The Experts below are selected from a list of 219 Experts worldwide ranked by ideXlab platform
Naomi T. Fitter - One of the best experts on this subject based on the ideXlab platform.
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HRI (Companion) - Comedy by Jon the Robot
Companion of the 2020 ACM IEEE International Conference on Human-Robot Interaction, 2020Co-Authors: John Vilk, Naomi T. FitterAbstract:Social robots might be more effective if they could adapt in playful, comedy-inspired ways based on heard social cues from users. Jon the Robot, a robotic Stand-Up Comedian from the Oregon State University CoRIS Institute, showcases how this type of ability can lead to more enjoyable interactions with robots. We believe conference attendees will be both entertained and informed by this novel demonstration of social robotics.
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HRI (Companion) - Jon the Robot Goes Hollywood
Companion of the 2020 ACM IEEE International Conference on Human-Robot Interaction, 2020Co-Authors: John Vilk, Naomi T. FitterAbstract:Stand-Up comedy performance is one interesting environment in which to evaluate social robot abilities; the natural format and expectations of the art form make it well suited for experimentation. We brought Jon the Robot, our autonomous robotic Stand-Up Comedian, to over 20 performances in Los Angeles and recorded video footage from some of these performances. Our video is an entertaining compilation of this footage in a mock movie trailer format, including light details about the capabilities of the system.
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Comedians in cafes getting data evaluating timing and adaptivity in real world robot comedy performance
Human-Robot Interaction, 2020Co-Authors: John Vilk, Naomi T. FitterAbstract:Social robots and autonomous social agents are becoming more ingrained in our everyday lives. Interactive agents from Siri to Anki's Cozmo robot include the ability to tell jokes to engage users. This ability will build in importance as in-home social agents take on more intimate roles, so it is important to gain a greater understanding of how robots can best use humor. Stand-Up comedy provides a naturally-structured experimental context for initial studies of robot humor. In this preliminary work, we aimed to compare audience responses to a robotic Stand-Up Comedian over multiple performances that varied robot timing and adaptivity. Our first study of 22 performances in the wild showed that a robot with good timing was significantly funnier. A second study of 10 performances found that an adaptive performance was not necessarily funnier, although adaptations almost always improved audience perception of individual jokes. The end result of this research provides key clues for how social robots can best engage people with humor.
John Vilk - One of the best experts on this subject based on the ideXlab platform.
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HRI (Companion) - Comedy by Jon the Robot
Companion of the 2020 ACM IEEE International Conference on Human-Robot Interaction, 2020Co-Authors: John Vilk, Naomi T. FitterAbstract:Social robots might be more effective if they could adapt in playful, comedy-inspired ways based on heard social cues from users. Jon the Robot, a robotic Stand-Up Comedian from the Oregon State University CoRIS Institute, showcases how this type of ability can lead to more enjoyable interactions with robots. We believe conference attendees will be both entertained and informed by this novel demonstration of social robotics.
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HRI (Companion) - Jon the Robot Goes Hollywood
Companion of the 2020 ACM IEEE International Conference on Human-Robot Interaction, 2020Co-Authors: John Vilk, Naomi T. FitterAbstract:Stand-Up comedy performance is one interesting environment in which to evaluate social robot abilities; the natural format and expectations of the art form make it well suited for experimentation. We brought Jon the Robot, our autonomous robotic Stand-Up Comedian, to over 20 performances in Los Angeles and recorded video footage from some of these performances. Our video is an entertaining compilation of this footage in a mock movie trailer format, including light details about the capabilities of the system.
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Comedians in cafes getting data evaluating timing and adaptivity in real world robot comedy performance
Human-Robot Interaction, 2020Co-Authors: John Vilk, Naomi T. FitterAbstract:Social robots and autonomous social agents are becoming more ingrained in our everyday lives. Interactive agents from Siri to Anki's Cozmo robot include the ability to tell jokes to engage users. This ability will build in importance as in-home social agents take on more intimate roles, so it is important to gain a greater understanding of how robots can best use humor. Stand-Up comedy provides a naturally-structured experimental context for initial studies of robot humor. In this preliminary work, we aimed to compare audience responses to a robotic Stand-Up Comedian over multiple performances that varied robot timing and adaptivity. Our first study of 22 performances in the wild showed that a robot with good timing was significantly funnier. A second study of 10 performances found that an adaptive performance was not necessarily funnier, although adaptations almost always improved audience perception of individual jokes. The end result of this research provides key clues for how social robots can best engage people with humor.
Oliver Double - One of the best experts on this subject based on the ideXlab platform.
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The origin of the term ‘Stand-Up comedy’ – update
Comedy Studies, 2018Co-Authors: Oliver DoubleAbstract:This article discusses a possible first usage of the term ‘Stand-Up Comedian’, used in a column in the Yorkshire Evening Post from November 1917 to describe a performer called Finlay Dunn. This is ...
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The origin of the term ‘Stand-Up comedy’
Comedy Studies, 2017Co-Authors: Oliver DoubleAbstract:ABSTRACTThe Oxford English Dictionary gives the earliest usage of the term ‘Stand-Up comic’ as 1966, but in fact it has been in use for much longer. This short article searches newspapers and trade publications like Variety and The Stage to try and find the earliest uses of the related terms ‘Stand-Up comedy’, ‘Stand-Up Comedian’ and ‘Stand-Up comic’ in a search for their origin.
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Getting the Joke: The Inner Workings of Stand-Up Comedy
2013Co-Authors: Oliver DoubleAbstract:'This is the kind of book that troubles grey-suited committees of academic peers. It's too enjoyable. But that, given its subject, is just what it ought to be, and it treats that subject seriously ...There isn't a "dull" page anywhere in the book.' - Professor Peter Thomson, Studies in Theatre and Performance Comedy is changing: Stand-Up Comedians routinely sell out stadia, their audience-figures swollen by panel-show appearances and much-followed Twitter feeds. Meanwhile, the smaller clubs are filling up, with audiences as well as aspirants. How can we make sense of it all? This new edition of Getting the Joke gives an insider's look at the spectrum of modern comedy, re-examining the world of Stand-Up in the internet age. Drawing on his acclaimed first edition, Oliver Double focuses in greater detail on the US scene and its Comedians (such as David Cross, Sarah Silverman, Louis CK, Demetri Martin and Margaret Cho); the 'DIY' comedy circuit and its celebrated apostles and visionaries, from Josie Long to Stewart Lee; the growing importance of the solo Stand-Up show; the role played by Twitter (including an interview with the organiser of the world's first comedy gig on Twitter), and the driving force that is the TV guest slot, be it on Mock the Week or Live at the Apollo. With expanded sections on joke construction, as well as ways to challenge the audience, and a host of new and updated exercises to guide the aspiring Comedian, this new edition of Getting the Joke is the only book to combine the history of Stand-Up comedy with an analysis of the elements and methods that go into its creation. Featuring a range of interviews with working Comedians - from circuit veterans to new kids on the block - combined with the author's vast experience, this is a must read for any aspiring Stand-Up Comedian.
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Not the Definitive Version: an Interview with Ross Noble
Comedy Studies, 2010Co-Authors: Oliver DoubleAbstract:ABSTRACTIn this interview, the celebrated improvisational Stand-Up Comedian Ross Noble discusses his early influences, starting his career in the anarchic Newcastle comedy scene of the early 1990s, the gruelling experience of building his career in London, the process of becoming successful, the creative possibilities of the DVD format, and his current working processes.
Salamun, Rohmawati Binti - One of the best experts on this subject based on the ideXlab platform.
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Speech production planning of drew lynch a stuttering Stand-Up Comedian
2019Co-Authors: Salamun, Rohmawati BintiAbstract:مستخلص البحث يعبر الإنسان الكلمات العديدة في الأوقات المتنوعة (ليفيلت، 1999). تنتج الكلمات أو التعبيرات اللسانية في العملية المخصصة أو التصميم المعين لأجل المواصلة بين الناس باللغة. لذالك معظم البحوث القدماء بحثوا في أخطائات التعبير، وبذالك لإظهار السحنة والمنظورة الحديثة لدى البحث فيما يتعلق بتصميم إنتاج التعبيرات عن المشاكل التي أثرتها، بحث هذا البحث في المهرج المتأتأ –دريو لينج، وهو الفائز الثاني في America’s Got Talent سنة 2015. ثم رأت الباحثة على أن ستاند أب كوميدي وهو المونولوج أحق بحثه من التعبيرات السكينة والرسمية. يتعلق هذا البحث بملاحظة طريقة دريو لينج (ستاند أب الكوميديّ المتأتأ) في تصميم تعبيراته عند كل المراحل بنموذج تصميم إنتاج التعبيرات. لاحظت الباحثة التعبيرات التي عبرتها دريو لينج في ظرفه المتأتأ بالفيديو المألوفة من تقديماته لمسابقة طلب الموهبة America’s Got Talent الدور الأول في سنة 2015. و خمسة الفيديو التي تكون إلى النص المكتوبة (الإملاء) والنسخة الصوتية. ثم تحلل البيانات –التعبيرات المتأتأة لدريو لينج- بطريقة ضم مثل نموذج إنتاج التعبيرات لفرومكين (1971)، جاريت (1975)، وديل (1986). وبعد ذالك تأكد النموذجات المضمومة بالنظريات الإضافية منها لجريسي (1989) في شكل المواصلة الإستنتاجي، لتريير (1931) في شكل الدلالة المعجمية أو نظرية المجال الدلالي (The Semantics Field Theory)، والخبراء في مراحل النحو اللساني، و ليفيلت (1989) في العملية الصوتية. وأسبابها هي أن كل مراحل المواقع التي فيها تصميم إنتاج التعبيرات تحتاج إلى البراهن الواضح. بجانب ذالك، من الناحية المنهجية، استخدمت الباحثة المنهج الوصفي النوعي لخطة البحث. أما نتائج البحث هي يدل أن لهذا البحث الموضوع المخالف للبحوث القدماء. يدل البحث أن مجرى وقوع التأتأة في تقديم ستاند أب كوميدي، قدم دريو لينج مراحل تصميم إنتاج التعبيرات المرتبة. ومن كلا النسختين (إما الإملاء والصوتي) أن المراحل: العملية الإستنتاجية، العملية المعجمية، العملية النحوية، والعملية الصوتية كلهن المكشوفات. ولتعزيز هذا البحث، يقوم البحوث القادمون بسبر اللغة الفكاهية في النقطة التالية من تصميم إنتاج التعبيرات. ABSTRACT Human generates spoken words in a vast time and amount (Levelt, 1999). These spoken words or speech is produced in a certain process or planning to able human to communicate in languages. For the previous studies are investigated on speech errors, to give a new nuance and perspective of speech production planning study on problems affecting speech, this research examines a stuttering Stand-Up Comedian – Drew Lynch, second winner of America’s Got Talent 2015. Furthermore, the researcher assumed that Stand-Up comedy as a monologue is worth-conducted besides casual and formal conversation. This study observes how Drew Lynch (a stuttering Stand-Up Comedian) plans his speech in each phase of speech production planning model. The researcher observed the speech that Drew Lynch uttered while he was stuttering on videos compilation of his performances during his competition age in America’s Got Talent season 1 in 2015. There were 5 videos that is transcribed into written (orthography) text and phonetics transcription. The data – in the form of stuttering utterances – then analysed by the grouped models of speech production planning from Fromkin (1971), Garret (1975), and Dell (1986). The grouped models were, then, strengthen by some additional frameworks such as Grice (1989) on inferential model of communication, Trier (1931) on lexical semantic or The Semantics Field Theory, some experts on spoken syntactic frame, and Levelt (1989) on phonological processing. It is due to the fact that each stage of speech production planning occurrence is needed to be proved. Meanwhile, methodologically, the researcher employed descriptive qualitative study as the research design. The result shows that this research has a converse topic than the previous studies. This research shows that during the stuttering occurrence on the Stand-Up comedy performance, Drew Lynch represents the stages of speech production planning orderly. From the transcription (both orthography and phonology), the stages: inferential process, lexical stage, syntactic framed, and phonological process are detectable. To follow-up this study, future research can be conducted by exploring the humour language in further phase of speech production planning. ABSTRAK Manusia mengucapkan kata-kata dalam waktu dan jumlah yang banyak (Levelt, 1999). Kata-kata atau ujaran lisan ini diproduksi dalam proses atau perencanaan tertentu agar manusia mampu berkomunikasi dalam bahasa. Oleh karena penelitian terdahulu banyak meneliti tentang kesalahan bicara, untuk memberikan nuansa dan perspektif baru pada penelitian tentang perencanaan produksi ujaran terkait masalah-maalah yang mempengaruhi ujaran, penelitian ini membahas seorang Stand-Up Comedian yang gagap – Drew Lynch, pemenang kedua America’s Got Talent 2015. Selanjutnya, peneliti berasumsi bahwa Stand-Up komedi yang merupakan sebuah monolog layak diteliti daripada percapakan santai dan formal. Penelitian ini adalah tentang mengamati cara Drew Lynch merencanakan ujarannya di setiap fase dalam model perencanaan produksi ujaran. Peneliti mengamati ujaran yang diucapkan oleh Drew Lynch dalam keadaannya yang gagap pada kompilasi video dari penampilannya selama berkompetisi di ajang pencarian bakat America’s Got Talent musim 1 pada tahun 2015. Ada 5 video yang ditranskripsi menjadi teks tulis (ortografi) dan transkripsi fonetik. Data – ujaran gagap Drew Lynch – kemudian dianalisis dengan menggunakan pengelompokan dari model produksi ujaran milik Fromkin (1971), Garret (1975), dan Dell (1986). Model yang dikelompokkan tadi kemudian diperkuat dengan beberapa teori tambahan dari Grice (1989) pada model komunikasi inferensial, Trier (1931) pada semantic leksikal atau The Semantics Field Theory, beberapa ahli pada fase sintaksis lisan, dan Levelt (1989) tentang proses fonologis. Hal ini disebabkan oleh setiap fase kejadian dari perencaan produksi ujaran perlu dibuktikan. Sementara itu, secara metodologis, peneliti menggunakan penelitian deskriptif kualitatif sebagai rancangan penelitian. Hasil dari penelitian ini menunjukkan bahwa selama kejadian gagap pada pertunjukan Stand-Up komedi, Drew Lynch menunjukkan fase perencanaan produksi ujaran secara teratur (baik pada transkripsi ortografi maupun fonologi). Proses inferensial, fase leksikal, fase sintaksis, dan proses fonologi dapat terdeteksi. Untuk riset masa depan dapat dilakukannya pengeksploran bahasa humor dalam tahap lanjutan dari perencanaan produksi ujaran
Teguh Agustino - One of the best experts on this subject based on the ideXlab platform.
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SPEECH ACTS USED BY STAND UP Comedian ON METRO TV
2015Co-Authors: Teguh AgustinoAbstract:This research elaborates speech acts used by stand up Comedian on Metro TV. The study aims to discover the types of speech acts used by stand up Comedian on Metro TV,to describe the way of performing speech acts used by stand up Comedian on Metro TV and to explain the reason why those types of speech acts used by them. The research was a qualitative descriptive one by design covering data display, data reduction that consists of selecting, and categorizing and drawing conclusionps. The instruments of data collection were observation and transcript.. The sources of the data were taken from stand up comedy videos downloaded from youtube. There are five videos fro three Comedians, Cak Lontong, Abdel Achrian, and Jui Purwoto. The study found that there were only four types of speech acts used by stand up Comedian on Metro TV namely, representative, directive, expressive and commisisive. Declarative wasn’t used by them. In performing speech acts, there are two ways used by stand up Comedian on Metro TV, namely direct and indirect speech acts. There are some reasons of the use of speech acts by Comedians in the way they are. Cak lontong used asserting forms of representative speech acts dominantly because in his performances he often spoke in confident way to convince his audiences as if his words were true. In this way he could lead his audiences’ mindset and then executed his jokes smoothly. Abdel and Jui Purwoto used informing forms of representative speech acts more dominant because they gave some information to his audiences first and then filled their minds with some information about what they would talk about later. Since Abdel and Jui in almost of his stand up comedy shows often describe his personal or someone experiences. Different context influences the use of different types of speech acts. In stand up comedy shows, the Comedian's performance principally consists of a succession of short joking stories and one-liners that are usually presented in a monologue without interruptions by the audience. The way in which the audience can participate in Stand-Up comedy is by smiling, laughing, and applauding. They used representative speech acts more dominant than other types of speech act because the type of representatives tends to state what the speaker believes to be the case or not. In the case of Stand-Up comedy, it means, indirectly, the comic makes statements which he assumes are true and hope that the audience would be affected by those statements. It is match with the function of Stand up comedy to entertaining, informing, criticizing, and insinuating. Thus, there are only four types of speech acts used by stand up Comedians in his performances, namely representative, expressive, directive, and commissive, and it is the lectures of pragmatics should develop the theory of speech acts used by exemplifying the theory with the TV program discourse by which the lectures can be enlivened and student’s interests in research can be aroused.