BARTER:promoting local spending behavior

In the wake of the 2008 economic collapse, there is renewed interest in strategies for ensuring the future economic success of nations in a globalized marketplace. One of the main ideas being championed by governments is to promote growth by encouraging local spending, although it is not clear how to motivate this behavioral shift. Local currency initiatives are increasingly popular, though due to certain practicalities are rarely successful in fostering long term and widespread change in spending behaviors. We report on the development of a persuasive system (BARTER) that leverages mobile and ubiquitous technology to overcome some of the limitations of local currencies, while also providing users with the insight needed to determine for themselves how local spending may benet their community

Games as (not) culture: a critical policy analysis of the economic agenda of Horizon 2020

This article presents a critical examination of European policy in relation to gamification. We begin by describing how gamification “traveled” as an idea, evolving from controversial yet persuasive buzzword to legitimate policy priority. We then focus on how gamification was represented in Horizon 2020: the flagship European Research & Development program from 2014 to 2020, worth nearly €80 billion of funding. The article argues that the ethically problematic aspects of gamification were removed through a process of policy capture that involved its assimilation in an established European network of research and small and medium enterprise (SME) actors. This process of “ethical neutering” is also observable in the actual funding calls, where the problematic assumptions of gamification around agency and manipulation are made invisible through a superficial commitment to vague and ill-defined criteria of responsible research and innovation

Tourists as Mobile Gamers: Gamification for Tourism Marketing

Gaming as a cutting-edge concept has recently been used by some innovative tourism sectors as a marketing tool and as a method of deeper engagement with visitors. This research aims to explore the gamification trend and its potential for experience development and tourism marketing. Using a focus group, this paper discusses gaming and tourism, and explores what drives tourists to play games. The results suggest tourists’ game playing motivation is multidimensional. Players tend to start with purposive information seeking, then move on to an intrinsic stimulation. Socialization is also an important dimension. The research demonstrates several implications for tourism marketing

The serious games ecosystem: Interdisciplinary and intercontextual praxis

This chapter will situate academia in relation to serious games commercial production and contextual adoption, and vice-versa. As a researcher it is critical to recognize that academic research of serious games does not occur in a vaccum. Direct partnerships between universities and commercial organizations are increasingly common, as well as between research institutes and the contexts that their serious games are deployed in. Commercial production of serious games and their increased adoption in non-commercial contexts will influence academic research through emerging impact pathways and funding opportunities. Adding further complexity is the emergence of commercial organizations that undertake their own research, and research institutes that have inhouse commercial arms. To conclude, we explore how these issues affect the individual researcher, and offer considerations for future academic and industry serious games projects

Ebookness

Since the mid-2000s, the ebook has stabilized into an ontologically distinct form, separate from PDFs and other representations of the book on the screen. The current article delineates the ebook from other emerging digital genres with recourse to the methodologies of platform studies and book history. The ebook is modelled as three concentric circles representing its technological, textual and service infrastructure innovations. This analysis reveals two distinct properties of the ebook: a simulation of the services of the book trade and an emphasis on user textual manipulation. The proposed model is tested with reference to comparative studies of several ebooks published since 2007 and defended against common claims of ebookness about other digital textual genres

A Philosophy of “Doing” in the Digital

Playing in counterpoint with the general theoretical orientation of the book, this chapter does not focus its attention on the recording and archiving capabilities of the digital medium. Instead, it proposes an understanding of the digital medium that focuses on its disclosing various forms of “doing.” Gualeni’s chapter begins by offering an understanding of “doing in the digital” that methodologically separates “doing as acting” from “doing as making.” After setting its theoretical framework, the chapter discusses an “interactive thought experiment” designed by the author that is analyzed as a digital artifact leveraging both dimensions of “doing in the digital” for philosophical purposes. In extreme synthesis, one could say that this chapter is about several kinds of soups

State-of-the-art:AI through the (artificial) Artist’s Eye

This paper builds on the premise that art has a significant role to play in engaging with and exploring new technologies and in contributing to interdisciplinary conversations. Artists have often been pioneers in reflecting upon social and technological transformations by creating work that makes explicit the dangers, but also the exciting possibilities ushered in by innovation. After having, albeit briefly, traced the history of art engagement with technology (computer/net-art, generative art), the paper will focus on AI-art, now defined as GAI-art, to understand whether artificial intelligence is “set to become art’s next medium?” The question was prompted by the sale at Christie’s in October 2018 for $432,500 of a portrait entitled Edmund de Belamy, a work created by an algorithm called Generative Adversarial Network (GAN). The source code used by the Paris based art collective Obvious (borrowed from AI researcher/artist Robbie Barrat) to create the “artwork” triggered a debate as to the authenticity, authorship and ethics of using GAN to produce AI-art. The paper will contribute to such debate by exploring also the implications of systems more sophisticated than GAN - which seem to be able to act as “autonomous artificial artists” and produce new styles of art - and by showcasing the works of some of the most representative machine vision researchers/artists - Anna Ridler and Mario Klingeman, among others. AI artworks raise major philosophical questions, the meaning to be human in a hyper-connected world and the true nature of human creativity. In fact conceptualising AI through the artificial artist’s eye might even challenge our understanding of what it means to be human