著者
野口 聡一 丸山 慎 湯淺 麻紀子 岩本 圭介
出版者
日本認知科学会
雑誌
認知科学 (ISSN:13417924)
巻号頁・発行日
vol.21, no.1, pp.29-44, 2014-03-01 (Released:2015-02-02)
参考文献数
20
被引用文献数
4

The purpose of the present study is to illustrate how social networking service (SNS) such as “Twitter [twitter.com]” works as a tool enhancing our communication between space and the ground. To do so, by using a text mining technique, we analyzed text data of an astronaut ’s daily reports, short compositions posted by the astronaut on Twitter, and reactions from ground to his tweeting (the primary author is the astro-naut himself. He wrote daily reports during his first space flight and tweeted during his second long duration space flight). In the analysis, we focused on the frequency of the use of some specific words and on changes in the astronaut’s verbal expressions over time. Results suggested that SNS communication had an impact on the astro-naut’s word choice when he narrated his experience in space and also contributed to facilitating interaction between the astronaut and ground. Based on these findings, we speculated that, due to its easiness, promptness and bidirectionality, SNS has great potential for becoming a powerful and fundamental tool to reduce our psychological distance to space, and by this token, contributes to developing scientific interests of general public in space exploration. This implies that, through SNS communication,we have already begun to experience space as a part of our everyday things on Earth.
著者
野口 聡一 湯淺 麻紀子 岩本 圭介 丸山 慎
出版者
日本計算機統計学会
雑誌
計算機統計学 (ISSN:09148930)
巻号頁・発行日
vol.28, no.1, pp.69-80, 2015

ツイッターをはじめとする現代のソーシャル・ネットワーキング・サービスの発展によって, 私たちのコミュニケーション活動は膨大なデータとしても記録され, そのデータの入手もきわめて容易に行えるようになった. しかしその一方で, 収集された膨大な情報の構造や特徴を解析し, その結果を何らかの目的に沿って有効に活用していくためには, どのような方法が適切かつ効率的なのかといった点については, 未だ十分な検討がなされているとはいえない.<br> そこで本研究では, ツイッターデータの分析に関する1つのモデルケースを示すことを目的として, テキストマイニングによる分析事例を紹介した. 対象としたデータは, 宇宙飛行士が宇宙滞在中および地球帰還後に投稿したツイッターの文章データとそれらに対する読者のリアクションデータであった. 分析の主たる結果から, 文章情報をつぶやくツイッターというフィールドにおいて, 読者が最も高い関心を寄せ, 即時的なリアクションを起こしていた内容は, 「写真」や「動画」であることが明らかになった. さらに本研究では, ツイッターデータの解析が, 単にデータの特徴を把握するだけに留まらず, それらを基にしたマーケティング領域 (例えば訴求力のある広報活動の展開) への応用可能性などについても示唆的な議論を展開した.
著者
村田 純一 河野 哲也 染谷 昌義 池上 高志 長滝 祥司 吉澤 望 石原 孝二 柳澤 田実 佐々木 正人 三嶋 博之 工藤 和俊 柴田 崇 丸山 慎
出版者
立正大学
雑誌
基盤研究(B)
巻号頁・発行日
2009

わたしたちの生活はつねに多様な人工環境によって支えられている。この「人工環境・内・存在」のあり方を生態学的現象学、技術哲学、生態学的心理学、さらには、認知科学や建築学などの知見を利用して解明すること、これが第一に取り組んだことである。第二に、この知見に基づいて、バリアフリーデザイン、ユニバーサルデザイン、そして、人間中心設計などの設計観の意義を明らかにし、具体的な人工物の製作過程への応用可能性を検討した。
著者
野口 聡一 湯淺 麻紀子 岩本 圭介 丸山 慎
出版者
日本計算機統計学会
雑誌
計算機統計学 (ISSN:09148930)
巻号頁・発行日
vol.28, no.1, pp.69-80, 2015 (Released:2017-05-01)
参考文献数
4

ツイッターをはじめとする現代のソーシャル・ネットワーキング・サービスの発展によって, 私たちのコミュニケーション活動は膨大なデータとしても記録され, そのデータの入手もきわめて容易に行えるようになった. しかしその一方で, 収集された膨大な情報の構造や特徴を解析し, その結果を何らかの目的に沿って有効に活用していくためには, どのような方法が適切かつ効率的なのかといった点については, 未だ十分な検討がなされているとはいえない. そこで本研究では, ツイッターデータの分析に関する1つのモデルケースを示すことを目的として, テキストマイニングによる分析事例を紹介した. 対象としたデータは, 宇宙飛行士が宇宙滞在中および地球帰還後に投稿したツイッターの文章データとそれらに対する読者のリアクションデータであった. 分析の主たる結果から, 文章情報をつぶやくツイッターというフィールドにおいて, 読者が最も高い関心を寄せ, 即時的なリアクションを起こしていた内容は, 「写真」や「動画」であることが明らかになった. さらに本研究では, ツイッターデータの解析が, 単にデータの特徴を把握するだけに留まらず, それらを基にしたマーケティング領域 (例えば訴求力のある広報活動の展開) への応用可能性などについても示唆的な議論を展開した.

2 0 0 0 OA 指揮者の身体

著者
丸山 慎
出版者
日本認知科学会
雑誌
認知科学 (ISSN:13417924)
巻号頁・発行日
vol.11, no.2, pp.83-108, 2004 (Released:2007-04-13)
参考文献数
21
被引用文献数
4

The present study describes the physical features and the musical effects of expressive gestures performed by a professional orchestra conductor including a preliminary analysis of interpersonal relationships between a conductor and an orchestral player. I videotaped sequences of orchestra rehearsals by Michiyoshi Inoue (Conductor) and the Tokyo Philharmonic Orchestra and used this data in the following analysis. In Analysis 1, I measured the timings and the degrees of synchronization between the physical directions of a conductor and the bowing actions of a concertmaster (a principal violinist regarded as a leader of orchestra) to show the emergent processes of mutual coordinated timing structures. Results show that the largest time differences between their actions were observed on the first day of rehearsals, but those time lags were gradually reduced as the rehearsals proceeded. The longest time lags on the first day may reflect that the conductor made strong efforts to convey his musical intentions to the orchestra rather than to control the precise and/or mechanical timings for their ensemble. In Analysis 2, I sought to investigate the musical and expressive aspects of conductor's gestures on the first day. Through the detailed comparisons with a classification table of the conventional conductor's gestures compiled by Braem & Bräm (2000), the outward appearances and the musical contents of the conductor's gestures on the first day were coded. The conductor and five of orchestral players were interviewed in order to check the conductor's musical intentions underlying his gestures and the players' interpretations or impressions that were conveyed by that conductor's gestures. Findings reveal that the conductor flexibly produced many gesture variations not only in the physical appearances but also in the musical contents, which were beyond the conventional patterns. In some cases the multiple musical directions were simultaneously embodied in a conductor's single gesture in a specific manner which represented the compositional structures. Discussion of these results suggests that the conductor's gestures can be considered as dynamic activities with flexibility and simultaneous multiplicity in meaning, and that these features in the real conductor's gestures must contribute to organizing interpersonally coordinated relationships with the orchestra.
著者
丸山 慎
出版者
日本認知科学会
雑誌
認知科学 (ISSN:13417924)
巻号頁・発行日
vol.14, no.4, pp.471-493, 2007 (Released:2009-04-24)
参考文献数
47
被引用文献数
1

The present study illustrates a role that the bodily gesture plays in the production of musical artistry. I especially focused on its expressive (i.e. rhetorical) function, which enables musicians to effectively realize and communicate their musical interpretations. From interviews with musicians ranging in level from student to professional, and from observations of conductor′s gestures videotaped in orchestra rehearsals, I report three cases showing how essential the sense of bodily movement contributes to finding the appropriate expression of music. In case 1, an interview with a pianist⁄conductor, Ryusuke Numajiri, I demonstrate examples of gesture embedded in music composition that constrains hand shape in the context of piano playing. According to Numajiri, such a habit very likely reflects each composer′s motor capacity or preference of finger patterning, which makes a pianist′s hands and fingers form “composer-specific” motion patterns. In case 2, through observations of videotaped data on expressive gestures shown by two conductors, Myong-Whun Chung and Tetsuro Ban, I compare features of their gestures when they conduct the same piece. Results showed that, at the same point of the piece, both conductors represented nuances of the sound with very similar gestures, suggesting that the character of the musical sound has an intrinsic tendency to arouse a specific (similar) type of bodily gesture. In case 3, I introduce examples of bodily movements executed by a conductor, Uriel Segal, which produced an intended musical atmosphere. My main finding was that he clearly demonstrated that conductor′s gestures, including beating motions all embody musical requirements that lead the orchestra in the proper direction. Further, I observed that his conducting also displayed a sense of being still, “how to stop moving the body” at some points in the music as well as a sense of being in motion at other times. Discussion of all the findings suggests that there is an intrinsic link between musical expression and bodily sense, which I believe offers insight into the origins of music and experience of musical artistry.