatic type system that allows you to stop at the current block or jump to a block of your choice in the middle of automatic progression. Since speech can be cued for each block, listening back to topics can be carried out smoothly (Fig 3,4).

NOVELICA can be developed with normal novel-game engine. (ex. kirikiri, AIR Novel, Utage) If you use our NOVELICA framework, you will be able to compose a lesson program easily. We estimate that it is easier than developing usual novel-game or video-lesson.

Experiment

Summary of experiment

This paper used the differentials and integrals volume of the math study assistance novel game " AKAHONe! Prototype A" in order to study how mood and psychological state changes when studying with NOVELICA compared to when studying with existing systems (Figure 5). This content was prepared as a novel game format with manual progression, the proposed method with semi-automatic progression, and a video format with automatic progression. The lesson contents including the characters and speech was exactly the same between these three conditions and only the progression type differed. consisting of (1) those receiving lessons using the novel game (manual progression type), (2) those receiving lessons using NOVELICA (semi-automatic progression type), and (3) those receiving lessons by watching videos (automatic progression type).

Assessment method

A Two-Dimensional Mood Scale (TDMS-ST) [START_REF] Sakairi | Development of the Two-Dimensional Mood Scale for selfmonitoring and self-regulation of momentary mood states[END_REF], POMS [START_REF] Yokoyama | POMS tanshukuban tebiki to jirei kaisetsu[END_REF], and a verification test were applied for assessment. The Two-Dimensional Mood Scale is a psychological scale that measures psychological state (mood) upon response to eight questions. POMS is a questionnaire method that assesses temporary moods and emotional states that change depending on the conditions the subject is put under. There are 65 questions which are condensed to 30 questions in the shortened version, and this method has a high degree of reliability. In accordance with the procedures of the short version of POMS [START_REF] Yokoyama | POMS tanshukuban tebiki to jirei kaisetsu[END_REF], the stress score was taken to be the Total Mood Disturbance (TMD) score which is the total amount of the 5-scale score except with energetic being taken away.

Experiment procedure

After each participant answered the TMDS-ST a first time, they were asked to try out the contents and afterward respond a second time to the TMDS-ST as well as respond to the short version of POMS (Profile of Mood States) and a verification test. Through this the stress level during learning of all contents and change in mood was studied. In addition, after all items were responded to, they were asked to try out the remaining two contents and give their free opinion on how each compared to one another. Finally, subjects were asked to fill out a mathematical profile. The confirmation test consisted of questions like those in Table 1.

Table 1. Comprehension Check Test

Table 2. Mathematical Profile Sheet

Results and consideration concerning stress

The TMD score of POMS was taken as the stress score (average of 4.6). While the score and dispersion of Group 2 was the smallest, no significant difference was found. There were participants in groups 1 and 3 whose stress scores largely exceeded from the average of 10 points. Upon checking their profiles, it was found that group 1 was good at differentials while group 3 was weak at (the range of study including) differentials.

After performing a morpheme analysis of the free opinions and searching for frequent vocabulary, many people in group 1 explained that they were able to progress on their own but they found the clicking to be bothersome, while many in group 3 explained that they couldn't keep up with the tempo of the videos. Upon performing a chi-square test, a statistically significant correlation (p<.05) was verified wherein group 1 expressed their displeasure of the system citing that they had to make a lot of clicks, while group 3 also expressed displeasure towards the system Questions about your math ・Do you feel math anxiety? Very High, High, M-H, Moderate, M-L, Low, Nothing

• What was the unit you were good at?

• What was the unit you were weak at?

• If you have impressions or memories about math, please describe.

Q1 Explain the "Takashi underestimation phenomenon (たかし過小評価現象)" (You may use the figure )   Q2 Which formula is the derivative of the function f (x)? citing that it was too fast to keep up with. From the above, it was confirmed that if someone was studying something they were good at, they were displeased with having to progress through the manual progression type system in detail by themselves, while if someone was studying something they were weak at, they were displeased with advancing through the automatic progression type system without being able to keep up with understanding it. Through this we can surmise that there are situations where someone can't create a good pace for themselves and feel strongly stressed. Meanwhile, the stress score for all participants in group 2 using NOVELICA was lower than 10. With NOVELICA you can just watch or skip areas that you already know or don't need to listen to without having to control anything, and you can dedicate more time to areas you want to listen to again or concentrate on. Due to this, participants were able to create their own pace regardless of whether they were good or weak at differentials, which helped prevent stress. Fig. 6. Total Mood Disturbance Score Table 3. TMD Score and Mathematical Profile

Results and consideration regarding content comprehension and arousal level

The ratio of correct answers for the confirmation test was as follows for questions 1 to 3. Question 1 was not too related to math and could be answered if someone understood the topic. Question 3 was an Advanced-level exercise and could not be answered except mainly by those who were good at differentials. Thus, the total score was only tallied for questions 1 and 2. Group 2 had the highest ratio of correct answers, suggesting they were able to keep up with the lesson discussions. The difference between groups 1 and 2 is thought to be due to natural understanding of voices through maintaining prosodic information. Although the ratio of correct answers for group 3 for whom the rhythm of natural voices should have been natural, the free opinions revealed that some couldn't get into watching a video, found the experience passive, or felt they were being left behind, which means that one-sided viewing without interactivity makes it not possible to maintain concentration. The ratio of correct answers is thought to be low due to the number of things not heard increasing when unable to concentrate. We can estimate from the changes in arousal level whether the contents were faced head-on and an effort was made to study. Looking at the measurement results of the Two-Dimensional Mood Scale, we see that the arousal levels of all participants only rose for group 2. After studying with NOVELICA, six out of seven people changed to a normal mood state, and the remaining one person's mood changed to an area suitable for activity. NOVELICA has a time structure that differs from that of video or a novel game, and prompts can be inserted. This way it doesn't really feel like one-way viewing and a moderate arousal state can be maintained.

Conclusion

In this paper, we conducted a study concerning how to best split time segments for study contents that take into consideration attentive pacing corresponding to learning desire and mood during a lesson. The proposed system NOVELICA is a semi-automatic type novel game e-Learning system that segments lessons into conversation block that are 5 to 10 seconds long so that one may interactively cue conversations while maintaining the prosodic information of voices.

21 men and women who had graduated high school and were weak at math were split into three groups and an experiment was conducted that had them study by means of (1) manual progression type contents, (2) semi-automatic progression contents, and (3) automatic progression contents. It was understood from an assessment of stress scores using the POMS that with NOVELICA, it is possible to create a suitable pace for oneself regardless of whether someone is good or weak at the study units, and it is possible to study in a low-stress state. In addition, results of the change measured in mood with a Two-Dimensional Mood Scale showed that inserting prompts with NOVELICA maintained a moderate state of arousal and comprehension of the lesson contents was promoted together with maintaining the prosodic information of voices.

These results indicated that NOVELICA's segmentation makes it possible to create individually suited lesson paces and acts as a time structure that reduces stress during learning and assists with comprehension. In the future, we expect that if we can appeal to real-time from the system side in accordance with the block transition state of the user, we can implement e-Learning with interactivity.

Fig. 1 . 2 .

 12 Fig. 1. Timing Structure of Novel Game Fig. 2. Timing Structure of NOVELICA

Fig. 5 .Fig. 3 .Fig. 4 .

 534 Fig. 5. AKAHONe! Prototype A

  Q3 Differentiate the constant C based on the definition of derivative

Fig. 7 .

 7 Fig. 7. Correct Answer Rate of Check Test Fig. 8. TDMS-ST Result Group②


Motoi Okuzono

Masahumi Muta
email: masafumi.muta@rakuten.com

Soh Masuko
email: so.masuko@rakuten.com

Hayaki Kawata
email: kawata.hayaki@entcomp.esys.tsukuba.ac.jp

Junichi Hoshino
email: jhoshino@esys.tsukuba.ac.jp

Tourist Spot Recommendation System with Image Selection Interface

Keywords: Recommendation system, User interface, Decision support

Nowadays, we often plan our travels by using tourism-related information abundantly available on the web. However, it is not simple to find useful information for your travel plans from enormous amount of information. This study, therefore, proposes a system that can make recommendations to you based on your preferences without you having to search information. Extracting the preferences of the users will be done simply by having images of their preferences selected by the users from the touristic images. The performance evaluation test on the system was also conducted.

Introduction

Along with the explosive diffusion of the Internet, enormous amout of touristic information has become available on the web, and we now often use the web information to plan our travels. However, such touristic information is provided randomly in various forms, sometiems created by municipalities, or in toursims information sites, blogs of individual persons as well as in reviews sites, and it is difficult for users to find useful information for their travel plans from the flood of touristic information.

In this article, we, therefore, propose a system that can recommend destinations of users' preferences to them that only requires a simple operation. Supposing that the travel dates are already set, and users are trying to make plans and itineraries, this system would help and simplifies the travel planning. In order to realize the simple operation, the interface was set as users only need to select tourism-related photos of their preferences repeatedly with their intuition. Also, in order to examine the preference-analysis method of this system, an evaluation test on the recommendation performance was conducted.

2

System Architecture

System Overview

In this system, 16 image photos of different sightseeing destinations are displayed in the 4x4 boxes, and a user is to select 4 of them (Fig. 1). This process is to be repeated 10 times with different sets of image photos. This interface realizes the simplicity of extracting the users' preferences. The photos displayed corresponds the node of the preference model mentioned in the next section, and as images are selected, the parameters of the node increase. Moreover, as the image photos are displayed in the manner that it covers the entire categories the system deals, it can be expected that the users would discover their new preferences they were not aware of themselves. The kinds of photos to be displayed will be mentioned in the section of the database.

User Preference Model

A preference model was created by defining user preferences in travels as:

• Categories of sightseeing spots they would like to visit • Activities they would like to do at the destinations The categories of sightseeing spots are set in a hierarchical structure such as "seeingnatural landscape-canyons", and the preference model was set in the same hierarchical structure as well. And by input, parameters that indicate how much they value each item are added to the model. An example of the actual preference model is shown in Fig. 2. When the evaluation value of a node N s 𝑁 , and the node group that belongs to the node is 𝑁𝑥 (𝑥 = 1, 2, … , 𝑛), it would be:

𝑁 = 𝑁 ! ! !!! (1)
and, the evaluation value of the parent node directly affect the child node.

The characterization of the recommended tourist destinations would be determined by the categories and numbers of sightseeing spots of that destination. The number of the sightseeing spots is added with parameters to make it into the same model as the preference model, which would be normalized and expressed as the vector. The sightseeing spots and their categories, as well as the area they belong to were determined by referencing "Rakuten Travel Note" operated by Rakuten, Inc. As a result, the number of the sightseeing spots was 17,138, the number of the categories was 125 and the number of recommendation candidate areas was 209. The photos displayed in the input interface were those of the sightseeing spots obtained, and the categories of the photos correspond those of the sightseeing spots.

Evaluation Testing

Definition of Performance Index

They are known for their accuracy as an index for information search system, and often used for the evaluation index for recommendation systems [START_REF] Zhang | Improving recommendation lists through neighbor diversification[END_REF]. These are defined as follows:

𝑃𝑟𝑒𝑐𝑖𝑠𝑖𝑜𝑛 = |𝑇 ! ! ∩ 𝑖𝑚𝐿 ! ! | 𝑖𝑚𝐿 ! ! (2)
𝑇 ! ! is the group of items thde user preferred in recommendation candidates, and |𝑇 ! ! | is the number of the item, 𝑖𝑚𝐿 ! ! is the map of 𝐿 ! ! mapping that indicates all the items in the map of 𝐿 ! ! mapping that indicates all the items in the recommendation list. The accuracy is defined as the percentage of the preferred items 𝑏 ∈ 𝑇 ! ! in 𝑇 ! ! against the size of the recommendation list.

Content of the Evaluation

Following test was conducted, using the above-mentioned index:

1. To men and women from 22 -26 years of age, all of the 209 areas that were candidates of recommendation areas were displayed randomly along with the sightseeing spots of their preferences, and had them answer how attractive they found them in Likert scale from 1 to 5 (1: "not attractive at all" -5: "very attractive"). 2. The areas they answered as 4 and 5 in 1 are defined as their preferred items.

3. Using the system, the top three recommendation outcomes were created, and it was assessed how many places of their preferences are actually recommended.

Result of the Test

Table 1 is the average of each user's knowledge and evaluation value of the 209 candidates for recommendation areas. Table 2 shows the results of the accuracy calculations. While among the candidates sites, the preferred sites were slightly less than half, the accuracy of the recommendation outcomes turned out to be slightly more than half. Although it can be considered effective in certain degree, in terms of the accuracy, there is plenty of room for improvement.

Fig. 1 .

 1 Fig. 1. User interaction on the proposal system.

Fig. 2 .

 2 Fig. 2. User preference Model.

Table 1 .

 1 The average of user's knowledge.

	Unlike	Like
	113.5	95.5

Table 2 .

 2 The system performance.

	Precision
	0.556


Audun Grom
email: audun.grom@ntnu.no

Gabrielle Hansen
email: gabrielle.hansen@ntnu.no

George Adrian Stoica
email: george.a.stoica@ntnu.no

Gamifying Experiences Using a Peer Learning Assessment System: Combining Two Separate Research Traditions to Promote Student Learning (Poster and Interactive Session)

Keywords: Gamifying experiences, Gamification, Assessments, Quiz, Learning

This demonstration presents a gamifying use of a new assessment technology, the Peer Learning Assessment System (PeLe), in higher education. By implementing key elements from gaming in a traditional assessment practice, using new technology, students can gain a new understanding of what assessment in higher education could look like: engaging, exciting, interactive, fun and rewarding in terms of new learning experiences. Students will assume the role of players in small teams and acquire a sense of competing against other's teams through quiz-based testing. The students will respond to the quizzes using their own mobile devices. The students will automatically be rewarded points for correct answers and deducted points for wrong answers. Upon completion of the test, the results will be reviewed in a plenary session, where the teams will have the opportunity to close the gap between attained and desired achievements. The overall purpose is to combine the best from two separate research traditions, gaming and assessment, and facilitate more engaging assessment in higher education.

Introduction

Gamification, defined as "the use of video game elements in non-gaming systems to improve user experience and engagement" [START_REF] Deterding | Gamification: Toward a definition[END_REF], has become a popular technique used in a variety of contexts to motivate people to engage in particular targeted behaviours [START_REF] Landers | Developing a theory of gamified learning: linking serious games and gamification of learning[END_REF]. In education and employee training, for example, the use of individual game elements is also becoming increasingly popular [START_REF] Landers | Developing a theory of gamified learning: linking serious games and gamification of learning[END_REF]. The overall purpose is often to provide users with a gamified experience. However, gamified experiences have yet to be accommodated in all parts of the education system. A highly traditional part of this system is assessment practices within higher education. At this educational level, assessment is still considered to be a transmission process in which teachers "give" students feedback on their academic strengths and weaknesses, which students are then supposed to somehow "decode" and convert into concrete actions to improve their understanding and academic progress [START_REF] Nicol | Formative assessment and self-regulated learning: a model and seven principles of good feedback practice[END_REF]. There are few, if any, examples of gamifying experiences to increase students' engagement. Nonetheless, learning is at its best when it is active, goal-oriented, contextualized and interesting. Instructional environments should thus be interactive, provide ongoing feedback, grab and sustain attention and have appropriate and adaptive levels of challengein other words, have the features of good games [START_REF] Shute | Stealth assessment in computer-based games to support learning[END_REF].

Peer Learning Assessment System

One2act PeLe (Peer Learning Assessment System) comprises three main components: a central REST service that deals with all the requests from the users, a student client account that allows the students to participate using their (own) devices and a teacher client account that allows the teacher to create and control sessions. Typically, the teacher will prepare a set of questions (i.e. an assessment) and will define the correct answer and the scores awarded for each of them. The scoring model in PeLe is quite flexible allowing for both simple and advanced operation. The teacher can monitor the status of the classroom as the students answer and is therefore able to prepare the feedback/discussion/competition phase. The teacher can then show the aggregated results for all or a subset of the questions and discuss the results in a plenary review session. PeLe supports discussion through interactive visualization. Furthermore, it supports re-voting questions from the defined set and creation of new questions as required by the discussion.

Gamifying Experiences Using PeLe

The students are placed in random teams of three to four players. Each team is given a test with varied quiz questions. First, each player works on the questions individually. This allows the players to process the questions and think through possible arguments for different response options, and thus prepares them for team participation. Then the players will act as a team. Each team must reach an agreement internally within the group before submitting their responses. This is done to emphasize the value of peer collaboration. The teams will be awarded points automatically for correct answers and deducted points for wrong answers. The teacher will have full live coverage of this process.

When the teams have submitted their responses the players will have a short break before they return to the classroom and start a plenary session to review the results. Since the teacher has a clear overview of how each team has performed, he or she can easily identify which areas the students are struggling with and which ones they master, and can then use this information as a guide during the plenary review session. From the students' point of view, this is when the game really begins. During the review, the players will be given several opportunities to re-vote. In other words, they will have an opportunity to change their original, submitted response. They will be awarded double or triple points compared to what they could gain in the original test. This means that those with the lowest score still have the opportunity to win. The teacher chooses the questions he or she wants the players to answer again. It could be questions that the teacher knows the players are struggling with, or questions he or she knows they master. The teacher can also show the players how the different teams have responded as a whole. This would obviously be done without revealing what alternative is correct. Furthermore, the teacher can give the players an academic hint or guidance and ask them to discuss the questions within the teams before re-voting. Each team must now evaluate their original response and discuss whether this was actually correct or not, and whether they are willing to change their original response.

After each re-vote, it is critically important that the teacher goes through the quiz questions and explains why the different alternatives are right or wrong, include the teams and their ways of thinking and thus facilitates student participation and learning experiences. At the end of the plenary review session, the teacher announces the winning team, which is the team with the highest score. From a pedagogical point of view, the gamifying elements have been included to engage the students, and the real winners are those who learned through immediate feedback, teachers' guidance, collaboration and increased engagement.


Letizia Jaccheri
email: letizia.jaccheri@ntnu.no

Alf Inge Wang

Kristine Ask
email: kristine.ask@ntnu.no

Abbas Sobah

Kristina Petersen

Brend

Sobah Abbas Petersen
email: sobah.petersen@sintef.no

Kristina Brend
email: kristina.brend@gmail.com

Women and Computer Games (Workshops and Tutorials)

Keywords:

à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

Introduction

Gender issues in computer games have been a hot topic the last few years. In the wake of the Gamergate harassment campaign of 2014 that targeted women players and designers, the gendered aspects of play has warranted attention [START_REF] Mortensen | Anger, Fear, and Games[END_REF]. While research on gender and computer games has been going on since the 1990s [START_REF] Jenson | Online games, gender and feminism[END_REF], it is no longer a topic reserved for the 'ivory tower' [START_REF] Kafai | Diversifying Barbie and Mortal[END_REF][START_REF] Giannakos | This Game Is Girly!" perceived enjoyment and student acceptance of edutainment[END_REF]. Major news outlets across the world is covering how computer games persists as 'boy's toys', and the women gamers demanding equal treatment [START_REF] Kircher | Closing the Gender Gap, One E-Battle at the Time[END_REF]. Even though women make up half of the total gaming population, their place and role in gaming culture and industry is still contested. This is visible in both how AAA titles are targeted at male audiences, and in how female gamers and developers are being disproportionally targeted for harassment [START_REF] Ask | Når jentene må i skapet: Seksuell trakassering og kjønnsfrihet i online dataspill[END_REF][START_REF] Jenson | Online games, gender and feminism[END_REF][START_REF] Salter | Hypermasculinity & dickwolves: the contentious role of women in the new gaming public[END_REF]. As games are increasingly being brought into education, the need for gender inclusive games is also becoming more urgent.

A key step in bridging the digital divide in games is to empower women as game designers, and to develop methods for inclusive game design. Informal discussions among game designers highlight differences between female game designers and male designers; e.g. male designers are more interested in the technical aspects of the design while the female designers are interested in the aesthetic aspects. While it may not be easy to generalize on such observations, there is a need to explore the landscape of game design to identify the strengths and creative designs that female designers could contribute. More importantly, inclusive game design methods could leverage on the benefits of females designers' contributions. For this, we need qualified research on gendered aspect of design and play, and ways to disrupt existing design methods and paradigms.

In this workshop, we will look specifically at design processes and research processes of computer games, and how games can be designed for inclusion [START_REF] Hartmann | Gender and computer games: exploring females' dislikes[END_REF]. The topics for discussions include, but are not limited to:

1. Theoretical contributions, such as analysis of Self Determination Theory and how the different aspects are implemented differently by female designers. 2. Pedagogical frameworks for teaching and learning computer game design related gender issues. 3. Specific aspects of gendered play, like sexual harassment and stereotype threat, but also gamer identity and role in gamer communities. Of particular interests are ways to combat and disrupt discriminatory practices [START_REF] Chess | A conspiracy of fishes, or, how we learned to stop worrying about gamergate and embrace hegemonic masculinity[END_REF]. 4. Examples of games for learning, designed and developed by women 5. Examples of inclusive game design or processes of inclusive design [START_REF] Ray | Gender Inclusive Game Design[END_REF].

The workshop will ideally server as an arena for networking among researchers interested in women and games, and for seeding ideas and discussions for future research. The organizers anticipate a special issue of the Elsevier Entertainment Computing Journal that is related to this topic, Participants of the workshop will be invited to contribute articles for the special issue.

The Workshop will be held 18th September 2017 in connection with IFIP ICEC. Workshop participants will be invited to present their ideas and there will be room for discussions and creative reflection work.