Journal articles on the topic 'Actors'
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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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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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Baltacioglu, Yesim Arsoy. "Views of state theatre actors on theatrical makeup." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 118–27. http://dx.doi.org/10.18844/prosoc.v5i6.3848.
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Theatrical makeup is the process of transforming an actor into a character using specially crafted materials and specific techniques in a play staged. Theatrical makeup work is carried out by applying light, shadow, lines and colours on the actor’s face with specific techniques as well as affixing, where necessary, attachments to the actor’s face or body, such as prosthetic parts or false beard and moustache. Considering that actors predominantly use their facial expressions in addition to their speaking and body language to convey to the audience their emotions and how their situation affects them, the theatrical makeup achieves its objective of strengthening the expression is among the determinative details of the visuality of design. In the present study, an interview form was developed to obtain the views of actors in the State Theatres on theatrical makeup and the views and comments of actors in Ankara State Theatre on the subject are assessed.
Keywords: State Theatre, actor, theatrical makeup.
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Sellers-Young, Barbara. "Technique and the Embodied Actor." Theatre Research International 24, no. 1 (1999): 89–97. http://dx.doi.org/10.1017/s0307883300020290.
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A primary theme of twentieth-century theatre has been the actor's body. Numerous directors from Stanislavsky to Anne Bogart have evolved stage theories and related training methods to promote a more expressive body on stage. In her 1995 article ‘Developing a Physical Vocabulary for the Contemporary Actor’, Lea Logic provides an overview of many of these approaches. While acknowledging the contributions of these director-teachers, she suggests, ‘If body shape and movement are to retain and increase their power as the central focus of theatre, actors must learn to maximize the expressive potential of their bodies.’ Quoting Copeau, Chekhov, Stanislavsky or Barba, she maintains the primary problem is an actor's tendency consistently to return to physical choices related to their personality and not necessarily to the role they are playing. She quotes Copeau's description of actors: ‘I always know, in advance what they are going to do. They reduce everything to the level of their habits, their clichés, their affectations. They do not invent anything.’ While Copeau's complaint is not directed at actor teachers, but actors, his words define one of the primary challenges for them, to teach actors to expand their expressive abilities beyond their self image.
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Yamauchi, Hirotsugu. "Effects of Actor's and Observer's Roles on Causal Attributions by Japanese Subjects for Success and Failure in Competitive Situations." Psychological Reports 63, no. 2 (October 1988): 619–26. http://dx.doi.org/10.2466/pr0.1988.63.2.619.
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To examine differences between actors and observers for causal attribution for success and failure under competitive situation, 72 male and 72 female students were administered three kinds of mental tasks. Subjects were asked to rate the extent to which they attribute their own (actor role) and opponent's (observer role) outcomes to four causes, ability, effort, task difficulty, and luck. According to the notion of self-serving bias or egotism in attribution, actors attribute success to internal factors and failure to external factors. The winning actors attributed success to luck, while the losing actors attributed failure to ability or internal factors. These findings indicated no self-serving bias but rather showed a reverse trend. In contrast, the losing opponent-observers attributed actor's success more to internal factors, while the winning opponent-observers attributed actor's failure more to luck. The cross-cultural influences in achievement motivation were discussed for these attributional tendencies.
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Bezghin, Oleksii, and Olga Uspenska. "Peculiarities of acting education in the domestic artistic and educational process." Culturology Ideas, no. 23 (1'2023) (2023): 129–42. http://dx.doi.org/10.37627/2311-9489-23-2023-1.129-142.
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The article discusses the specifics of actors training in Ukraine in the context of the competency-based approach to education codified in the Bologna process and the new Ukrainian educational law. To answer their research questions, the authors analyze competencies for stage actors at the bachelor’s and master’s levels defined by three different Ukrainian institutions of higher education. The authors acknowledge the many benefits of the competency-based approach to education, including improved transparency and comparability of degrees, and increased student and teacher mobility, but also suggest it has its pitfalls. For actors training, the competency-based approach creates a problem of defining core competencies reflective of the specifics of actors training focused on memory, voice, movement, and speech, as well as differentiating between competencies at the bachelor’s and master’s levels. The authors find little difference between bachelor and master level competencies in the programs they analyze and ask if actors not pursuing a teaching career should be required to obtain a master’s degree to attain “complete higher education.” The authors bring up an important issue of preserving unique national actor schools formed by renowned stage masters as the core element of actor’s education. They also suggest festivals of actor schools as a way of learning approaches to actors training.
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Chen, Charles P., and Komila Jagtiani. "Helping actors improve their career well-being." Australian Journal of Career Development 30, no. 1 (March 24, 2021): 55–63. http://dx.doi.org/10.1177/1038416220983945.
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It is generally assumed that visible actors in the performing arts industry maintain overall wellness despite the knowledge that an actor’s life is often characterized by instability. While an actor’s performance is often critiqued subjectively and critically, the variety of occupational risks associated with an actor’s well-being is less closely examined. Prior research suggests those working within the acting profession experience significant levels of distress. As a result, this article, first, aims to address the issues confronting the actor, in particular, anxiety associated with erratic employment, vulnerability to adverse working conditions, and conflict in identity owing to the impact of acting coupled with the effect of economic insecurity. Second, the paper follows with a consideration of key counselling theories to help strengthen this diverse group’s personal well-being and career prospects. By examining counselling interventions, the application of these theories can allow actors to develop optimally in acting industries worldwide.
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Bolifraud, Sylvain, and Julie Stal-Le Cardinal. "How a Better Understanding of Relation can Increase Responsibility between Stakeholders?" Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 1155–64. http://dx.doi.org/10.1017/dsi.2019.121.
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AbstractConstruction projects are complex and subject to a lot of conflicts. The misunderstanding between actors is one cause of these conflicts. To understand actor's interrelation is fundamental.In this paper, we used FAcT Miror method to analyse the relation between the two main actors, Owner and Contractor. Based on the method we built a survey about Fears, Attractiveness and Temptations of treason of each actor, The Miror effect of the method allows us to evaluate what is the thought of an actor about the other and to measure differences between actors' thought on a specific aspect of the relation. Our results allow us to have a better understanding of the relation between Owners and Contractors on a construction project. Moreover, we point out specific aspects of the relation which need to be studied to improve the understanding.
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Kwon, Ji Hye, and Young Il Cho. "The Effect of Indirect Trauma Experience of Role in the Work on the Actor's Mental Health: Focus on Focus Group Interview (FGI)." Korean Association of Criminal Psychology 19, no. 1 (March 31, 2023): 7–24. http://dx.doi.org/10.25277/kcpr.2023.19.1.7.
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This study is a qualitative study to analyze the effect of indirect trauma experiences according to roles on the mental health of actors. In order to understand the aspects of indirect trauma that occur in the personalization process of the actor's creation of a role, we analyzed through in-depth interviews with five leading actors in Korea. As a result of the study, when an actor plays a role that requires high emotional commitment and extreme physical expression, such as a victim of a crime or a murderer, it is more likely to experience post-traumatic stress than when plays a general role. Psychological pain due to the re-experience of trauma or transfered trauma according to the role affects the entire acting process, and the actor's stress that causes anxiety and obsession also affected the psychological state of the actor. In addition, regarding the relationship between the trauma of the role and the pshycological state of the actor, it was found that when the trauma of the actor's role coincides or has a similarity, it has a very serious effect.
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Erum, Iqra, Rauf Ahmed Shams Malick, Ghufran Ahmed, and Hocine Cherifi. "Complex Network Analysis of Mass Violation, Specifically Mass Killing." Entropy 24, no. 8 (July 23, 2022): 1017. http://dx.doi.org/10.3390/e24081017.
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News reports in media contain news about society’s social and political conditions. With the help of publicly available digital datasets of events, it is possible to study a complex network of mass violations, i.e., Mass Killings. Multiple approaches have been applied to bring essential insights into the events and involved actors. Power law distribution behavior finds in the tail of actor mention, co-actor mention, and actor degree tells us about the dominant behavior of influential actors that grows their network with time. The United States, France, Israel, and a few other countries have been identified as major players in the propagation of Mass Killing throughout the past 20 years. It is demonstrated that targeting the removal of influential actors may stop the spreading of such conflicting events and help policymakers and organizations. This paper aims to identify and formulate the conflicts with the actor’s perspective at a global level for a period of time. This process is a generalization to be applied to any level of news, i.e., it is not restricted to only the global level.
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Karki Kshetri, Dibendra Bahadur. "Seeking Stanislavski Techniques of Actor Training in Nepalese Context from His Book An Actor Prepares." Journal of Development and Social Engineering 8, no. 01 (December 31, 2022): 29–38. http://dx.doi.org/10.3126/jdse.v8i01.54265.
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This paper aims at searching for techniques of actor training in Nepal associating similarities (or differences if any) theorized by Constantin Stanislavski (1863-1938), a Russian theatre director in his book An Actor Prepares. The acting ‘system’ also known as ‘method’ is an approach to acting, developed in the 1920s to support actors in the process of embodying and enacting a role. Although acting may not be an exact science, there is a method to the madness as the package of three-month actor training in Nepali Acting Schools (Gurukul, Actor’s Studio, Mandala, and Sarwanam) like Stanislavski’s. When the body is true, the soul reacts. When the body lies, the soul gets frightened. Where there is truth and belief, actors have genuine, productive, specific action, experiences, the subconscious, creativity and art. Actors communicate others in creative and convincing ways. People look for creative instincts, innate talent, and intellectual capacity to perform. Performance, connected to everyday life, is both believing and living. Theatre/Film has been considered as an important platform to showcase socio-political, eco-cultural or historic- religious realities in Nepal.
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Anwar, Khairul. "Dinamika Politik Penguatan Kebijakan Sawit di Riau Pasca Reformasi." Dinamika Lingkungan Indonesia 9, no. 2 (July 31, 2022): 80. http://dx.doi.org/10.31258/dli.9.2.p.80-89.
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This article aims to find the dynamics of actor interaction in strengthening oil palm policies with examples of cases of oil palm policy in Riau. The background is the phenomenon of the broader spectrum of conflict in Riau early in the reformation. How will the interaction pattern of actors related to oil palm policy issues take place in post-reform Riau? The theory used by the local political economy and the method used determine; (1) Actor's political preferences; (2) Actor's tips and strategies; and (3) How do actors organize themselves into coalitions? This study found that since the OTDA policy was implemented in Riau, the dynamics of national politics changed, from a central style to a decentralized one. This change in political context resulted in mixed responses from local actors in Riau. Local actors are becoming more critical because of the law on the use of natural resources. The activities of these different actors produce different reactions to implementing policies in the plantation sector. The response of these elites could be a result of different positions. Since the reformation, the intensity and spectrum of political dynamics have increased and expanded and its disclosure in public debate has become more assertive. It is a fact that the nature of local politics is considered in strengthening the policy on palm oil management in Riau.
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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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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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Runcanu, Andrei. "Detaching the Actor’s Face: Control and Usage of the Face as an Image-object." CONCEPT 27, no. 2 (July 15, 2024): 153–65. http://dx.doi.org/10.37130/m810hp79.
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This article explores the extent to which the actor’s face has impacted society to the point that it is no longer a personal possession and that its usage and context are difficult to control. I bring together perspectives from visual studies and celebrity studies to address the issues of face borrowing and identification. I examine the engagement of the general public with the actor’s face in an attempt to create the basis for a critical analysis. I propose viewing the actor’s face as an image-object, detached from the physical body and able to travel without the actual presence of the actor. Three defining stages are identified in social behaviour that are a direct result of capturing the face in a photograph: detaching, owning and wearing the face. The need for intimacy and identification that governs the relationship between audiences and celebrities has an effect on the handling of images of actors. Furthermore, this article investigates the concurrence of technological advancements that allow individuals to use actors’ faces for shaping their own identities and highlights the danger that actors are facing as the rise of artificial intelligence can render them as replicable digital assets.
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Nugroho, Hanantyo Sri. "The Role of Local Elite in Public Service Innovation in Sleman Regency (Comparative Study of Wukirsari Village and Blue Lagoon Tourism Village)." Politik Indonesia: Indonesian Political Science Review 5, no. 2 (August 21, 2020): 277–91. http://dx.doi.org/10.15294/ipsr.v5i2.21544.
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This article intends to provide an overview of the role of local elites in public service innovation. Through a qualitative descriptive approach, this research discusses the dilemmas and success factors of the role of local elites in public service innovation. The objective of this research is the role of Rosyid Ma'ruf and Suhadi as initiators in innovating public services. This problem is interesting to study because there is a role played, where formal actors are able to manipulate community participation due to the formal carrying capacity of the environment while non-formal actors are only limited to practical awareness of the problems that arise at the time and also follow what the actors want. The results showed that public service innovation can be influenced by critical awareness as well as practical awareness of the role of local elites. The tendency of critical awareness arises from the consequences of the actor's understanding of the authority, problems, and existing solutions. That is, actors have the ability to mobilize and direct solutions that are comprehensive. Furthermore, the tendency of practical awareness arises from the consequences of the actor's understanding of the existing problem and solution. That is, the actor has the ability to move and direct the solution that is moving to the solution desired by the actor. The recommendation of this research is the importance of the ability of local elites to understand authority, problems, and solutions so that they can understand how the solution is done to achieve goals that are comprehensive, not only in accordance with what is desired by the elite.
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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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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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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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Angin, Ria, and Nur Wahyu Endang Sulastri. "The Role Of Collaborative Governance Actors In The Development Of Village Ecotourism." International Social Sciences and Humanities 1, no. 2 (July 20, 2022): 266–71. http://dx.doi.org/10.32528/issh.v1i2.183.
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Tourism has a tremendous impact on the economy, rural and urban development, job creation, environmental sustainability, and long-term viability. However, there hasn't been much research on the role of collaborative actors in the development of village ecotourism. Therefore, the focus of this research was to determine and explain the role of collaborative actors in the development of village ecotourism in Kemiri Village, Panti District, Jember Regency. Jember's local government designated Kemiri as a village ecotourism model, hence it was chosen as the research location. This research uses a qualitative descriptive method. The researgh has found that the role of collaborative governance actors in developing village ecotourism has enhanced the community's economic impact. However, on the other side, there are a number of obstacles that restrict cooperation to running effectively. Regardless of the fact that all actors were involved in weekly or biweekly discussion sessions, the actors' motivation was not good. The other big obstacle was that each actor's trust eventually started to weaken and change. This research opposes Emmerson's theory, which claims that actor motivation is driven by a desire to attain goals. Internal legitimacy and commitment are developed as a result of this purpose, which connects the actors together.
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Stone, Clarence N. "Powerful Actors Versus Compelling Actions." Educational Policy 15, no. 1 (January 2001): 153–67. http://dx.doi.org/10.1177/0895904801015001009.
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Zhang, Hao. "The Actors Shaping Roles to Stimulate Real Emotions in Drama Performances." International Journal of Education and Humanities 13, no. 2 (April 3, 2024): 69–71. http://dx.doi.org/10.54097/sdjs6p77.
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The emphasis should be placed on actors playing parts that evoke genuine feelings in theatrical performances. In this article, I discuss the characteristics of a successful actor as well as the significance of feeling when it comes to developing a compelling stage presence. This study is to investigate the theory underlying dramatic performance art, with the goals of enhancing actors' comprehension of the script, gaining a better knowledge of the actor's inner image and emotional control, and developing strategies to mould the character's genuine feelings. The significance of this study lies in the finding that emotions are the driving force behind dramatic performance, and that in order for performers to create moving performances, they need to incorporate these feelings into their roles. Actors can learn to live more authentic lives and more fully fulfil their artistic tasks with the assistance of true emotion. I myself have been an actor on the theater stage for more than ten years, and through this article I also want to share the importance of emotional expression.
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Esslin, Martin. "Actors Acting Actors." Modern Drama 30, no. 1 (1987): 72–79. http://dx.doi.org/10.1353/mdr.1987.0044.
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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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Hatta, Asta Juliarman, and Agus S. Ekomadyo. "RELASI JEJARING AKTOR MASYARAKAT SUKU BUGIS SOPPENG DALAM TRADISI MENDIRIKAN RUMAH (MAPPATETTONG BOLA)." Jurnal Arsitektur ARCADE 4, no. 3 (November 19, 2020): 292. http://dx.doi.org/10.31848/arcade.v4i3.426.
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Every process and stage in phase of constructing of Indonesia’s vernacular architecture is required the role and contribution of individual or several actors so that procession of house construction can be built due to purposes. According to traditions and beliefs of the Bugis community, there are several actors who have different roles and responsibilities during the process of establishing a Buginese-house. This research aims to explore the influence of the actors’ role who are involved in the process of constructing a traditional Bugis house. Correlation and impact of one actor's involvement with other actors will be reviewed based on the perspective of the Actor Network Theory (ANT) by using descriptive qualitative method. The results revealed that there are 4 stages in the process of building Buginese-house namely the process of constructing a house frame (Mattibang Bola), the process of marking the center of the house (possi bola), the ritual of reading thanksgiving prayer (barzanji), and the process of establishing a house frame (Mappatettong Bola). Founded, Sanro Bola and Panre Bola, namely traditional leaders who have a mandate in the tradition of building houses, are actors who act as controlling actors and are very influential in maintaining the stability of a network in the process of building Buginese-house. Learning from the tradition of building a Buginese-house, the existence of traditional leaders is important, because it has a tradition-based on knowledge base, and this has become a mandate in regulating other actors in working.
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Sun, Dawei. "Study on the Relationship between Actors' Personal Style and Characterisation." Journal of Education and Educational Research 6, no. 2 (December 10, 2023): 158–64. http://dx.doi.org/10.54097/jeer.v6i2.14982.
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This study focuses on the relationship between actors' personal style and characterisation. Firstly, the background, purpose and significance of the study are introduced. Secondly, the influence of actors' personal style on characterisation is explored, including the concept and characteristics of actors' personal style, and the relationship between actors' personal style and character selection and performance. Then, the shaping of actors' personal style by characterisation is explored, including the concept and methods of characterisation, as well as the influence and development of characterisation on actors' personal style. Finally, the interaction between actors' personal style and characterisation is investigated, including the interaction effect, analysis of common characteristics and exploration of optimisation strategies. Finally, it is concluded that there is a close relationship between actors' personal style and characterisation. Actor's personal style has an influence on characterisation, while characterisation can also adjust and develop actor's personal style. Through the study of actors' personal style and characterisation, we can better understand the art of actors' performance, optimise actors' performance style, and improve the quality and viewability of performance. This study is of great theoretical and practical significance for a deeper understanding of the relationship between actors' personal style and characterisation.
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Bursens, Peter. "De impact van zachte en harde politieke instituties in Europese besluitvorming : de totstandkoming van de 'Verpakkingsrichtlijn' (94/62/EG)." Res Publica 41, no. 4 (December 31, 1999): 529–48. http://dx.doi.org/10.21825/rp.v41i4.18494.
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This article argues that both hard and soft institutions shape the strategies and - to a lesser extent - the preferences of political actors in the European Union. First of all, it discusses the institutional perspective in political science and presents an institutional model of decision-making. Secondly the institutional argument is illustrated by a detailed account of the decision-makingprocess with respect to the Packaging Directive. An analysis of the actor configuration, the interactions between the involved actors and an overview of the decision-making process itself, all show to what extent actor's strategies and preferences are constrained and empowerd by the European institutional context.
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Murni Ratna Sari Alauddin, Suryo Ediyono, and Asep Irwanto. "The Role of Actors in The Desa Siaga Program in Watupute Village, Mowewe Subdistrict, East Kolaka." International Journal Of Health Science 3, no. 3 (November 13, 2023): 72–80. http://dx.doi.org/10.55606/ijhs.v3i3.2874.
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This research aims to analyze the role of each actor involved in realizing health services so as to be able to find out each actor's perspective regarding health services through the Desa Siaga in Watupute Village. Apart from that, it is necessary to determine the actions of each actor in order to improve the health service system in Watupute Village. This research method is descriptive-qualitative by determining the research sample using purposive sampling, data collection through observation, document study, interviews with several actors involved in this program, and data analysis using the Miles and Huberman model. The results of this research were able to identify the actors involved in health services in Watupute Village, namely, the Health Departement of East Kolaka, Desa Siaga cadres, Watupute village government, and the Watupute village community. Each actor has a role in developing health services through Desa Siaga. However, there are still actors who cannot carry out their roles, so achievements in program implementation are not optimal. In determining actions, the Health Office of East Kolaka has determined regulations that must be obeyed in implementing the Desa Siaga, the Watupute Village Government has provided a budget that comes from village funds, the Desa Siaga cadres have carried out their duties in implementing the Desa Siaga, and the community has participated in the success of the village program. Standby. Based on the results of this research, the researcher suggests equalizing perceptions between actors so that there is a understanding and health services in Watupute village can run effectively.
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Gottfridsson, Patrik. "Different actors’ roles in small companies service innovation." Journal of Services Marketing 28, no. 7 (October 7, 2014): 547–57. http://dx.doi.org/10.1108/jsm-04-2013-0082.
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Purpose – The purpose of the study is to create an initial understanding of how various internal and external actors contribute to the development of new services based on the research question considering “which different actor takes part in small companies’ service development processes in order giving access to the resources needed and what roles do they play?” Design/methodology/approach – Due to the lack of previous studies within the area, the focus in this study has been to use a qualitative method to reach a deeper insight about how small companies’ service development could be described, as seen from an actor’s perspective. Findings – Based on the empirical analysis, the study identifies seven main categories of actors who were involved in the service-development process that contributes with different types of resources and their role varies during the development process. The actors and their roles are presented in a model giving initial understanding how various internal and external actors contribute to the development of new services. Research limitations/implications – Using a qualitative approach, the research results may lack generalizability. Instead, the findings should be seen as an initial starting point for further studies. Practical implications – The paper’s highlight a number of actor roles that need to be handled to create possibilities for small companies’ service development. Originality/value – The paper fills a research gap in the service innovation research. Traditionally, this research has been focused on larger companies, with a focus on what happens inside the companies.
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Dwinarko, Dwinarko, Tabrani Sjafrizal, Pagi Muhamad, and Moh Rivaldi Akbar. "Actors Distortion of News Agencies Framing Surveys in Online Mass Media about Political Parties Bearer Presidential-Candidates 2024." Journal of Social Science 4, no. 1 (January 7, 2023): 195–214. http://dx.doi.org/10.46799/jss.v4i1.507.
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This research aims to acknowledge the News Framing of political actors in online mass media in determining presidential candidates in 2024. A political actor is an individual who plays a role in networking and Communication actions, acting as individuals, groups, or organizations. Political actors in the black box in the theory of actor networks are framed through the processing of information resulting from the social interactions of individual actors involved in everyday life, who are tied to systems and ideologies regarding their views on a political party reality. The actions of actors Survey institutions and online mass media in the community model network of actors with a situational approach. The theory used is the theory of actor networks and qualitative descriptive research methods with a narrative approach to analyzing online mass media news framing. The study’s result shows an integrated black box between the theory of actor networks and the theory of communicative actions. The news framing indicates a distortion of survey agency actors through online mass communication networks due to the efforts of survey agency actors. Unreliable survey results deceive political party actors in the presidential nomination of the Republic of Indonesia in 2024 who cannot carry actors in political parties. Political Parties are distorted due to the lack of use of internal survey agencies of political parties and the role of Political Parties Actors, which is still minimal to socialize with constituents, as well as dependence on external survey agencies, which are profit organizations. Political Parties are incapable of producing leaders who are already institutionally managed. Further research recommendations on the role of Political Parties actors in managing quality Human Resources in collecting and preparing actors ready to become national leaders.
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Groven, Fabian, Gaby Odekerken-Schröder, Sandra Zwakhalen, and Jan Hamers. "Network well-being from a balanced centricity perspective." Journal of Services Marketing 35, no. 9 (June 23, 2021): 1–14. http://dx.doi.org/10.1108/jsm-11-2020-0466.
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Purpose This paper aims to explore how tensions and alignments between different actors’ needs in a transformative services network affect balanced centricity, which is an indicator of well-being. Balanced centricity describes a situation in which all network actors’ interests and needs are fulfilled simultaneously. In such cases, all actors are better off, which increases both individual actors’ and overall actor-network well-being. Design/methodology/approach The empirical study takes place in nursing homes in which in-bed baths represent co-created service encounters that affect the well-being of focal actors (i.e. patients), frontline service employees (i.e. nurses) and transformative service mediators (i.e. family members), who have potentially competing needs. Using a qualitative, phenomenological approach, the study inductively explores and deductively categorizes actors’ personal experiences to gain deep, holistic insights into the service network and its complex web of actor interdependencies. Findings The resulting conceptual model of balanced centricity identifies actors’ lower-order needs as different manifestations of the psychological needs for autonomy, competence and relatedness. If actors’ needs are aligned, their psychological needs can be satisfied, which facilitates balanced centricity. If actors exhibit competing needs though, balanced centricity is impeded. Practical implications This study establishes actors’ psychological needs as the origin of tensions/alignments in multi-actor networks that impede/contribute to balanced centricity. Transformative service providers should try to address all actors’ psychological needs when co-creating services to achieve network well-being. Originality/value This study adopts a novel, multi-actor perspective and thereby presents a conceptual model that contributes to the understanding of balanced centricity. Future research could test this model in other transformative service settings.
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Wang, Qun, and Zihao Liu. "Efficacy Analysis of Emotional Labor and Professional Self-Quality of Opera Actors Based on Metaregression Analysis in Small Sample Environment." Journal of Environmental and Public Health 2022 (September 14, 2022): 1–9. http://dx.doi.org/10.1155/2022/3704201.
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On the rules of emotional performance in performances, opera singers based it on their emotional labor. Opera actors need to use certain stage scenarios and script designs during performances in order to convey the emotions of the characters in a way that will resonate with the audience and provide excellent stage effects. Opera singers put a lot of emotional work into their performances, which is at the core of them. Whatever the actor’s genuine feelings may be, he or she must channel them as a skilled opera actor in order to provide the audience with a rich visual feast. This article investigated the connection between emotional labor and opera singers’ professional self-efficacy in order to support the strong development of the opera business. In order to improve the professional self-efficacy of opera actors, the metaregression analysis method (MRA) was applied during the research procedure. The convenience sample approach was utilised to distribute 324 copies of the questionnaire survey, which had 319 valid questions about the emotional labor and professional effectiveness of opera actors. Through the simulation of the data set, it was discovered that the adoption of emotional labor strategy can raise the professional self-efficacy of opera actors by 2.36 percent, thereby fostering the growth of opera actors as individuals.
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Schreyer, Sheridan. "Promoting Psychophysiological Play." Journal of Consent-Based Performance 2, no. 1 (February 9, 2023): 49–60. http://dx.doi.org/10.46787/jcbp.v2i1.3495.
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Actors are often asked by directors to "play" with the material they are given in an attempt to create new artistic choices free of inhibitions. While proposed with no ill-intent, this request has the potential to create unwanted activations of an actor's sympathetic nervous system due to the removal of familiar rehearsal practices. Removing this ask from a director's vocabulary lessens the chance of negative interactions with an actor’s boundaries, but may leave other members of the creative team and actors may be left wanting more. By creating theatrical play grounded in the principles of Dr. Stephen W. Porges' Polyvagal Theory, potential trauma responses can be accounted for while allowing for an artistically fulfilling and consensual rehearsal process.
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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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Mele, Cristina, Suvi Nenonen, Jaqueline Pels, Kaj Storbacka, Angeline Nariswari, and Valtteri Kaartemo. "Shaping service ecosystems: exploring the dark side of agency." Journal of Service Management 29, no. 4 (July 2, 2018): 521–45. http://dx.doi.org/10.1108/josm-02-2017-0026.
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Purpose The extant service ecosystem literature rarely addresses the dark side of actors’ agency, which hinders further development of the service-dominant (S-D) logic, particularly with regard to understanding service ecosystem dynamics. Therefore, the purpose of this paper is to delineate the dark-side facets of actors’ agency that adversely affect actor-to-actor relationships and resource integration, in the context of shaping service ecosystems. Design/methodology/approach With abductive reasoning, this study seeks to reorient results from prior literature in accordance with empirical findings. The empirical data pertain to 21 firms in Finland, New Zealand, Singapore and Sweden, representing various industries, sizes, international reach, technologies, ownership forms and histories. Findings The dark side of agency emerges as an actor’s deliberate attempts to influence a service ecosystem to achieve self-interested benefits, despite understanding that these actions inhibit other actors from providing service and can be detrimental to other actors and the ecosystem. The findings also reveal three facets of the dark side: conflict, ambiguity and opportunism. The process of shaping service ecosystems is prone to systematic conflict, ambiguous and opportunistic behaviours occurring between the focal actors’ ecosystem and other ecosystems vying for the same set of resources. Research limitations/implications This study advances the S-D logic by addressing the crucial role of agency in a dialectical relationship with institutions and structures. Service-for-service exchanges can take place in asymmetric, ambiguous, opportunistic situations driven by self-interested motives. Practical implications Processes aimed at shaping service ecosystems can demonstrate the dark sides of actors’ agency, related to conflict, ambiguity or opportunism. Managers interested in shaping strategies should be prepared for this outcome. Social implications A service ecosystem perspective requires policy makers and regulators to reconsider their role in shaping processes. No “invisible hand” guides markets to equilibrium, so they should be more proactive in shaping ecosystems, rather than merely fixing market failures. Originality/value This research offers the first S-D logic-based investigation into the dark side of actors’ agency in shaping service ecosystems.
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Metz, Florence, Philip Leifeld, and Karin Ingold. "Interdependent policy instrument preferences: a two-mode network approach." Journal of Public Policy 39, no. 4 (July 30, 2018): 609–36. http://dx.doi.org/10.1017/s0143814x18000181.
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AbstractIn policymaking, actors are likely to take the preferences of others into account when strategically positioning themselves. However, there is a lack of research that conceives of policy preferences as an interdependent system. In order to analyse interdependencies, we link actors to their policy preferences in water protection, which results in an actor-instrument network. As actors exhibit multiple preferences, a complex two-mode network between actors and policies emerges. We analyse whether actors exhibit interdependent preference profiles given shared policy objectives or social interactions among them. By fitting an exponential random graph model to the actor-instrument network, we find considerable clustering, meaning that actors tend to exhibit preferences for multiple policy instruments in common. Actors tend to exhibit interdependent policy preferences when they are interconnected, that is, they collaborate with each other. By contrast, actors are less likely to share policy preferences when a conflict line divides them.
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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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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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Nasiritousi, Naghmeh, Mattias Hjerpe, and Karin Bäckstrand. "Normative arguments for non-state actor participation in international policymaking processes: Functionalism, neocorporatism or democratic pluralism?" European Journal of International Relations 22, no. 4 (July 26, 2016): 920–43. http://dx.doi.org/10.1177/1354066115608926.
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The participation of non-state actors in multilateral institutions is often portrayed as one way of decreasing the perceived legitimacy deficit in global governance. The literature on non-state actors has identified several ways in which these actors can enhance the legitimacy of intergovernmental organisations and global governance arrangements. Three partially competing normative arguments, or rationales, for the inclusion of non-state actors in international policymaking — functionalism, neocorporatism and democratic pluralism — have been identified. Whereas functionalism highlights the contribution of non-state actors to output legitimacy in terms of expertise, neocorporatism emphasises the inclusion of affected interests, and democratic pluralism claims that non-state actors increase input legitimacy through procedural values. These three normative arguments thus offer different understandings of the motives for the inclusion and representation of non-state actors in international negotiations and diplomacy. Through a single case study of United Nations climate diplomacy, we analyse the extent to which the three rationales for non-state actor inclusion are found in views held by state and non-state actors participating in the annual United Nations climate change conferences. Our results show that different actor groups place varying degrees of emphasis on the different rationales for non-state actor inclusion, even though the neocorporatist rationale remains most favoured overall. We discuss the implications of our findings for the democratic legitimacy of increasing participation of non-state actors in intergovernmental affairs and recent trends in the participation of non-state actors in the international climate change policymaking process.
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Payne, Brian K. "Medicaid Fraud: Actions, Actors, and Policy." Criminal Justice Policy Review 7, no. 3-4 (September 1995): 275–90. http://dx.doi.org/10.1177/088740349500700304.
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Health care reform and crime are two current controversial political issues. Combining the two topics, this research examines the criminal acts brought to the attention of Medicaid Fraud Control Units throughout the United States. To address the fraudulent actors and actions involved in Medicaid fraud, 572 incidents of Medicaid fraud reported to the units are analyzed. Also, findings from a survey of unit directors are included to describe the problems the units face battling the fraudulent activities. Findings indicate that various types of fraud are committed by all types of health care providers and societal changes make the task of prosecuting fraud problematic. Implications and recommendations are provided in the conclusion.
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Debono, Mark, Josef Lauri, and Irene Sciriha. "Balanced Centrality of Networks." International Scholarly Research Notices 2014 (November 3, 2014): 1–10. http://dx.doi.org/10.1155/2014/871038.
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There is an age-old question in all branches of network analysis. What makes an actor in a network important, courted, or sought? Both Crossley and Bonacich contend that rather than its intrinsic wealth or value, an actor’s status lies in the structures of its interactions with other actors. Since pairwise relation data in a network can be stored in a two-dimensional array or matrix, graph theory and linear algebra lend themselves as great tools to gauge the centrality (interpreted as importance, power, or popularity, depending on the purpose of the network) of each actor. We express known and new centralities in terms of only two matrices associated with the network. We show that derivations of these expressions can be handled exclusively through the main eigenvectors (not orthogonal to the all-one vector) associated with the adjacency matrix. We also propose a centrality vector (SWIPD) which is a linear combination of the square, walk, power, and degree centrality vectors with weightings of the various centralities depending on the purpose of the network. By comparing actors’ scores for various weightings, a clear understanding of which actors are most central is obtained. Moreover, for threshold networks, the (SWIPD) measure turns out to be independent of the weightings.
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Talapessy, Erits, and Hendry Hendry. "Analisis Node Dengan Metode Degree Centrality Dan Follower Rank Pada Tagar Twitter." JURIKOM (Jurnal Riset Komputer) 9, no. 2 (April 29, 2022): 367. http://dx.doi.org/10.30865/jurikom.v9i2.4053.
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Twitter is one of the most popular social media platform as a means of information and interaction with other people. Since its launch in 2006, Twitter has been classified as a microblogging site. Data in the form of node analysis (actors) on Twitter can be analyzed using a social network analysis method approach. This study was designed to analyze data on tweet containing the hastag “#LuhutPenghisapDarahRakyat”. This analysis uses the degree centrality method to identify influential nodes (actors) and the follower rank method to find popular nodes (actors). The data were 2803 nodes and 8030 edges data was taken from November 6,2021 to November 7,2021. The results show that the @arthan38836243 account is the actor with the higshest degree centrality value, which is 265 and the @teriwinarno account is the actor with the highest popularity value or follower rank, which is 0.988081224. This shows that influential actors are not necessarily the same as popular actor. This studt that among the 10 main actors with the highest degree centrality value, one of the actors was a buzzer account on Twitter
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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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Todd, Haley A. "Can a neurotypical actor align their speech acoustically to autistic speech patterns for roles in the media?" Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A206. http://dx.doi.org/10.1121/10.0023291.
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Canonically autistic characters are represented in television, but these roles have often been filled by neurotypical actors. One criterion of autism diagnoses includes differences in speech, often described as “monotonic” or “robotic.” This study comparatively analyzed the speech of a neurotypical actor in an autistic role with that of autistic actors within neutral and emotional conditions. Acoustic measures included fundamental frequency (F0), duration, and intensity. Speech samples (n = 87) were collected from the television show Atypical and acoustically analyzed using PRAAT. Results showed that the F0 range, syllable duration range, and intensity range for the neurotypical actor in the autistic role was significantly more similar to neurotypical actors than autistic actors, though the change in syllable duration between conditions was significantly more similar to autistic actors. Additionally, a survey was developed in which participants listened to audio clips of the speech samples rating them on a Likert scale of “typical” to “atypical.” Results showed that the neurotypical actor in the autistic role was rated as atypical. Overall, it was concluded that neurotypical actors may not acoustically align with autistic actors, but they are successful in the perceived effect of atypicality based on the perception of their speech patterns by an audience.
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Ko, JeongRyun, and Jason J. Jung. "Understanding asymmetric synergistic effect between movie actors." PLOS ONE 18, no. 4 (April 20, 2023): e0284613. http://dx.doi.org/10.1371/journal.pone.0284613.
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Synergistic effects between movie actors have been regarded as an important indicator when they are casted in a new movie. People simply assume that synergistic effect is symmetric. The aim of this study is to understand the asymmetric synergy between actors. We propose an asymmetric synergy measurement method for actor’s star-power-based costarring movies to understand the synergistic effect. When measuring the synergy, we designed it so that it would be possible to measure the synergy that varies with the time of the costarring movie’s release and the synergy of new actors. Measured synergies were analyzed on an actor’s synergy and asymmetric synergy between actors to examine the characteristics of highly synergistic actors and the asymmetric synergy between actors. Moreover, we confirmed that measuring synergies asymmetrically demonstrated better prediction performance in various evaluation metrics (accuracy, precision, recall, and F1-score) than measuring synergies symmetrically through the synergy prediction experiment using synergy and asymmetric synergy.
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Yunindyawati, Tri Agus Susanto, Eva Lidya, Lili Erlina, and Maulana. "Pemetaan Aktor dan Jaringan Hubungan Antar Aktor dalam Pembangunan Pedesaan." Jurnal Penyuluhan 18, no. 02 (September 14, 2022): 307–22. http://dx.doi.org/10.25015/18202238766.
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This research is to examine the actors mapping and the networking of actors relation in the wetland rural development process, the case study at Ulak Kembahang I district of Pemulutan Barat Ogan Ilir Regency province of South Sumatera. The purpose of this research is to analyzes the positive implications and consequences of the rule and position of each actor in the rural development process. Mix method is used in this study, combine the quantitative and qualitative method. The results shows that the rural development process not only determine by village government but also determine by many actors in the rural society for example the public figures, the religious leaders, the young man organization (Karang Taruna), the women’s organization (PKK), the women’s religious organization, the business women of songket craft, and the man and women’s activities. These actors are grouped in the three types, namely the individual actors, the organizational actors, and the combined of individual and organizational actors. Based on gender, the actors involved consisted of the women (44%) and the man (56%). Networking of the relations actors based on power/interest shows a positive relationship. The degree of power and interest of the each actor are varies from low, middle, and high, measured by lower score (11) to highest score (19).
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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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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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Oinonen, Minna, and Anne Maarit Jalkala. "Divergent goals in supplier-customer co-development process: an integrated framework." Journal of Business & Industrial Marketing 30, no. 3/4 (May 1, 2015): 290–301. http://dx.doi.org/10.1108/jbim-11-2012-0220.
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Purpose – Innovations in business-to-business markets often result from co-development activities between multiple actors, all of which have their own goals for the collaboration. The purpose of this paper is to study how the actors’ divergent goals reflect on their perceptions of the supplier-customer co-development process. Design/methodology/approach – A grounded theory approach is adopted to reveal the actors’ perceptions of eight studied supplier-customer co-development processes, of which, four also involve an expert partner. Findings – The findings suggest that because of the supplier’s aim to commercialize the resulting product, a supplier has a wider ranging perception of the co-development process, whereas the customer and expert partner focus on those phases that support their goals to improve the efficiency of the process or to develop new technology. Practical implications – As each actor operates according to its own goals and is involved in those phases of the process that facilitates their achievement, the study recommends that managers consider each actor’s goals which are reflected on their perception of the co-development. Originality/value – This is among the first studies to focus on the co-development process from multiple perspectives and include data from various actors involved in the process. The paper contributes to the co-development literature both by presenting actors’ divergent perspectives on the process and proposing an empirically grounded dyadic framework of the supplier-customer co-development process.
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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.
Full textAbstract:
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.