Journal articles: 'Actor'

1

Nenonen, Suvi, and Kaj Storbacka. "Actors, Actor Engagement and Value Creation." Journal of Creating Value 4, no. 2 (November 2018): 196–98. http://dx.doi.org/10.1177/2394964318809172.

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Barclay, Kari. "Willful Actors: Valuing Resistance in American Actor Training." Journal of Dramatic Theory and Criticism 34, no. 1 (2019): 123–41. http://dx.doi.org/10.1353/dtc.2019.0027.

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Munteanu, Radu, and Marin Apetroae. "Journal relatedness: An actor-actor and actor-objectives case study." Scientometrics 73, no. 2 (August 3, 2007): 215–30. http://dx.doi.org/10.1007/s11192-007-1735-7.

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Jobbagy, Zoltan, Goran Boros, and Levente Sandor Kovats. "Some Remarks on the Dynamics of Strong Actor / Weak Actor Interaction." Land Forces Academy Review 26, no. 2 (June 1, 2021): 108–17. http://dx.doi.org/10.2478/raft-2021-0016.

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Abstract The emergence of weak actors on global scale is one among the many undesired consequences of the post Cold War period. In a globalized world, weak actors increasingly possess the capability and will to challenge the existing status quo set earlier by strong actors. The complexity of the international theatre provides weak actors with an abundance of opportunities to become successful over a long period. From a military point of view strong actor / weak actor interaction becomes manifest when the latter prosecutes a special type of war. This war is asymmetric, irregular and of low intensity. It poses a significant challenge to the strong actor and can bog him down into confusing and ambiguous military actions. In these actions the strong actor often finds himself in messy situations he can mostly master by improvisation. To better understand the strong actor / weak actor interaction and the resulting special type of war the authors suggest to reject the classical theorizing of war and advocate a different sort of thinking instead.

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Li, Loic Pengtao, Biljana Juric, and Roderick J. Brodie. "Actor engagement valence." Journal of Service Management 29, no. 3 (May 4, 2018): 491–516. http://dx.doi.org/10.1108/josm-08-2016-0235.

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Purpose Valence is one of the key dimensions underlying actor engagement, yet there is limited research to provide a comprehensive understanding of the concept. The purpose of this paper is to conceptualise engagement valence in actor networks and develop an agenda for future research. Design/methodology/approach The exploration of the psychological foundations of the concept of valence and a systematic literature review from a multiple database search contribute to four sets of propositions defining the domain of the concept of actor engagement valence. Findings The propositions posit that valence resides in the engaging actor’s past, current and future psychological dispositions, which can shift between positive, negative and ambivalence. Actor engagement valence is triggered by the engagement objects and value propositions of other actors in the network. The antecedents of actor engagement valence comprise individual factors such as cognitive evaluations and hedonic feelings, as well as network-related factors such as social norms and shared beliefs, and the network structure. The net balance of actor engagement valence determines the actor’s engagement behaviours, and this relationship is moderated by individual and network factors. Originality/value This is the first study to conceptualise actor engagement valence, which contributes to the refinement of the actor engagement concept. This research defines the conceptual domain, deepens the understanding and provides an agenda for future research into the valence of engagement among actors in networks. The study recognises the institutional influences on actor engagement valence, and contributes to an understanding of the nature of actors’ psychological dispositions and how their valence determines the actors’ behavioural engagement manifestations.

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Grehan, Helena. "Actors, Spectators, and “Vibrant” Objects: Kris Verdonck’s ACTOR #1." TDR/The Drama Review 59, no. 3 (September 2015): 132–39. http://dx.doi.org/10.1162/dram_a_00475.

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In contrast to much new media performance, Kris Verdonck’s ACTOR #1 does not attempt to accelerate time or to enhance the spectatorial experience by juxtaposing theatrical elements. Instead the work presents a three-phase meditation that strips back the tools and techniques of theatre to allow, or perhaps even compel, spectators to focus on a single element, to inhabit one state, or to consider a single idea at a time.

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Herrera, Brian Eugenio. "My Actor Alibi." Theatre Survey 57, no. 3 (August 10, 2016): 409–11. http://dx.doi.org/10.1017/s0040557416000417.

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I study the history of actors, emphasizing the historical conditions of their working and creative lives amid the ever shifting cultural and performance conventions guiding which bodies are privileged in the telling of which stories. My research expeditions have routinely prompted me to follow a given actor from the stage, often to screens large and small and, just as frequently, to the ostensibly nontheatrical realms of politics, community organizing, or education. Sometimes these actors return to the theatrical stage, but not always. But I go where actors go, no matter the industry, enterprise, or discipline. If they're an actor, and they're up to something, I'm interested. That's what I call my actor alibi.

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McNeill, David. "Speech-gesture mimicry in performance: an actor → audience, author → actor, audience → actor triangle." Journal for Cultural Research 19, no. 1 (July 2014): 15–29. http://dx.doi.org/10.1080/14797585.2014.920184.

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Garritz, Andoni. "¿Quién es el primer actor en el acto educativo?" Educación Química 1, no. 3 (August 31, 2018): 102. http://dx.doi.org/10.22201/fq.18708404e.1990.3.66997.

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Rajaravivarma, K. R., and Suresh Chandra Das. "THERUKUTHU AS A TRAINING METHOD FOR CONTEMPORARY THEATRE ACTOR." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (July 30, 2022): 115–22. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.147.

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The contemporary acting in theatre has resembling in many features of the Tamil traditional theatre form Therukuthu. So, this discussion intended to establish the possibilities of the Therukuthu as a method of actor training for contemporary theatre actors. The primary concern of the discussion includes the actor and acting of contemporary theatre; the way how actor presents the character and communicates with the audience as co-actors, which are the two significant features of contemporary theatre. So, the discussion considers at those factors of Therukuthu form and acting or performance those applicable to the contemporary theatre actor, to consider Therukuthu as a potential Contemporary actor training method.

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Yao, Lei, Dong Dong Xu, Jie Zhou, and Jing Lin Du. "A Self-Healing Connectivity Recovery Algorithm in Wireless Sensor-Actor Networks." Applied Mechanics and Materials 668-669 (October 2014): 1219–22. http://dx.doi.org/10.4028/www.scientific.net/amm.668-669.1219.

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Wireless sensor and actor networks (WSANs) additionally employ actor nodes within the wireless sensor network (WSN) which can process the sensed data and perform certain actions based on this collected data. In most applications, inter-actor coordination is required to provide the best response. One actor failure may lead to partitioning the inter-actor networks, tolerating the actor failure and restoring the lost connectivity need to be performed while imposing the least overhead on the individual actors autonomously. In this paper, we present a Self-healing Connectivity Recovery Algorithm (SCRA) which is to recover the failure actor. SCRA proactively identifies actors whether is a cut vertex or not to the network connectivity based on the depth-first search algorithm (DFS), and designates a minimal CDS backup nodes. If an actor node suddenly fails, the minimal block backup nodes move and initiate a recovery process until the network is reconnected. Through simulated experiments, the results show that the algorithm is more effective than present algorithms in terms of total travel distance, and total number of messages.

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Holstrom, Chris. "Moving Towards an Actor-Based Model for Subject Indexing." NASKO 7, no. 1 (September 23, 2019): 120. http://dx.doi.org/10.7152/nasko.v7i1.15631.

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This paper presents a preliminary exploration of an actor-based model for subject indexing, which considers four types of actors: professional indexers, domain experts, casual indexers, and machine algorithms. The paper describes each of the four actors, enumerating differences in approach, training, methodology, priorities, and tools, as well as similarities and historical collaborations between actors. The paper then explores how the actor-based model for subject indexing might serve as a complement to existing models that focus on processes, methods, disciplinary norms, and cultural biases by defining and exploring the following key properties of an actor-based model for subject indexing: 1) actors are the primary drivers of subject indexing work, 2) observing and understanding many types of actors’ processes in real-life situations is as valuable as prescribing correct methods for professional subject indexing, and 3) multiple and different types of actors can perform subject analysis work and subject representation work on the same information objects, and these hybrid (multi-actor) approaches to subject indexing are explicitly supported. These key properties suggest that an actor-based model for subject indexing might open new research opportunities and encourage new hybrid and collaborative approaches to knowledge organization.

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Lipkin, Michaela, and Kristina Heinonen. "Customer ecosystems: exploring how ecosystem actors shape customer experience." Journal of Services Marketing 36, no. 9 (March 18, 2022): 1–17. http://dx.doi.org/10.1108/jsm-03-2021-0080.

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Purpose This study aims to characterize how ecosystem actors shape customer experience (CX). The study also proposes implications for managers and research regarding the customer ecosystem, its actors and actor constellations in the context of CXs. Design/methodology/approach A qualitative study is conducted among activity tracker users to identify how actors within their ecosystems shape CXs. Data include 28 in-depth interviews and ten self-reported diaries. Findings This study delineates six actor categories in the customer ecosystem shaping CX within and beyond the service. The number of actors and their importance to the focal customer in various actor constellations form individual-, brand- and socially driven ecosystems. These customer ecosystem types show how actors combine to drive CXs. Research limitations/implications Researchers should shift their attention to experiences emerging in the customer’s lifeworld. A customer ecosystem highlights the customer-centered actor configuration emergent within the customer’s lifeworld. It is self-constructed based on the customer’s reference point. Practical implications Managers should aim to locate, monitor and join the customer’s lifeworld to gain more insight into how CXs emerge in the customer ecosystem based on customer logic. Social implications Customers are not isolated actors simply experiencing service; rather, they construct idiosyncratic actor constellations that include various providers, social groups and peers. Originality/value This paper extends the theory on CXs by illustrating how the various actors and actor constellations forming the customer ecosystem shape CXs.

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Gonçalves, Duarte. "Understanding Actors in Complex Security Problems." International Journal of Strategic Decision Sciences 9, no. 2 (April 2018): 1–18. http://dx.doi.org/10.4018/ijsds.2018040101.

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This article arose while working on the rhino poaching problem in South Africa and having to deal with the large number of stakeholders and complexity. The purpose of actor modelling is to develop a deeper understanding of how stakeholders and threats contribute to the complex security problems. This article is the author's reflection on two different attempts at modelling actors in the rhino problem. A framework is developed and a number of issues are raised with respect to actor modelling: First, values and perspectives are driven by actor needs. The knowledge acquired by actors is determined by perspectives. With a diversity of actors, there is a “fragmentation of perspective” that hampers addressing the problem. Thus, dealing with fragmentation of perspective, requires an approach that is inclusive of actors and different ways of knowing. The validity of actor modelling is limited by what can be determined about the values and interests of actors and this varies across actors. Second, actors have multiple identifications with multiple levels of relationality. For high levels of identification combined with low levels of relationality, there is a challenge for a researcher to understand actor behaviour. Third, actors operate in an autonomy-heteronomy space. This is not a continuum, but both autonomy and heteronomy experienced at the same time. When actors are autonomous they live out their values and interests and are most creative. When creativity is applied, there are many ways (what) of satisfying interests and living out values (why), but actors do not behave randomly. Under autonomy, understanding motivation (why) is more important than what because why is more stable and what cannot be predicted. Actors are dynamic, non-deterministic and non-linear. Fourth, the model represents not only structure but also motivation or purpose and resources; thus, addressing certain aspects of subjective and objective fragmentation. Based on the argument advanced in the paper, the sources of actor complexity leading to novel emerging behaviour in social systems are actor needs and the corresponding values and perspectives, high levels of identification with low levels of relationality and autonomy.

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Liu, Lingjie, Marc Habermann, Viktor Rudnev, Kripasindhu Sarkar, Jiatao Gu, and Christian Theobalt. "Neural actor." ACM Transactions on Graphics 40, no. 6 (December 2021): 1–16. http://dx.doi.org/10.1145/3478513.3480528.

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We propose Neural Actor (NA), a new method for high-quality synthesis of humans from arbitrary viewpoints and under arbitrary controllable poses. Our method is developed upon recent neural scene representation and rendering works which learn representations of geometry and appearance from only 2D images. While existing works demonstrated compelling rendering of static scenes and playback of dynamic scenes, photo-realistic reconstruction and rendering of humans with neural implicit methods, in particular under user-controlled novel poses, is still difficult. To address this problem, we utilize a coarse body model as a proxy to unwarp the surrounding 3D space into a canonical pose. A neural radiance field learns pose-dependent geometric deformations and pose- and view-dependent appearance effects in the canonical space from multi-view video input. To synthesize novel views of high-fidelity dynamic geometry and appearance, NA leverages 2D texture maps defined on the body model as latent variables for predicting residual deformations and the dynamic appearance. Experiments demonstrate that our method achieves better quality than the state-of-the-arts on playback as well as novel pose synthesis, and can even generalize well to new poses that starkly differ from the training poses. Furthermore, our method also supports shape control on the free-view synthesis of human actors.

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de Roo, Gert, and Geoff Porter. "Actor Consulting." disP - The Planning Review 51, no. 2 (April 3, 2015): 16–27. http://dx.doi.org/10.1080/02513625.2015.1064644.

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Tompkins, Craig. "Actor-musicianship." Voice and Speech Review 11, no. 2 (May 4, 2017): 253–56. http://dx.doi.org/10.1080/23268263.2017.1378469.

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Tennent, Hamish, Dylan Moore, and Wendy Ju. "Character Actor." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 1, no. 4 (January 8, 2018): 1–23. http://dx.doi.org/10.1145/3161407.

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Weiss, Peter. "Vanishing Actor." Science News 170, no. 17 (October 21, 2006): 261. http://dx.doi.org/10.2307/4017494.

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Hodge, Alison. "Actor Training." Studies in Theatre and Performance 20, no. 3 (January 2000): 184–87. http://dx.doi.org/10.1080/14682761.2000.10807037.

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Janssens, D., and G. Rozenberg. "Actor grammars." Mathematical Systems Theory 22, no. 1 (December 1989): 75–107. http://dx.doi.org/10.1007/bf02088293.

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Rewa, Natalie. "Actor Training." Canadian Theatre Review 78 (March 1994): 3. http://dx.doi.org/10.3138/ctr.78.fm.

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Though Canadian actors, designers, playwrights and technicians are articulate about the programs that they have experienced, the discussion of theatre training by those who offer it is sporadic. The most comprehensive account of the theory and practice of theatre education in Canada is the 164-page Report of the Committee of Inquiry into Theatre Training in Canada which was commissioned by the Canada Council and its Advisory Arts Panel and published in 1978. A major implication of the study was that theatre training had to be more closely allied with practice if it was to be more effective. What would a similar study of theatre training – supposing that any agency were interested in funding it – discover today?

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Coelho, Oliverio. "Best Actor." World Literature Today 98, no. 3 (May 2024): 38–39. http://dx.doi.org/10.1353/wlt.2024.a925273.

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Chow, Broderick D. V. "An actor manages: actor training and managerial ideology." Theatre, Dance and Performance Training 5, no. 2 (May 4, 2014): 131–43. http://dx.doi.org/10.1080/19443927.2014.908141.

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Lucanu, Tudor. "One Conscience or More: Is the Actor more than one at a Time?" Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 243–60. http://dx.doi.org/10.24193/subbdrama.2020.2.12.

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"This paper approaches an important theme in the study of actors work: the multiplication of the consciousness, from the perspective of the actor’s training correlated to psychology and neuroscience. We will refer to some of the best known works used in the training of the actor or which have as object of study the art of the actor, namely K. Stanislavsky - An Actor Prepares; Michael Chekhov - To the Actor: On the technique of acting, Lee Strasberg - Strasberg at the Actors Studio, Jerzy Grotowski - Towards a Poor Theatre, Bertolt Brecht - Brecht on Theatre, Denis Diderot - Paradox of the Actor. Conversations on The Natural Son on one hand, and Antonio Damasio’s studies on the self, on the other hand, noting that theories about the cognitive functions of the human brain provide a valuable perspective on the art of the actor, especially by how it applies to the conscious and subconscious of the actor on stage. What happens to the actor while performing? How does the actor process different stimuli to build a character, and then an entire artistic act? What are the roles of the mind and body in the creative process? These are just a few questions that I will try to find answers to, while examining the actor’s multiplication of consciousness. Keywords: consciousness, actor, character, emotions, images, brain."

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Freytag, Per Vagn, and Kristian Philipsen. "Shaping business through and within networks: evolving from a traditional to a digital firm." Journal of Business & Industrial Marketing 34, no. 5 (June 3, 2019): 1079–92. http://dx.doi.org/10.1108/jbim-10-2018-0302.

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Purpose Although individual and business actors are often mentioned as an important part of clarifying the stages that firms and their networks go through from starting up to becoming established, most studies have emphasised activities and resources rather than actors. Therefore, more needs to be known about how actors shape and are shaped through and within firms’ networks. Design/methodology/approach To clarify the process of reshaping business in networks, the focus of this study is on the role of actors in firms’ networks during the main stages of development. The major events for each stage are described in terms of how these events affect the interaction, alignment and interfaces between individual actors and business actors with a focus on individual and collective interests. Findings The individual actor plays a key role in the start-up stage, whereas the business actor has a key role in the final stage when the firm has become an important player in the industry. In later stages, the individual actor plays a gradually decreasing role and the business actor an increasing role. However, it appears that an analysis of the interplay between the two levels of analysis provides deeper insight into the shaping. Originality/value This study provides new insights into the role of the actor and how the actor shapes and is shaped by a firm and its network in different stages. Further, the study contributes by clarifying actors’ roles on two levels of analysis and shows the roles of interests, conflicts, interfaces and alignment in shaping firms and their networks.

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Marshall, Emma M., Jeffry A. Simpson, and W. Steven Rholes. "Personality, Communication, and Depressive Symptoms across the Transition to Parenthood: A Dyadic Longitudinal Investigation." European Journal of Personality 29, no. 2 (March 2015): 216–34. http://dx.doi.org/10.1002/per.1980.

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This study adopted a person (actor) by partner perspective to examine how actor personality traits, partner personality traits, and specific actor by partner personality trait interactions predict actor's depressive symptoms across the first 2 years of the transition to parenthood. Data were collected from a large sample of new parents (both partners in each couple) 6 weeks before the birth of their first child, and then at 6, 12, 18, and 24 months postpartum. The results revealed that higher actor neuroticism and lower partner agreeableness predicted higher levels of depressive symptoms in actors. Moreover, the specific combination of high actor neuroticism and low partner agreeableness was a particularly problematic combination, which was intensified when prepartum dysfunctional problem–solving communication and aggression existed in the relationship. These results demonstrate the importance of considering certain actor by partner disposition pairings to better understand actors’ emotional well–being during major life transitions. Copyright © 2015 European Association of Personality Psychology

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Floyd, Jacob. "Negotiating Publicity and Persona: The Work of Native Actors in Studio Hollywood." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 119–35. http://dx.doi.org/10.17953/aicrj.42.3.floyd.

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The majority of scholarship regarding Native Americans and film has focused on the images of Native Americans as constructed by non-Native filmmakers, but how might we better understand the careers of Native people working as actors in studio Hollywood? I propose studying film publicity material to find traces of the labor and negotiations performed by Native actors as they constructed and maintained their personas. Examining both the construction of studio publicity and analyzing the content of publicity regarding Chief Many Treaties (Blackfeet actor William Hazlett), Chief Yowlachie (Yakama actor Daniel Simmons), Chief Big Tree (Seneca actor Isaac Johnny John); and Chief Rolling Cloud (Muscogee [Creek] actor Charles Brunner), I reveal how publicity material can contextualize actors' experiences and suggest ways that these Native performers used their personas to critique and influence their presences onscreen.

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Li, Loic Pengtao, Biljana Juric, and Roderick J. Brodie. "Dynamic multi-actor engagement in networks: the case of United Breaks Guitars." Journal of Service Theory and Practice 27, no. 4 (July 10, 2017): 738–60. http://dx.doi.org/10.1108/jstp-04-2016-0066.

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Purpose The purpose of this paper is to explore the dynamic process of multi-actor engagement by examining how it evolves and spreads in actor networks. The authors challenge the dyadic perspective adopted by previous research. Design/methodology/approach An abductive theorizing approach uses a longitudinal case study to develop a theoretical framework of the iterative process of multi-actor engagement. The authors draw on the contemporary literature on engagement, service-dominant logic and value propositions. Findings The research shows that engagement conditions, via actors’ appraisals, lead to engagement properties and result in engagement outcomes as the new conditions for the next iteration. Changes within this multi-actor engagement process lead the network to evolve over time. Research limitations/implications The authors highlight the importance of adopting a dynamic multi-actor perspective of engagement and provide foundations for further research. The use of longitudinal methods that focus on the groups of actors in the evolving network is a key consideration. Practical implications There is the need to understand and measure the dynamic process of engagement among different groups of actors within networks in the service context. Originality/value This is the first empirical study to explore the dynamics of engagement among multiple actors in the network. This leads to the expansion of Storbacka et al.’s (2016) conceptual work by identifying the iterative nature of the multi-actor engagement process, and new components in the process (i.e. actors’ connections, value propositions and engagement outcomes), as well as clarifying existing ones (e.g. engagement properties and actors’ appraisals).

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Lin, Zhongxuan, and Liu Yang. "Smartphones as actors: A new digital disability care actor-network in China." International Journal of Cultural Studies 24, no. 4 (June 14, 2021): 673–88. http://dx.doi.org/10.1177/1367877920964475.

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Disability care is an understudied yet important phenomenon within the realm of caring media studies. It not only adds another identity-based lens for caring media studies but also proposes new questions at the intersection of media, disability and cultural studies. This study proposes a Chinese contextualized understanding of disability caring media, which may have broader implications in other contexts, even a global one. Mainly based on actor-network theory (ANT), this study looks at the smartphone as a new condition and a key actor in the emerging digital disability care actor-network to examine various modes of connections and associations, especially the application-network, the device-network, and the organization-network. This study seeks to provide a better understanding as to how meanings and technologies are enacted together in everyday caring practices, and how social dynamics are assembled and reassembled in contemporary disability caring media settings.

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Krueger, Joachim, Jacob J. Ham, and Kirsten M. Linford. "Perceptions of Behavioral Consistency: Are People Aware of the Actor-Observer Effect?" Psychological Science 7, no. 5 (September 1996): 259–64. http://dx.doi.org/10.1111/j.1467-9280.1996.tb00371.x.

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Actors view behavior relevant for personality traits as more variable than observers do This study was designed to replicate this actor-observer effect (AOE) in a common-target paradigm, test whether actors, observers, or both are intuitively aware of the AOE, and examine the effects of social projection on people's awareness of the AOE Within each actor-observer pair, subjects described the actor on a series of trait adjectives and rated the consistency of relevant behavior They then predicted the other person's ratings The AOE emerged, and actors, but not observers, were aware of the effect On average, actors correctly predicted that observers rated actors' behavior as more consistent than actors themselves did Correlational analyses showed that actors and observers were equally prone to project their own ratings to their matched partners

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Bahari, Nurun Najwa, Paul Expert, and Fatimah Abdul Razak. "An Analysis of Actors in Malay Films: Small Worlds, Centralities and Genre Diversity." Mathematics 11, no. 5 (March 4, 2023): 1252. http://dx.doi.org/10.3390/math11051252.

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This article utilizes social network analysis in addition to a measure of genre diversity to quantify the quality and capacity of actors in the Malay language film industry. We built a dataset by collecting data from various websites pertaining to Malay films. The data consists of 180 Malay films released from 2015 until 2020. The actor network is then built by connecting actors co-starring in a movie together and is compared to small world networks. We quantified the quality of actors in the network using five measures: number of films (TFA), degree centrality (DC), strength centrality (SC), betweenness centrality (BC), and normalized Herfindahl–Hirschman Index (NHHI). TFA, DC and SC indicate experience in the industry, since a high TFA shows that an actor has acted in more films. A high DC shows an actor has worked with many co-stars, and a high SC reflects an actor’s frequency of co-occurrence relationship. Actors with high TFA, DC, and SC are popular in this sense. Meanwhile, BC highlights the social importance of an actor in the network where they are the middlemen that connect actors from different genres of movies in the network, and we found that high BC actors are voice actors that may not have a high TFA, DC, or SC. NHHI highlights the actor’s capability to work with different types of film, and it serves as an important measure of an actor’s versatility. Moreover, we also calculated the average shortest path in the network to search for the “Kevin Bacon” of the Malay language film actor network. Using NHHI as an indicator of genre diversity, we also show that most of the actors diversify their work over the years and that genre diversity is an important benchmark for an actor.

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Hudaya, Rida, and Cucun Wida Nurhaeti. "Actor-Actor Coordination in Wireless Sensor Actor Network Using Row Index Data Access Matrix Technique." Journal of Physics: Conference Series 1175 (March 2019): 012086. http://dx.doi.org/10.1088/1742-6596/1175/1/012086.

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Abdullah, Fuad, and Lulita. "Social actors in an Intercultural Communication classroom: A discursive lens of intercultural education." Indonesian JELT: Indonesian Journal of English Language Teaching 13, no. 1 (May 31, 2018): 31–51. http://dx.doi.org/10.25170/ijelt.v13i1.1449.

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This study focused on how teachers and students as the social actors in an Intercultural Communication (IC) classroom were represented discursively. A video recording transcript of IC classroom activities at a state University in Indonesia was selected as the data source. The data source was rigorously analysed through van Leeuwen’s Socio-semantic inventory of social actors framework (Van Leeuwen, 1996). The main findings show that social actors in IC classroom can be categorised into two main thematic representations, namely positive and negative ones. disclosed that Hamzah as the representative of classroom presenters was represented as victimised, oppressed, intimidated and minoritised actor. Hamzah’s Mathematics teacher was depicted as an intolerant, dehumanising, discriminatory and oppressing actor. Hamzah’s Social Sciences teacher was illustrated as a racial, stereotyping, dominant and provoking actor. The Intercultural Communication teacher was delineated as the actor endeavoring to encourage his students to be tolerant, critical, supportive and open-minded people. Hamzah’s classmates in IC classroom were characterised as sympathetic, supportive, friendly and reactionary actors.

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Adamopoulos, Arthur, Martin Dick, and Bill Davey. "Actor-Network Theory and the Online Investor." International Journal of Actor-Network Theory and Technological Innovation 4, no. 2 (April 2012): 25–31. http://dx.doi.org/10.4018/jantti.2012040103.

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An actor-network analysis of the way in which online investors use Internet-based services has revealed a phenomenon that is not commonly reported in actor-network theory research. An aspect of the research that emerged from interviews of a wide range of online investors is a peculiar effect of changes in non-human actors on the human actors. In this paper, the authors report on the particular case and postulate that this effect may be found, if looked for, in many other actor-network theory applications.

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Howe, Adam C., Mark C. J. Stoddart, and David B. Tindall. "Media Coverage and Perceived Policy Influence of Environmental Actors: Good Strategy or Pyrrhic Victory?" Politics and Governance 8, no. 2 (June 2, 2020): 298–310. http://dx.doi.org/10.17645/pag.v8i2.2595.

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In this article we analyze how media coverage for environmental actors (individual environmental activists and environmental movement organizations) is associated with their perceived policy influence in Canadian climate change policy networks. We conceptualize media coverage as the total number of media mentions an actor received in Canada’s two main national newspapers—the <em>Globe and Mail</em> and <em>National Post</em>. We conceptualize perceived policy influence as the total number of times an actor was nominated by other actors in a policy network as being perceived to be influential in domestic climate change policy making in Canada. Literature from the field of social movements, agenda setting, and policy networks suggests that environmental actors who garner more media coverage should be perceived as more influential in policy networks than actors who garner less coverage. We assess support for this main hypothesis in two ways. First, we analyze how actor attributes (such as the type of actor) are associated with the amount of media coverage an actor receives. Second, we evaluate whether being an environmental actor shapes the association between media coverage and perceived policy influence. We find a negative association between media coverage and perceived policy influence for individual activists, but not for environmental movement organizations. This case raises fundamental theoretical questions about the nature of relations between media and policy spheres, and the efficacy of media for signaling and mobilizing policy influence.

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Soares, Selda. "Actor Taborda: o homem, o actor e a imagem." Sinais de cena, no. 1 (June 2004): 121–31. http://dx.doi.org/10.51427/cet.sdc.2004.0031.

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Espinosa, Micha. "The expressive actor, integrated voice, movement, and actor training." Voice and Speech Review 10, no. 1 (January 2, 2016): 83–85. http://dx.doi.org/10.1080/23268263.2016.1228795.

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Wajid, Anees, Muhammad Mustafa Raziq, Omer Farooq Malik, Shahab Alam Malik, and Nabila Khurshid. "Value co-creation through actor embeddedness and actor engagement." Marketing Intelligence & Planning 37, no. 3 (May 7, 2019): 271–83. http://dx.doi.org/10.1108/mip-07-2018-0241.

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Purpose It is argued that the service-dominant (S-D) view of the value co-creation concept is mainly of a macro nature and is difficult to examine empirically. In this regard, marketing research using the micro-foundation theory proposes some conceptual models, through which relationships (involving value co-creation) at a micro/meso level may be studied. The purpose of this paper is to add to such exchanges regarding value co-creation and conceptualize the link of embeddedness of an actor (in a service-ecosystem) to their engagement in the value co-creation process. Design/methodology/approach The authors draw on the S-D logic and the value co-creation concept and make propositions with regard to two micro-foundational concepts: actor engagement and actor embeddedness. Findings The authors show that actor embeddedness can be considered as an antecedent of actor engagement, which leads to value co-creation at a macro level and perceived value in context at the micro level. Originality/value The authors fill some gaps in literature with regard to S-D logic and value co-creation by combining two micro-foundational concepts: actor engagement and actor embeddedness and propose how through these, some macro-level outcomes such as value co-creation and resource integration may be determined.

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Krishnakumar, Sita S., and Randal T. Abler. "Intelligent actor mobility in wireless sensor and actor networks." Telecommunication Systems 40, no. 3-4 (October 8, 2008): 141–49. http://dx.doi.org/10.1007/s11235-008-9135-8.

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Hingorani, Dominic. "Ethnicity and actor training: A British Asian actor prepares." South Asian Popular Culture 7, no. 3 (October 2009): 165–78. http://dx.doi.org/10.1080/14746680903125515.

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Hamka, Muh, Sakinah Nadir, and Haryanto. "POLITIK ANGGARAN DAN RELASI AKTOR DALAM PENYUSUNAN ANGGARAN PENDAPATAN BELANJA DAERAH." Jurnal Politik Profetik 10, no. 1 (August 15, 2022): 79–98. http://dx.doi.org/10.24252/profetik.v10i1a5.

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The making of regional budgets involves several actors who have an interest in the Regional Revenue and Expenditure Budget (APBD). The relationship between each actor forms a structured and systematic network and arranges strategies to accommodate the interests of actors in the APBD. This article aims to explain how the relationship between actors and budget politics forms interests in the making of the APBD. The research method used is qualitative with a descriptive analysis type to describe the relationship of each actor by using actor-network theory and public policy. The results of the study found that the actors involved in the making of regional budgets were grouped into two, namely formal actors and informal actors. The main actors who dominate the making of regional budgets are the regional head as the highest decision holder and family relations as informal actors who influence decision making. Each actor forms a network to accommodate their interests in the APBD by strengthening their relationship with the highest decision-makers in regional budgeting. The strategy of actors in entering and guarding their interests in the APBD uses four political strategy frameworks, namely position strategy, power strategy, player strategy, and perception strategy. This article contributes to understanding that APBD budget politics cannot be separated from the role of formal actors and informal actors who have formed networks in guarding their respective interests.

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Dima, Sofia Maria, Christos Antonopoulos, and Stavros Koubias. "Resource Aware Sensor-to-Actor Allocation Framework for WSANs Based on Voronoi Cells Theory." Journal of Sensors 2017 (2017): 1–16. http://dx.doi.org/10.1155/2017/4523945.

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Wireless sensor and actor networks (WSANs) have emerged as a promising research field and have been applied in a wide variety of application domains due to their capability of environment monitoring, event data processing, and decision-making by aiming at performing appropriate actions interacting with the environment. Coordination mechanisms among nodes and actors are a critical research challenge pertaining to the optimum allocation of sensors to a particular actor. Although efforts related to the node-to-actor coordination problem have been presented in the current literature, there is a significant oversight regarding critical characteristics such as the heterogeneous capabilities of the actors as well as the network’s heterogeneous density. In this paper, aiming to address such shortcomings, we introduce the term Actor Service Capacity, which indicates the ability of an actor to serve a particular number of nodes. We also propose a novel node-to-actor coordination algorithm, based on the Voronoi tessellation, aiming to guarantee that the number of nodes, allocated to each actor, will not exceed its capabilities. Furthermore, a set of selection techniques are proposed so as to be applied on the coordination framework. Respective evaluation analysis offers useful conclusions and highlights the importance and the advantages of the proposed algorithm.

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Normand, Jean-Marie, Bernhard Spanlang, Franco Tecchia, Marcello Carrozzino, David Swapp, and Mel Slater. "Full Body Acting Rehearsal in a Networked Virtual Environment — A Case Study." Presence: Teleoperators and Virtual Environments 21, no. 2 (April 2012): 229–43. http://dx.doi.org/10.1162/pres_a_00089.

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In order to rehearse for a play or a scene from a movie, it is generally required that the actors are physically present at the same time in the same place. In this paper we present an example and experience of a full body motion shared virtual environment (SVE) for rehearsal. The system allows actors and directors to meet in an SVE in order to rehearse scenes for a play or a movie, that is, to perform some dialogue and blocking (positions, movements, and displacements of actors in the scene) rehearsal through a full body interactive virtual reality (VR) system. The system combines immersive VR rendering techniques as well as network capabilities together with full body tracking. Two actors and a director rehearsed from separate locations. One actor and the director were in London (located in separate rooms) while the second actor was in Barcelona. The Barcelona actor used a wide field-of-view head-tracked head-mounted display, and wore a body suit for real-time motion capture and display. The London actor was in a Cave system, with head and partial body tracking. Each actor was presented to the other as an avatar in the shared virtual environment, and the director could see the whole scenario on a desktop display, and intervene by voice commands. A video stream in a window displayed in the virtual environment also represented the director. The London participant was a professional actor, who afterward commented on the utility of the system for acting rehearsal. It was concluded that full body tracking and corresponding real-time display of all the actors' movements would be a critical requirement, and that blocking was possible down to the level of detail of gestures. Details of the implementation, actors, and director experiences are provided.

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Tahalea, Sylvert Prian, and Azhari SN. "Central Actor Identification of Crime Group using Semantic Social Network Analysis." Indonesian Journal of Information Systems 2, no. 1 (August 24, 2019): 24. http://dx.doi.org/10.24002/ijis.v2i1.2354.

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The Police as law enforcers who authorize in terms of social protection are expected to do both the prevention and investigation efforts also the settlement of criminal cases that occurred in the society. This research can help police to identify the main actor faster and leads to solving crime-cases. The use of overall centrality is very helpful in determining the main actors from other centrality measures. The purpose of this research is to identify the central actor of crimes done by several people. Semantic Social Network Analysis is used to perform central actor identification using five centrality measurements, such as degree centrality, betweenness centrality, closeness centrality, eigenvector centrality, and overall centrality. As for the relationship between actors, this research used social relation such as friendship, colleague, family, date or lover, and acquaintances. The relationship between actors is measured by first four centrality measures then accumulated by overall centrality to determine the main actor. The result showed 80.39% accuracy from 102 criminal cases collected with at least 3 actors involved in each case.

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Sari, Klara Kumala, and Ali Hanafiah. "Power Communication Actors Cash Social Support Program for Impacted COVID-19 Citizen." Journal of Transformative Governance and Social Justice 1, no. 2 (August 2, 2023): 92–102. http://dx.doi.org/10.26905/j-tragos.v1i2.10269.

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Government as an important body in the framework of governance. The government must pay attention to peace and public order, the demands and expectations as well as the opinions of the people, the needs and interests of the community, environmental influences, communication and coordination arrangements, the participation of all levels of society and the existence of legitimacy. This study aims to analyze actor relationships by analyzing aspects of social network analysis calculations such as actor popularity (degree), actor closeness to other actors (closeness), and which actor functions as a liaison between one actor and another (betweenness).The mix-method approach is used to answer the problem formulation. Data were obtained through interviews and collecting questionnaires from the actors involved in implementing the cash direct social assistance distribution program in Batu City. Data were analyzed through an interactive analysis model using an analytical tool using social network analysis. The results of this study indicate that each actor involved in implementing the social assistance distribution program for people affected by Covid-19 in Batu City has different networking patterns. The strategic actor in the implementation network for the distribution of social assistance programs for people affected by Covid-19 is the social service. Each actor has their own role, namely the Covid-19 task force unit acts as a program maker. By analyzing communication relationships through social network analysis by focusing on public actor communication, we can find out the actor's communication relationship in the Covid-19 social assistance program.

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Vassis, Dimitris, George Kormentzas, and Charalabos Skianis. "Performance evaluation of single and multi-channel actor to actor communication for wireless sensor actor networks." Ad Hoc Networks 4, no. 4 (July 2006): 487–98. http://dx.doi.org/10.1016/j.adhoc.2005.02.001.

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Baranowski, Andreas Michael, and Heiko Hecht. "Effect of Camera Angle on Perception of Trust and Attractiveness." Empirical Studies of the Arts 36, no. 1 (May 30, 2017): 90–100. http://dx.doi.org/10.1177/0276237417710762.

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Film theories have long proposed that the vertical camera angle influences how the scene and the character in it are interpreted. An elevated camera (high-angle shot) should diminish the qualities of the actor, whereas a lowered camera (low-angle shot) should elevate the actor in perspective as well as in the viewer’s opinion. We were interested in how this holds up for the impression of trustworthiness and attractiveness that the spectator receives of the actor. We filmed 12 actors in a scenario inspired by a TV show called Split or Steal, which features a one-time version of the prisoner’s dilemma. Subjects had to rate trustworthiness and attractiveness of the actors, and also judge if the actors would lie or tell the truth. We found that actors were rated as most trustworthy when filmed from eye-level, and less so when the camera was lowered or raised. Camera elevation had no effect on attractiveness. Also, personality ratings of the actors were not altered by varying camera angle. We conclude that context plays an important role in how camera angle interacts with actor perception.

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O’Mahoney, Joe, Hannah O’Mahoney, and Ismael Al-Amoudi. "How can the loggerhead sea-turtle survive? Exploring the journeys of the Caretta caretta using ANT and critical realism." Organization 24, no. 6 (November 16, 2016): 781–99. http://dx.doi.org/10.1177/1350508416672738.

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The endangered loggerhead sea-turtle ( Caretta caretta) nests on the shores of the Mediterranean, but faces threats to its existence from a variety of sources. Answering the question of how this species can survive is complex as it involves examining the relationships between the turtle, its natural environment, local tourists, property developers, conservation organisations, governments and law-makers. We argue that actor-network theory provides a powerful methodology for tracing these relations and identifying crucial actors which enable the survival of this animal. Using a rich ethnography and drawing on insights from 116 interviews, we trace three actor-networks that highlight factors important to the survival of the species. Yet, we also highlight the conceptual difficulties that result from using an actor-network theory ontology for understanding socio-ecological interactions and argue that these may be ameliorated by embedding the actor-network theory methodology within a critical realist ontology. We argue that this engagement between critical realism and actor-network theory offers researchers a powerful method for understanding relations between socio-ecological actors while overcoming some of the theoretical difficulties of actor-network theory.

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Ruming, Kristian. "Following the Actors: mobilising an actor-network theory methodology in geography." Australian Geographer 40, no. 4 (December 2009): 451–69. http://dx.doi.org/10.1080/00049180903312653.

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Journal articles on the topic 'Actor'

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