OpenLLM-France/wikimedia huggingface dataset:
# Models and Theories in Human-Computer Interaction/The Importance of Norman's Design Principles

In the first chapter “The Psychopathology of Everyday Things”, Norman elaborates on the 6 important principles of design including affordance, signifier, constraints, mapping, feedback (together making up discoverability principle) and conceptual model. As an interface designer, these six principles set up a consistent foundation for my design strategy across different products that I work on. I’d like to use the following examples that I found from my daily design tasks to reiterate the importance of these principles.
Affordance: Scrolling has been a very common practice for web pages. Just a small touch of covering the elements in the bottom of page provides a strong affordance to user that there is more content below and therefore it prompts user to scroll.
Signifier: As scrolling a page can be long and time-consuming task (infinite scrolling), having a small signifier like “Back to top” icon or button in the bottom of the page provides a quick way for user to move back up.
Constraints: Creating a UI kit provides good constraint for the design process of a product. It helps to avoid introducing new elements every time a new page/feature gets designed.
Mapping: In crowded interfaces such as a landing page or a dashboard, grouping together the elements that share a common theme/content/visual traits and arranging them in the hierarchy of importance provides a good natural mapping for users to digest through the information.
Feedback: The use of simple animation recently has been used more often in mobile applications as it provides instant feedback on every step user goes through to accomplish a task.
Conceptual model: As much as designers want to keep the design clean and simplified, having obvious spelled-out text for important tasks (versus using highly abstract icons) provides users immediate understanding of they are supposed to do.
# Models and Theories in Human-Computer Interaction/The Law of Accelerating Returns
### The Law of Accelerating Returns (Brian Finn)

The Law of Accelerating Returns that was proposed by Ray Kurzweil takes the well-known Moore’s Law a step further to be applied to technology growth as a whole. Kurzweil discusses that the observation of technology evolution can appear linear to an observer of a short duration of time, much like two close points can appear linear even though their greater curve is actually exponential. This discrepancy in understanding of the proposed rate of technology advancement is referred to by Kurzweil as the “intuitive linear view”. He argues that there is clear data for the “historical evidential view” in such technology evolution trends as the speed of DNA sequencing, communication speeds and technology miniaturization. Kurzweil discusses that this theory changes the way we should talk about technology rate to consider the Law of Accelerating return; “ So we won’t experience 100 years of progress in the 21st century — it will be more like 20,000 years of progress (at today’s rate). .”
He applies his theory with predictions how technology will evolve to allow for computers that have the capacity of a human brain, then the integration of the human physical brain to the digital world, and lastly something called the Singularity where all human intelligence is unified into one super intelligent entity. Reverse engineering the brain to understand the computing mechanics is currently underway with techniques such as brain scanning and pattern recognition of brain activity. Although technology evolution has the momentum and track record to continue on its wild trajectory, Kurzweil touches upon possible conditions that can impede technology evolution. Such examples as a national economy and biological engineering can have complex social, ethical, and political influences on the rate of technological advancement.
Kurzweil, Ray. "The Law of Accelerating Returns". http://www.kurzweilai.net/the-law-of-accelerating-returns. Retrieved June 16, 2015.
# Models and Theories in Human-Computer Interaction/The Key is a Visual Metric

Individuals are motivated and/or deterred to interact based on many diverse factors regardless of what ‘platform’ is available to them. Of course, a platform that allows the group members to coordinate their interaction more easily will reduce confusion and increase productivity. A more complex or inconvenient collaboration platform will increase confusion and decrease productivity. So, ultimately, while you want a collaborative platform, like WikiBook, there must be an accountability metric in place if a project team (especially with distributed members) wants to maximize their efficiency. If you cannot measure participation, you cannot manage it.
WikiBook is effective as a way of sharing information but it does not immediately motivate group members to ‘interact’. Specifically, it does not encourage members to post discussion points and solicit feedback. When looking at WikiBook as a support tool for Computer Supported Cooperative Work (CSCW) it fulfills a basic need of information sharing, however, WikiBook does not require subjects to interact but does allows them to passively input information.
Today we must also consider the fact that business is quickly becoming the workplace of a generation that has had computer based collaboration tools their entire lives. In many situations, there is no longer a need for an on-the-job learning curve on how to use a tool like WikiBook, WikiPedia or any Wiki environment. These skills are quickly becoming basic skills that all college students acquire as they move thru their education. This is a whole new level of sophistication that must be considered by developers.
I believe we need a new generation, beyond WikiBook, of CSCW tools if we want to reduce the ‘process loss’ that results from friction in group projects. This is specifically true when working with a distributed team. We must have a tool that clearly brings visibility to interaction levels of each team member. Building on the concepts of Zajonc (1965), that show that we can see an increase in performance when a task is performed in the presence of other people, we need to create this competitive environment in our group projects based on visual metrics.
# Models and Theories in Human-Computer Interaction/The Wiki and the Active User

A great benefit to the Wikibook is that it is great for cross collaboration across many areas and can be shareable to anyone around the world. This means there can be input from many different people across many different disciplines and can create a great resource of knowledge and power.
The Wikibook fits well into the Activity Theory because it focuses on work groups and participation, has humans anchored in the collective and adaptation, appropriation of new tools and artifacts. What that means is that the Wikibooks are created by many humans coming together. When entering and updating a Wikibook the user is sitting at their computer and most likely feels much more comfortable typing something than speaking about it in front of a group - so you get the participation, just in a more comfortable setting for a lot of users.
# Models and Theories in Human-Computer Interaction/The investigation based on a single theory (Fitts' Law) might not help for the success.

My previous discussion regarding the limitation of Fitts’ law on mobile device introduced an attempt to solve the motion-behavioral problem, a finger gesture-based keyboard design. The solution is named “8pen”, illustrating that the most natural finger gesture on a touch panel is circling, and drawing continuous “8”s on the screen. I previously mentioned 8pen in a positive manner, an alternative suggesting an innovative way to type letters with ease. However, at this point, I’d like to see this application with other theories, GOMS, TAM and Diffusion theory, and discuss its limitation.
With a lens of Fitts’s law, 8pen seems innovative, providing physical ease of use within the comfortable reach of fingers. It gained big applausewhen it launched on the market several years ago. However, the innovative handwriting tool has failed to be a "dominant design" (Schilling, 2005), because the QWERTY keypad still dominates the mobile keypad. The reason can be explained by GOMS models. The Goal, typing a message will be the same. On the other hand, the following three elements, Operator, Method and Selection are all newly created. Instead of key stock operation, it suggests circling gesture; none of the Methods is previously mastered with cognitive skills; thus, Selection becomes ambiguous. The lack of skilled behavior (Carroll, 2003) makes laymen complex. As advertised in the video, the new method might provide psychological comfort -“perceived usefulness and ease of use”(Davis, 1989) to try the new interface. But the complexity of behavior from the new interface (environment) discourages the user to try relentless problem solving to build skilled behavior. (Carroll, 2003)
At the end, the tool has failed to jump into the safety zone of Early Adopters from innovators and stays in the first category of Roger’s innovation (Rogers, 2010).
* ↑ Even though it touches other theories, the majority of the discussion will be focused on GOMS. Thus, I place the posting under chapter2.
* ↑ http://bits.blogs.nytimes.com/2010/11/01/8pen-hopes-to-reinvent-the-mobile-phone-keyboard/?_r=0
* ↑ http://www.huffingtonpost.com/2011/01/05/8pen-android-typing-app_n_804782.html
* ↑ http://www.wired.co.uk/news/archive/2010-11/01/the-8pen-text-input-android-touchscreens
* ↑ Schilling, M. A. (2005). Strategic management of technological innovation. Tata McGraw-Hill Education.
* ↑ Carroll, J. M. (Ed.). (2003). HCI models, theories, and frameworks: Toward a multidisciplinary science. Morgan Kaufmann.
* ↑ Davis, F. D. (1989). Perceived usefulness, perceived ease of use, and user acceptance of information technology. MIS quarterly, 319-340.
* ↑ Carroll, J. M. (Ed.). (2003). HCI models, theories, and frameworks: Toward a multidisciplinary science. Morgan Kaufmann.
* ↑ Rogers, E. M. (2010). Diffusion of innovations. Simon and Schuster.
# Models and Theories in Human-Computer Interaction/The importance of Perceived Usefulness and Perceived Ease of Use in TAM

The importance of perceived ease of use and perceived usefulness in TAM
For an individual or organization to transition from an early phase where they are skeptical about a new technology to a final phase where they are fully committed to that very same technology, it is very much about how well they understand the system and how efficient the new system has helped to improve their workflow. To get from that early phase of doubt to the final phase of user accepting the technology, perceived ease of use and perceived usefulness both play a very important role.
At OrderWithMe where I work, we create an online platform for retailers and suppliers across the U.S to create and manage their orders, invoices and make payments. Understanding that a high volume of invoices and orders on a daily basis could potentially present an overwhelming data interface for our user upon signing in, we spend a good amount of time working on mapping all important tasks, organizing them and consequently minimizing our interface to the simplest form possible. As a result, even though most of our customers are not tech savvy and usually are not comfortable with learning new software, the fact that the interface is very simple to use with consistent feedback gradually makes them feel comfortable. At this point, perceived easy of use moves them one step closer to accepting the new technology (most of them used to manage all invoices & orders manually through paper and phone calls).
Once our users find it comfortable to get started with the new system, without the initial burden of skepticism, they immediately save time and get more work done using our new platform (given that our platform is robust and fully functional). At this point, perceived usefulness in TAM works its magic as our customers are now able to perform their jobs much efficiently. As a final result, their behavioral intention is formed and they are now convinced this new technology is what they need.
# Movie Making Manual/Pitching/Synopsis

A synopsis is the kind of brief summary you might read on the back of a video box, and generally doesn’t run for more than one page. Without going into any great detail, it describes the main character and what they are up against, as well as the major turning points in the screenplay. A synopsis is a useful pitching tool, but it’s also a very useful way for screenwriters themselves to articulate what the story is basically about.
# Movie Making Manual/Pitching/Elements
## What is an "Element"

Remember that seventies band Earth, Wind & Fire? Actually, in film parlance, an element is not one of the four classical elements - nor one of the 101 modern elements. It is, instead, a well-known cast or crew member. Jude Law is an element, as is Yuen Woo-ping, the famed fight director.
If you have an element, studios and independent investors are inclined to give you money. You will get more money if you have signed Jude Law than if you have signed Yuen Woo-Ping, but both are enough to make your project a "go."

## How to get an Element

* The Harvey Keitel Part
* This phrase was coined by Affleck and Damon and the method was explained by Peter Biskind in his great book 'Down and Dirty Pictures' and expanded upon during the launch of this book in the UK. Here's Peter:
* "You really have to have a good script and a fairly bankable star attached, just like Jack Nicholson in 'About Schmidt'. That's a little bit of an exaggeration. The paradigmatic story, I think, is the way Matt Damon and Ben Affleck went about getting financing for 'Good Will Hunting' they knew the story of Quentin Tarantino attracting Harvey Keitel for 'Reservoir Dogs' and Harvey Keitel being the key factor getting Live Entertainment to finance the film for $1 million. So they wrote what became the Robin Williams part and they used it in 'Good Will Hunting' and used to refer it as the "Harvey Keitel part".
* That's what they did. They wrote a very self-contained part that a major actor could do in a week so it wouldn't interfere with his or her schedule, and they gave - I think Robin Williams got 30% of the gross for doing that tiny part. They got their deal based on the script and when Miramax got hold of it, they started to do what they often do which is the film went nowhere. But when Robin Williams committed to that role, it got made in a minute."
* So the key to attracting a big star for a small film is to write a self contained part which you can shoot in one location in under a week. This they can easily fit into their schedule and so it becomes attractive to them.
First, you need to decide who would be great for your part. A small part for a crotchety grandfather who used to be a cop? Try Clint Eastwood. Once you have decided who you want, you need to attempt to contact them. Direct contact is always best; if you know anyone who knows them, or if you can arrange to bump into them, take these options. If direct contact is not possible, make contact with their agent or manager. Here are some resources for finding managers or agents.
* Who Represents
* IMDB Pro
# Movie Making Manual/Pitching

Making a film is a group endeavour. You cannot do it alone and you will need to convince others to come along for the ride. Sharing your idea for the film and the story of the film is called "pitching" and if you want to be a filmmaker you need to get good at it.

## Hook

Describe your film in a sentence. Few have done better than the Alien description of "Jaws in space." But beware - "movie x in setting y" or "movie a meets movie b" descriptions (known as "High Concept") are becoming clichéd. Don't try and force your one-line description into one of these if it doesn't fit.

## Use Descriptive language

Be as precise as possible with your language. Which is better?
* Amores Perros opens with a shot of a dog.
* Amores Perros opens with a shot of a slavering pit bull terrier.
When pitching a film you need to use visual language. Make the audience of your pitch "see" the film you are describing - sell the sizzle not the steak.
# Movie Making Manual/Pittsburgh
### Pittsburgh Filmmakers

A great resource for filmmakers in western Pennsylvania is Pittsburgh Filmmakers. Filmmakers (as it is often referred to locally) offers for-credit classes through local colleges and universities such as Point Park University, the University of Pittsburgh, and Carnegie Mellon University as well as certificate programs and non-credit courses. They also have membership plans for filmmakers, photographers, and community members who are not taking classes. Filmmakers has an in-house equipment office, editing suites, darkrooms, two screening rooms, and a sound stage.
# Movie Making Manual/Post-production/Digital Intermediate

Take a look at the papers here for more info on DI: http://www.digitalpraxis.net/
# Movie Making Manual/Pitching/Logline

A logline is a very short, catchy summary of the story, usually not longer than one sentence. It serves as a way to communicate with great efficiency what a story or script is about. Typically a logline is used to help industry people quickly determine whether the story in question is one which a producer, director, or studio wishes to make. The logline first came into being in the script vaults of the old studios. Loglines were often written on the cover or even the spine of a screenplay, allowing a producer or director of a certain genre to quickly scan hundreds of scripts and narrow their search to just scripts which were in the genre they wished to produce. A good logline contains the following three parts:
* Who the Main Character is (MC, also known as the Protagonist).
* What the Main Conflict is (i.e. what the MC wants and who or what is stopping them).
* What is at Risk, if the MC fails.
Writing a good logline is very difficult for most people because of a failure to understand the three basic tenets of a good logline as outlined here.
# Movie Making Manual/Nuke

This Module is part of the Movie Making Manual wikibook
Nuke is another highend compositor. from Digital Domain
http://www.d2software.com/nuke.php
# Movie Making Manual/North Carolina

The best "one stop" location for information on the Film Industry in North Carolina can be found at Charlotte Regional Partners - Film Production Office.
Another website to research is the Charlotte Film and Video Association.
The State of NC has been host to several block busters including "The Patriot", "Gettysburg", and many more. Visit the sites for more details.
Central Piedmont Community College is now offering certificate courses in Film and Video Production.
# Mother 3/Characters/Kumatora

Kumatora (クマトラ, Kumatora) is a tomboyish princess with bright pink hair and a playable character in Mother 3. She is the only female party member. A skilled PSI user, she shares characteristics of both Paula and Poo from EarthBound. Her weapons of choice are gloves and gauntlets. She is the princess of Osohe Castle, according to other characters.
Through the game, her PSI abilities grow, allowing her to defeat stronger and stronger foes as the game progresses. The main gameplay of Mother 3 relies on the party members battling and receiving Experience Points (called EXP in the game) to level up. Both Kumatora and Lucas (the two PSI users you can control) learn PSI as they level up.
Kumatora is the only character in the game who can learn the powerful PSI Starstorm and PSI Ground attacks, among other defensive PSI moves.

## Trivia

* Unused sprites of Kumatora "teleporting down" in an outfit reminiscent of those worn by Magypsys have been found via debug room.
* In the 2nd Chapter of the game, Wes (father of the main character Duster) has to dance to open a door to receive an egg. Files have been found on the internet of someone animating Kumatora to do the dance as well.
* Kumatora's name roughly translates to "bear tiger" (kuma + tora).
# Motivation and Emotion
## Table of Contents

* Introduction
* Motivation
* Emotion
* References

## Units of study

* Motivation and emotion (Wikiversity)

## Related pages in other books

* Cognitive Psychology and Cognitive Neuroscience/Motivation and Emotion
* Introduction to Psychology/Motivation and Emotion
# Mouse Trap

Mouse Trap (originally known as the Mouse Trap Game) is a board game released by the company Ideal in 1963 and published by Hasbro. It revolves around players, who are presented as mice, trying to use a Rube Goldberg-style contraption to capture opponents' mice. The game itself has seen several modifications to its aesthetics over the years, and most notably an overhaul of the rules in the 2010s. This wikibook will detail how to play Mouse Trap.
* Original Rules
** Original Trap - Assembly
* Revised Rules
** Revised Trap - Assembly
# Motivation and Emotion/Introduction

The target audience for this book is undergraduate psychology students who are doing a course on Motivation and Emotion. The book is designed to accompany a Wikiversity course of the same name: v:Motivation and Emotion.
# Motivation and emotion/Book/2014/Cultural differences in emotion

How Does Culture Influence Our Emotions?
# Motivation and emotion/Book/2015/Motivational interviewing

Motivation and emotion/Book/2015/Motivational interviewingMotivational Interviewing: What is it and how can it be used?
Motivational Interviewing is a counseling method that works on enhancing a patient's in order to change their behaviour. Originally developed by Professor Stephen Rollnick, Ph.D. and Professor William R Miller, Ph.D. It is a goal-oriented, client-centered counseling style that explores and resolves a patient's ambivalence.
First, there are 4 basic interaction skills.
1. Being able to ask open-ended questions ⇒Avoid asking questions that can answered with a "yes" or with a "no"
2. Ability to provide affirmations
3. Capacity for reflective listening
4. Ability to provide clients with summary statements