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Dissertations / Theses on the topic 'Diegetic'
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Elmhammar, Julia, and Amanda Berg. "Learning the ropes through environmental and indexical storytelling : Introducing basic mechanics as a part of the world." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21933.
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Abstrakt Diegetiska effekter, icke diegetiska effekter, indexical -och environmental storytelling i relation till tutorials, vad händer när man introducerar spelets mekaniker med hjälp av dessa? Denna artikel undersöker hur andra spel har använt sig av ovan begrepp för att introducera mekaniker och spelvillkor. Vi kommer diskutera hur environmental -och indexical storytelling tillsammans med diegetiska och icke diegetiska visuella effekter kan påverka spelarens inlevelse och förståelse av de grundliga mekanikerna i ett spelutrymme. Till följd av ett analysarbete av designexempel undersöker vi detta genom en egen gestaltning.Abstract Diegetic effects, non-diegetic effects, indexical and environmental storytelling in relation to tutorials, what happens when you introduce the game's mechanics with these concepts? This article examines how other games have used these concepts to introduce mechanics and game conditions. We will discuss how environmental and indexical storytelling together with diegetic and non-diegetic effects can affect the player's perception and understanding of the basic mechanics of a game space. As a result of an analysis of design examples, we investigate this through our own design.
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Olsson, Anna. "Evaluating Immersion in Video Games Through Graphical User Interfaces." Thesis, Blekinge Tekniska Högskola, Institutionen för kreativa teknologier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-13309.
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Context. The feeling of immersion in a video game is something most game developers try to achieve. Immersion makes the player feeling like they are a part of the game they are playing, and causes them to lose track of time and space. Immersion can be achieved in many ways, one of them being through different kinds of Graphical User Interfaces. An integrated interface might help players to get more immersed. Objectives. The objective of this thesis is to find out whether an integrated or "diegetic" interface improves the feeling of immersion in players.To fullfil this objective, a prototype must be made and then tested using participants who then can answer questions about their level of immersion. Methods. The prototype was built using Unity, a free game engine. The participants of the study played two different levels with two different interfaces and then answered a number of questions in a questionnaire. The questions were then analysed using the students t-test. Results. The results of the study showed there were no difference in terms of immersion in the two different interfaces. Conclusions. These results suggest there is no improvement of immersion when using a diegetic interface, compared to using a non diegetic one.
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Touliatou, Georgia. "Diegetic stories in a video mediation : a narrative analysis of four videos." Thesis, University of Surrey, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397132.
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Östblad, Per Anders. "AUDIO-NAVIGATION : What are the benefits of utilising diegetic spatial audio in audio-navigation software?" Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-6176.
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The task of navigating and orienting oneself in an unknown environment might seem arbitrary to most people. For a person with a visual impairment however, it can prove to be a challenge. Much research has been conducted to provide useful software solutions to aid this problem. Nevertheless, not enough research has been put into studying the use of our everyday sounds for such software. The present thesis is aimed at evaluating the usefulness of utilising diegetic spatial audio. After a real environment was replicated in a virtual audio environment without visual input, 16 sound students from the University of Skövde were asked to perform the same set of tasks in the virtual and the real environment. The results indicated that diegetic spatial audio is an important part of navigating without vision and that the experiment would be interesting to perform on a larger scale with visually impaired participants.
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Wanas, Al Hussein. "Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3142.
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Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.
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Rapp, Marcus. "Diegetiskt kontra icke-diegetiskt narrativ : En undersökning i hur två olika berättartekniker påverkar en spelares uppfattning och inlevelse i ett datorspel-narrativ." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15444.
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I detta arbete har det undersökts huruvida ett narrativ som berättas endast genom dieges ger samma resultat som om berättelsen skulle förmedlas med hjälp av icke-dieges. Detta arbete fokuserade på den verbala berättartekninken och genom en undersökning där sex vana spelare av narrativa spel intervjuades. Undersökningen genomfördes genom semistrukturerade intervjuer där informanterna fick spela två artefakter, en diegetisk och en icke-diegetisk. Artefakterna var utformade att leverera narrativet genom tal och språk och skapades efter Walter Murch teori om kodat och inbäddat ljud. Utvärderingen visade att alla sex deltagare kunde skapa sig en viss uppfattning om narrativet men att det med icke-dieges blev tydligare vad den exakta berättelsen var.
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Robinson, Jesse. "The Possibilities of Sort Of." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1315.
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Simultaneity and conflict are incessant qualities one is confronted with when looking at things. Shifting from familiar to foreign, from present to implied. There seems to be a tendency, if not necessity to embrace this multiplicity. Using the film theory construct of extra-diegetic and relative qualifier 'sort of' to investigate Pulp Fiction, Bose Wave CD player, Sunset Boulevard, American Apparel, and The Uncanny.
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Pinchbeck, Daniel Mcguire. "Story as a function of gameplay in First Person Shooters and an analysis of FPS diegetic content, 1998-2007." Thesis, University of Portsmouth, 2009. https://researchportal.port.ac.uk/portal/en/theses/story-as-a-function-of-gameplay-in-first-person-shooters-and-an-analysis-of-fps-diegetic-content-19982007(ae0dcf2e-43a0-4549-973f-340c88ba4815).html.
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The relationship between game content and gameplay remains underexplored. High level debate about the relative narrativity of games remains common, but there is a gap in the understanding about the particularities of how diegetic objects relates to the business of managing player experience and behaviour at the heart of gameplay. The first half of this thesis proposes a new model for understanding gameplay as a network of affordance relationships which define supported actions. The theoretical focus upon supported actions rather than object characteristics enables a better understanding of the framework of gameplay created by a complex system of interrelated objects. In particular, it illustrates how the essential ludic structure of first-person games can be described in very simple terms, thus defining a discontinuity between complexity of experience and simplicity of structure. It is proposed that story is a primary means of managing this discontinuity to provide an immersive and seamless experience. Traditional models of narrative and interactive narrative are discussed to illustrate the problems of attempting to apply them directly to gameplay, and this is summarised in a discussion of the narratology/ludology debate. Instead, a new conceptualisation of narrative, drawn from the use of narrative as a model and metaphor in psychology, and based on schema theory is offered. It is argued that this new, game-specific conceptualisation - of a network of protonarrative units - maps efficiently and effectively onto the affordance model of gameplay and thus resolves the historical problem. In the second half of the thesis, evidence is offered to support the argument that not only can story be understood as a form of affordance, but that by examining commercial FPS titles, it is clear that story is used to manipulate player behaviour - that it serves a distinct gameplay function. This is achieved by analysing core elements of story: worlds and their populations; the avatar as a key device in managing the player/system relationship; and plot as the predetermined changes to object relationships over the course of a game. It is concluded that when gameplay is understood as a network of affordances, and story as a network of proto narrative units, and when the genre is analysed with this model in mind, not only is an understanding of the gameplay function of story evident, but this analysis yields a deeper level of understanding about the nature of FPS games and gameplay than has previously been available.
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Taffazoli, Hosein, and Thomas Tiedemann. "Confined and Condemned : The Impact a Restricted User Interface Has on the Player Experience in Survival Horror Games." Thesis, Södertörns högskola, Medieteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32753.
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In this study, we will explore how a restricted user interface affects the player experience in survival horror games. To test this, we created a digital survival horror game. The restricted user interface in the prototype resides in the player controller who has access to five different user interface elements. These elements are health, revolver, flashlight, compass and a watch. The results showed that the restriction and making the user interface diegetic did affect the player experience. This was presented through dividing the participant's experiences with the prototype in four categories: Challenge, Analytical, Safety and Control. Participant’s enjoyed the added challenge from the restricted user interface which also helped promote the horror experience. As a drawback, a restricted user interface resulted in participants having a harder time learning the game and understanding certain game mechanics and elements.I denna studie så kommer vi undersöka hur ett begränsat användargränssnitt påverkar spelupplevelsen i överlevnadsskräckspel. För att testa detta så skapade vi ett digitalt överlevnadsskräckspel. Det begränsade användargränssnittet i prototypen befinner sig på den spelbara karaktären som har tillgång till fem olika användargränssnitts element. Dessa element är hälsa, revolver, ficklampa, kompass och klocka. Resultaten visar att begränsningen och genom att göra användargränssnittet diegetisk påverkade spelupplevelsen. Detta var presenterat genom att dela upp deltagarens erfarenheter med prototypen i fyra olika kategorier: utmaning, analytisk, säkerhet och kontroll. Deltagare gillade ökningen i utmaning från det begränsade gränssnittet som även hjälpte stärkte skräckupplevelsen. En nackdel med ett begränsat gränssnitt var att deltagare hade det svårare att lära sig spelet samt förstå vissa spelmekaniker och spelement.
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Butler, Henry James. "Diegetic stance and its role in role playing games an examination of schema development and narrative application in digital interactive fiction /." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000909.
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Shu, Mia. "Influencing identity through objects in ‘constructed realities’ : The role of a ‘diegetic prototype’ in influencing a person's sense of identity in relation to nature." Thesis, Linköpings universitet, Maskinkonstruktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166935.
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Human-nature connection is recognized for its importance for our well-being, development of our environmental identity, and potentially leading to pro-environmental behaviour due to the support of an individual’s intrinsic values. However, the fostering of this connection is not supported and being implemented within society at large. This research set out to explore the causes of the weak relation to nature and identify potential design interventions to enable the recuperation of nature as part of our identity. For this exploration, Speculative Design and Transition Design were chosen. In particular, Design Fiction as a method was adopted, not only it allowed us to speculate the future, but also materialise and explore the human-nature connection in ‘objects’. Transition Design was used due to its flexibility to explore interdisciplinary research and solutions, providing ground for the 'constructed reality’ and enabling the built-up of a roadmap towards this preferable future. Drivers that caused this problem were identified, and it showed how they are closely intertwined and influenced by, or are a result of, each other. One of these is how control and illusion of control plays a role in our weak human-nature connection. Through qualitative fieldwork, some of the ‘characteristics of nature’ and factors that influence human-nature connection were mapped, and they were embodied into objects situated in a ‘constructed reality’. These material objects have taken the form of home products in a product catalogue (‘diegetic prototype’) as human-nature connection can potentially be fostered at home as well as in nature. The response showed a potential in how a speculative ‘diegetic prototype’ can influence a person's sense of identity in relation to nature. Proving that the ‘diegetic prototype’ has an actual effect on the sense of identity would be impossible due to the complex nature of identity development as many different factors play a role. This research also provided a list of factors for designers to explore with regards to enhancing our human-nature connection through design. It has also shown the potential role of food and home in establishing human-nature connection, on which further research is needed.
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Anderberg, Ted, and Joakim Rosén. "Follow the Raven : A Study of Audio Diegesis within a Game’s Narrative." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14693.
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Virtual Reality is one of the next big things in gaming, more and more games delivering an immersive VR-experience are popping up. Words such as immersion and presence has quickly become buzzwords that’s often used to describe a VR-game or experience. This interactive simulation of reality is literally turning people’s heads. The crowd pleaser, the ability to look around in 360-degrees, is however casting a shadow on the aural aspect. This study focused on this problem in relation to audio narrative. We examined which differences we could identify between a purely diegetic audio narrative and one utilizing a mix between diegetic and non-diegetic sound. How to grab the player’s attention and guide them to places in order for them to progress in the story. By spatializing audio using HRTF, we tested this dilemma through a game comparison with the help of soundscapes by R. Murray Schafer and auditory hierarchy by David Sonnenschein, as well as inspiration from Actor Network Theory. In our game comparison we found that while the synthesized sound, non-diegetic, ensured that the sound grabs the player’s attention, the risk of breaking the player’s immersion also increases.
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Horton, Brian (Saxophonist). "Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011761/.
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This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non-diegetic tone parallel that musically narrates several authentic characteristics of African-American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. My new work––Black Magic––is a musical response to the research found within this study. The through-composed piece is written in three movements for a studio orchestra. It is an homage to the musical, cultural, and entertainment contributions of African-Americans in the magical realm of Hollywood cinema.
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Sousa, Marcio Jean Fialho de. "A mimese da escrita intimista nas narrativas autodiegéticas de Eça de Queirós." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-26082016-132728/.
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A proposta desta tese é apresentar uma análise das obras O Mandarim e A Relíquia, de Eça de Queirós, a partir da perspectiva da escrita intimista. Para essa leitura serão considerados os aspectos inerentes à escrita de si segundo Michel Foucault, descritas nos textos Lécriture de soi, publicado pela primeira vez no ano de 1983, e no Volume III da História da Sexualidade: O cuidado de si, publicado em 1985. A escolha desse aporte teórico se dá pela evidenciação dos traços desse tipo de escrita nessas duas narrativas de Eça de Queirós, ora classificadas como autodiegéticas. Pretende-se demonstrar que a mimese da escrita de si elaborada pelo escritor nessas duas obras está a serviço de uma forte crítica social, que visa a atingir a própria constituição do sujeito oitocentista.The aim of this thesis is to present an analysis of the works The Mandarin and The Relic of Eca de Queiroz, from the intimate writing perspective. On this reading will be considered aspects of the writing the self, according to Michel Foucault, described in the texts L\'écriture de soi, first published in 1983, and in Volume III of the History of Sexuality: Self care, published in 1985. The choice of this theoretical contribution is given by the disclosure of the features of this kind of writing these two narratives of Eca de Queiroz, now classified as autodiegéticas. We intend to demonstrate that Eça de Queirozs writing of itself as mimesis in these two works is at the service of a strong social criticism, which aims to achieve the very constitution of the subject nineteenth century.
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Lantz, Fanny. "Exploring the impact of familiarity on the emotional response to acousmatic sound effects in horror film." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84249.
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Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar acousmatic sounds, and the other group watched a version with random un-familiar acousmatic sounds. Data was collected through self-report and physiological measurements. The results suggest that there is a dissonance between the conscious and unconscious emotional experience of suspense and fear. The physiological measurements indicate a higher emotional arousal in the group that watched the unfamiliar version of the stimuli, while the self-report propose a stronger conscious build-up of suspense leading to a stronger experience of fear in the group watching the familiar version. Further research directions based on the result of this research are presented.
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Wingfield, Jennifer Joanne. "Unveiling Objectification: The Gaze and its Silent Power in the Novels of Frances Burney." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-233620/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Murray Brown, committee chair; Malinda Snow, Paul Schmidt, committee members. Electronic text (75 p.). Description based on contents viewed Apr. 20, 2007. Includes bibliographical references (p. 74-75).
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Jemth, Daniel, and Ebba Silversnö. "Kriskommunikation i det digitala samhället." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19986.
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Detta kandidatarbete syftar till att påpeka några av de möjligheter som digitaliseringen bidrar till, genom att bland annat lyfta smartphones och sociala medier som en potentiell kanal för utökad kriskommunikation. I en krissituation är kommunikation av yttersta vikt. I Sverige har den traditionella kriskommunikationen länge kretsat kring ljudsignalen Hesa Fredrik och VMA (viktigt meddelande till allmänheten) i statligt ägda tv- och radiokanaler. På senare tid har stora delar av samhället kommit att digitaliseras, vilket även medför att förutsättningarna och möjligheterna för kriskommunikation utvecklas och förändras. Detta har visualiserats i en film med hjälp av designfiktion och diegetiska prototyper för att spekulera och testa vilka digitala lösningar som hade kunnat vara möjliga i en nära framtid. Vi har utgått från Bleeckers (2009) definition och beskrivning av designfiktion och som ett stöd i skapandet av detta användes metoder såsom Three Layered Model of design fiction av Lindley & Coulton (2014), scenarier som beskrivs av Nardi (1992) och framtida personas enligt Fergnani (2019). För filmens slutgiltiga resultat spelade framför allt de diegetiska prototyperna en betydande roll, men också den verklighetsbaserade grunden samt narrativet för att kunna sammanföra verkligheten med den spekulativa framtiden. I filmen visas dock endast ett fåtal av de oändliga möjligheter som digitaliseringen medför, men kan förhoppningsvis ses som inspiration till vidare utforskning av nya digitala lösningar för kriskommunikation.This Bachelor Thesis aims to highlight some of the opportunities that the digitisation contributes to, by among other things, lifting smartphones and social media as a potential channel for increased crisis communication. In a crisis situation, communication is of utmost importance. In Sweden, the traditional crisis communication system has long revolved around the audio signal “Hesa Fredrik” and “VMA” (important announcement to the public) in state-owned television and radio stations. Recently, big parts of the society have been digitised which means that the conditions and opportunities for crisis communication both develop and change. This has been visualised in a film by using design fiction and diegetic prototypes as a way to help speculate and test which digital solutions may be possible in a near future. We have used the definition and explanation of design fiction as mentioned by Bleecker (2009), and methods such as the Three Layered Model of design fiction by Lindley & Coulton (2014), scenarios as described by Nardi (1992) and future personas according to Fergnani (2019) were supportive in the making of the film. For the final result of the film, the diegetic prototypes played a significant role, as well as the foundation based on reality and the narrative in order to connect the reality with the speculative future. Only a few of the endless opportunities that the digitisation brings is shown in the film, but may hopefully inspire further exploration of new, digital solutions for crisis communication.
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Lindahl, Lena. "En studie i diegetisk och icke-diegetisk musik i Sofia Coppolas långfilmer." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154243.
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Abstract Lena Lindahl: Från barock till post-punk – En studie av diegetisk och icke-diegetisk musik i Sofia Coppolas långfilmer. Uppsala universitet: Institutionen för musikvetenskap, uppsats för 60 p, 2007. Uppdelningen diegetisk och icke-diegetisk används frekvent vid studiet av filmmusik, och det termerna söker skilja på är huruvida musiken vi hör har en källa i filmen (diegetisk) eller om den endast uppfattas av publiken och inte har en logisk plats i filmens verklighet (icke-diegetisk). Syftet med denna uppsats är att visa hur den amerikanska filmregissören Sofia Coppola använder diegetisk och icke-diegetisk musik som grepp i sin långfilmsproduktion, huruvida greppen går igen eller utvecklas i hennes filmer, och om det finns likheter eller skillnader mellan musiken hon väljer till de två grupperna. I analyserna delas filmmusiken in i kategorier efter genre eller funktion, och utifrån dem ges därefter exempel på hur den dyker upp och möjliga tolkningar av dess roll. Uppsatsen visar på en utveckling i Coppolas musikval mot en mer mångfasetterad och okonventionell användning av filmmusik, men även på återkommande grepp i hennes filmer som exempelvis användandet av musik med text som kommunikation och etablerandet av hela musikgenrer som teman för olika element i filmerna.
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Junior, Aldene Rocha da Silva. "Obra-jogo: processos, visualidades e tessituras." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7863.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEsta dissertação trata das visualidades buscadas no campo da arte contemporânea utilizando como linguagem o videogame e sua estética, que se formam como transfigurações das ideias de um mundo estruturado em códigos, uma informação entre os signos que convivem no cotidiano do homem comum. Neste caráter, o trabalho artístico aliado ao videogame propõe estados de percepção estética e interação com o espectador como forma estrutural da obra, como a obra em si. Unir a arte com o videogame para alcançar a mistura entre artista, obra e espectador
This dissertation deals with visualities sought in the field of contemporary art, using as the videogame as language and its aesthetics, formed as ideias of a visual transfigurations of a world structured in codes, an information between signs in daily living of the common man. In this character, the artwork coupled with videogame proposes levels of aesthetic perception and interaction with the viewer as a structural form of the work, like the work itself. Linking the art with the videogame achieve the combination between artist, work of art and the viewer
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Persson, Simon, and Simon Larsson. "Smarttelefonen: En blick mot framtiden : när vetenskapliga fakta, design och fiktion blir ett." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18088.
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I den här undersökningen utforskar vi hur användande av smarttelefoner skulle kunna se ut inom en nära framtid. Med designfiktion som grundpelare och förhållningssätt, verklighetsproducerar vi diegetiska prototyper som med sina utseendemässiga egenskaper och funktionaliteter, berättar om en möjlig framtida värld av smarttelefonanvändning. De diegetiska prototyperna är sprungna ur ett fiktivt scenario, baserad på tidigare forskning om aspekter kring användning av smarttelefoner, smarttelefonens tekniska utveckling och dess estimerade roll i en nära framtid. Med Scenariometoden, en egentillverkad metod som vi kallar “Lager-på-lager” och Bleeckers (2009) framställning av designfiktion, kan vi utgå från dessa aspekter för att fantisera och spekulera kring hur det en dag skulle kunna se ut. Löwgren och Stoltermans (2004) bok “Design av informationsteknik” bidrar med metodologi som bistår oss med verktyg för att realisera vår designfiktiva verklighetsproduktion, där fokuset ligger på idégenerering och ifrågasättande samt en abstrakt bild av hur designsituationer börjar, som vi använder som ett förhållningssätt under hela gestaltningsarbetet. Vi får inte bara inblick i hur smarttelefonanvändning skulle kunna se ut inom en snar framtid, men även hur designfiktion kan användas i en spekulerande undersökning, där vetenskapliga fakta, design och fiktion möts och blir ett.In this Bachelor thesis we explore what smartphone usage could be like in the near future. With design fiction as the central method of approach, we create real life diegetic prototypes that, with their appearance and functionalities, tell of a possible future world of smartphone use. Our diegetic prototypes come from a fictitious scenario, based on aspects derived from science fact, containing smartphone use, the smartphone’s technological evolution and estimated role in the near future. With Scenariometoden (“The scenario method”), our own method Lager-på-lager (“Layer-on-layer”) and Bleecker’s (2009) interpretation of design fiction, we can base our fantasy and speculation on these aspects, to imagine what it one day could be like. Löwgren and Stolterman’s (2004) book “Design av informationsteknik” contributes methodology that assists us with tools for realizing our design-fictional reality production, where the focus is on idea generation and questioning as well as an abstract picture of how design situations begin which we use as an appliance throughout the design work. We not only get an insight into what smartphone use could be like in the near future, but also how design fiction can be used in speculative study, where science fact, design and fiction meet and become one.
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Cardell, Ludvig, and Simon Arnback. "Design av Diegesis för ökad emotionell respons." Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19949.
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I detta kandidatarbete undersöker vi om diegesis har en potentiell påverkan på människors känslor, genom att designa ljudberättelser baserat på abstrakta dikter. Vår utmaning är att med designperspektivet The vision project ta fram exempel på hur ett skifte i diegesis påverkar en lyssnares känslor. Rosa brus, equalizer, spatialisering av ljud och konvolutionsreverb är tekniker som implementeras för att förstärka känslan vid skifte av diegesis. Brainstorming och mindmap, samt prototyping med iterationer är metoderna vi använder oss av vid skapade av gestaltningar. Förutom berättarröst i gestaltningarna så fyller vi ut med trampljud (foley) och ambiens för att förstärka narrativet. Svaren vi får från intervjuade i vår undersökning låter oss komma närmare ett tydligt svar. Vi diskuterar sedan svaren och vad vi kunde ha gjort bättre, samt hur vi kan ta vår design vidare.In this thesis, we investigate whether diegesis has a potential impact on people's emotions, by designing audio plays based on abstract poems. Our challenge is to design examples from the design perspective The vision project of how a shift in diegesis affects a listener's emotions. Pink noise, equalizer, spatialization of sound, and convolution reverb are techniques that are implemented to enhance the feeling of a shift in diegesis. Brainstorming and mindmap, as well as prototyping with iterations, are the methods we use when creating our audio plays. In addition to narrative voices in the audio plays, we fill in with foley and ambience to reinforce the narrative. The answers we get from those interviewed in our survey allow us to get closer to a clear answer. We then discuss the answers and what we could have done better, as well as how we can continue our design.
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Douglas, Ian Stuart. "Discourse, diegesis and the real: An integrative theory of meaning." Thesis, Douglas, Ian Stuart (1986) Discourse, diegesis and the real: An integrative theory of meaning. PhD thesis, Murdoch University, 1986. https://researchrepository.murdoch.edu.au/id/eprint/50373/.
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Introduction
If there is one time and place to which I can allocate the origins of the concerns of this dissertation, it is the occurrence of a dialogue at Murdoch University between one of my students and myself over Saussure's definition of a signified as a concept. I chose an example from the medium film, specifically Andy Warhol's eight-hour uninterrupted shot of the Empire State Building in New York. (I did not claim to have seen it: conceptual art is always more fun to hear about than to experience.) The signified, at least the denotative signified, of this shot was, I argued, of the concept of the Empire State Building. Had I seen the film I might never have said this, but even so my rationalization of this view fell dead upon my own ears: of course the denotative signified of this shot was the accursed building itself, although connotatively it may, as the title suggests, hold all sorts of meanings about American imperialism and hubris in constructing such a monument to 'manifest destiny.' ...
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Grönwall, Jakobsson Jonathan. "It’s All About Perspective : Att skriva filmmusik utifrån olika perspektiv." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-84413.
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I detta arbete vill jag ta reda på hur jag som filmkompositör påverkas av att skriva filmmusik utifrån olika perspektiv och hur detta i sin tur påverkar filmpublikens tolkning av filmen. Jag valde ut fyra perspektiv som är hämtade ur boken On the Tracks av Fred Karlin. Jag valde ut tre filmklipp från kända produktioner, två långfilmer och en TV-serie. Till varje filmklipp skapades fyra olika musikversioner, ett utifrån varje perspektiv. Det blev således tolv musikstycken totalt. Genom att föra loggbok under arbetets gång och låta en lyssningsgrupp svara på frågan ”Hur tycker du att musiken påverkar filmens berättelse?” kunde jag analysera både mitt eget skapande och hur detta i sin tur påverkade publikens tolkning av de filmscener som jag valt. Mitt egna konstnärliga skapande påverkades mycket av de olika perspektiven. Jag tvingades att anpassa musiken till det som skedde i bild och var även tvungen att använda kompositionstekniker som jag inte använt tidigare. Vissa perspektiv var enkla att förmedla till publiken och andra var betydligt svårare. Ibland stämde min och publikens tolkning överens och ibland tyckte vi olika. Det jag kom fram till var att musik som beskriver känslor eller filmens budskap var relativt enkelt att förmedla. Musik som på ett neutralt sett ska beskriva platsen eller situationen i filmen var däremot svårare att förmedla och gav utrymme för en mängd olika tolkningar. Det visade sig att musik nästan aldrig är neutral utan så gott som alltid bidrar med något mer till berättelsen. I några fall visade det sig dock att musik som är diegetisk kan upplevas som neutral eftersom musiken i sådana fall fungerar som en ljudeffekt. Av upphovsrättsliga skäl kan jag inte göra filmerna tillgängliga på Diva, däremot finns min musik upplagd för den som är intresserad.
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Askerfjord, Christer. "Tid för film : Introduktion av konceptet diegetisk tid genom en jämförande analys av filmerna The Magnificent Seven och The Wild Bunch." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-58287.
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Filmer, texter och andra former av beskrivningar skildrar både den tid de beskriver och den tid då de produceras, både medvetet och omedvetet. För att analysera och jämföra dessa båda berättarnivåer i filmer krävs tydliga metoder och effektiva verktyg. Begreppen diegetisk tid, icke-diegetisk tid och meta-diegetisk tid introduceras i uppsatsen som verktyg för att förenkla och effektivisera analysarbetet och presentationen av tid i och kring film. Som stöd för användningen av begreppen analyseras och jämförs två västernfilmer som producerades under perioden från mitten av 1950-talet till slutet av 1960-talet. De två filmerna som analyseras är The Magnificent Seven (7 vågade livet, John Sturges, 1960) och The Wild Bunch (Det vilda gänget, Sam Peckinpah, 1969).
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Klingenheim, Bettina. "François, l’ami désenchanté : La figure de Huysmans et l’altruisme dans Soumissionde Michel Houellebecq." Thesis, Högskolan Dalarna, Franska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35618.
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Ce mémoire interroge la place qu’occupe le personnage historique, Joris-Karl Huysmans (1848-1907) dans le roman Soumission (2015) de Michel Houellebecq. Située en France en 2022, l’histoire met en scène François, spécialiste de Huysmans. Afin de cerner le rôle de Huysmans dans l’histoire, nous nous sommes intéressée à l’amitié que François exprime pour lui, leurs affinités et leurs divergences. Les polémiques suscitées lors de la parution du roman nous ont poussé à également considérer la moralité de l’histoire. L’aspect temporel du roman, situé dans un futur proche, est important car il laisse supposer une comparaison. Ainsi, notamment la notion de politique-fiction - anticipation de faible amplitude -, ainsi que des concepts narratologiques empruntés à Genette - transtextualité, voix et mode -, ont fourni des outils d’analyse. De même, la recherche de Viard sur la vision politique de Houellebecq, et sa conception comtienne de la religion, a servi de guide. En premier lieu, nous avons ainsi montré que Houellebecq a créé l’illusion d’une réalité possible dans un cadre familier aux lecteurs, puis, en deuxième lieu, nous avons constaté que le narrateur est autodiégétique et la focalisation interne, ce qui nous a permis de faire le rapprochement entre le héros et la vie et l’oeuvre de Huysmans. Plus loin, l’association des caractéristiques de la politique fiction avec les fonctions testimoniale et idéologique du narrateur ont fait apparaître la figure de Huysmans comme plus largement le représentant de la décadence de la modernité. La vision antilibérale et critique exprimée par François rappelle donc le désenchantement dans la littérature « fin de siècle » dont Huysmans était un grand représentant. De plus nous avons constaté que si François et Huysmans ne partagent pas la même vision de la religion, ils partagent le même idéal conservateur de la femme et du couple. Enfin, ces éléments réunis, nous en sommes arrivée à la conclusion que plutôt que nihiliste, la moralité exprimée serait altruiste.This essay interrogates the part played by the historical figure, Joris-Karl Huysmans (1848-1907) in Michel Houellebecqs novel Submission (2015). The story, set in France in 2022, revolves around François, specialist in Huysmans. In order to establish Huysmans role, we have focalized on François’s friendship, expressed by him, their affinities and their differences. The polemics brought on when the novel was published has also made us consider the moral of the story. The temporal aspect is important since it underscores a comparison between a plot set in the future and a historical figure. Here especially one notion of political fiction – speculation in a nearby future – has proven useful. It was furthermore the case of concepts in the field of narratology developed by Genette, intertextuality and metatextuality, voice and mode. Moreover, we have been guided by Viards theory regarding Houellebecqs political view as well as his vision on religion, inspired by Auguste Comte. Considered all together, this shows that Houellebecq has created an illusion of reality taking place in a familiar environment to which readers can relate. Further on, the narrator being homo-diegetic with an internally focalized perspective, makes it possible for us to conciliate the life of the hero with the life and works of Huysmans. We have also seen that the notions of political fiction, combined with the testimonial and ideological functions of the narrator, relates to the character of Huysmans as a representant of the decadency of modernity. Moreover, François’s anti-liberal and critical vision of France has a clear affinity with the disenchantment expressed in the 19th century, fin de siècle literature, of which Huysmans was a principal figure. We argue that although François and Huysmans don’t share the same vision of religion, they share the same conservative ideal of femininity and the couple. This all together has led us to the conclusion that the moral of the story rather than nihilistic is altruistic.
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Vaara, Jonatan, and Tomas Rahden. "Vem Kan Spela Förutan Bild? : En undersökning om diegesis och ledande ljud i förstapersonsspel." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12165.
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Detta examensarbete undersöker frågeställningen “Hur kan diegetisk ljudsättning användas för att vägleda spelare i first-person shooters?”. Detta görs med hjälp av teorier från bl.a. Michel Chion, Christine Jørgensen och Karen Collins som sedan tillämpats i analyser av spelen “Half-Life 2” (Valve Corporation 2004) och “Shadow Warrior” (Flying Wild Hog 2013) för att ta reda på vilka tekniker dessa spel använder sig av ljud. Dessa tekniker har vi sedan använt oss av i vårt eget first-person shooter spel, ett spel utan någon som helst visuell feedback, för att sedan speltesta spelet och komma fram till slutsatser angående vägledande ljudsättning. Resultaten visar att det går att spela ett spel utan visuell feedback så länge ljudläggningen följer specifika regler.This bachelor’s thesis examines the question “How can diegetic sound design be used to guide players in first-person shooters?”. This is done with theories from authors including Michel Chion, Christine Jørgensen and Karen Collins, which are then applied in two analyzes of the games “Half-Life 2” (Valve Corporation 2004) and Shadow Warrior” (Flying Wild Hog 2013) to find out which techniques they use when working with sound. We then used these techniques in our own first-person shooter, a game without any form of visual feedback, in order to performe a game test and draw our own conclusions concerning guiding sound design. The results show that it’s possible to play a game without any visual feedback, as long as the sound design follows a set of specific rules.
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Goudoulakis, E. "DIEGESIS : a multi-agent Digital Interactive Storytelling framework using planning and re-planning techniques." Thesis, Liverpool John Moores University, 2014. http://researchonline.ljmu.ac.uk/4512/.
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In recent years, the field of Digital Interactive Storytelling (DIS) has become very popular both in academic circles, as well as in the gaming industry, in which stories are becoming a unique selling point. Academic research on DIS focuses in the search for techniques that allow the creation of systems that can generate dynamically interesting stories which are not linear and can change dynamically at runtime as a consequence of a player’s actions, therefore leading to different story endings. To reach this goal, DIS systems usually employ Artificial Intelligence planning and re-planning algorithms as part of their solution. There is a lack of algorithms created specifically for DIS purposes since most DIS systems use generic algorithms, and they do not usually assess if and why a given algorithm is the best solution for their purposes. Additionally, there is no unified way (e.g. in the form of a selection of metrics) to evaluate such systems and algorithms. To address these issues and to provide new solutions to the DIS field, we performed a review of related DIS systems and algorithms, and based on the critical analysis of that work we designed and implemented a novel multi-agent DIS framework called DIEGESIS, which includes –among other novel aspects- two new DIS-focused planning and re-planning algorithms. To ensure that our framework and its algorithms have met the specifications we set, we created a large scale evaluation scenario which models the story of Troy, derived from Homer’s epic poem, “Iliad”, which we used to perform a number of evaluations based on metrics that we chose and we consider valuable for the DIS field. This collection of requirements and evaluations could be used in the future from other DIS systems as a unified test-bed for analysis and evaluation of such systems.
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Persson, Niklas, and Daniel Wallin. "Spelvärlden som informativt grafiskt gränssnitt : En studie om hur spelvärldens visuella uttryck hjälper ovana spelare att förstå mål och regler." Thesis, Södertörns högskola, Institutionen för kommunikation, medier och it, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15113.
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The diegetic game world places high demands on how it is designed. It is common that game developers wants to create a deeper player immersion and some developers believe to achieve this by integrating HUD elements into the game world. To find out how digital games can rely on the design of the game world, we performed user studies on beginners who have very limited experience of playing digital games. By observing the beginners, we could discern the visual aspects in the diegesis that helps players understand the game rules and objectives because the beginners won`t make their choices based on previous gaming experiences. If players encounter a variety of difficulties to understand the rules of a game, then it will less likely be a successful game. The design must reach out to a broader range of players and therefore it is fundamental to see how beginners act, in this case in a new environment. We also found it useful to split the players into two levels and review what differences and similarities that occurred between the levels. By doing so we could formalize some guidelines for developers who plan to transfer system information from the screen into the game world.
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Zembok, Ewa. "Režie jako scénické vyprávění příběhu." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-391697.
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The thesis is written from a practical director´s perspective. It focuses on the problematics of the ensemble cast as one of the most important diegetic units in production. The thesis accents the ensemble cast as a part of directing and realization of the dramaturgical-directing concept. It is divided into two parts. The theoretical part deals with the use of the mimetic and diegetic means in modern theatre and transformation of the classic directing principles within the birth of the post-dramatic theatre. The other chapters reflect the author´s 2011 graduation production and describe the procedures of the realization of her professional productions up to 2016.
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Tärnskär, Filip, and Helgason Jonatan. ""Film med undertext" : - "En studie om tillgänglighet av film för döva och personer med hörselnedsättning."." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12163.
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Den här uppsatsen utforskar döva och hörselnedsattas upplevelse av film. Syftet är att undersöka möjligheter i hur man kan öka tillgängligheten av film då man inte längre kan förlita sig på ett ljudberättande. Den undersökande delen av uppsatsen består av två delar. Arbetet med kandidaten inleddes med en enkätundersökning där målgruppen, döva och personer med hörselnedsättning, fick beskriva sin upplevelse av film. Den andra delen av undersökningen bestod av att praktiskt testa resultatet av enkätundersökningen i en medieteknisk gestaltning. Genom ödmjukhet, inkludering och undertextning kan vår film bli mer tillgänglig för döva och hörselnedsatta.This bachelor thesis studies the experience of movies for Deaf and hard of hearing. The purpose is to study the possibilities of increasing the accessibility of movies, when you no longer can rely on the narrative audio. The investigative part of the thesis consists of two parts. The first part consists of a survey where the target group, Deaf and hard of hearing where asked to describe their experience of movies. The second part of the investigation consists of a practial test of the survey results in the form of a media conformation. Through being humble and inclusive, and with the use of subtitles we can make our film more accessible to the Deaf and the hard of hearing.
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Parramon, Rubio Pere. "Arte fantástico: estrategias visuales de lo imposible." Doctoral thesis, Universitat de Girona, 2021. http://hdl.handle.net/10803/671539.
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Distinguishing between “marvellous art”, “fantastic art” and what we call “daimonic art”, the first objective of this doctoral thesis consists of elaborating a functional definition of fantastic art that brings together the different existing contributions in a previous corpus marked by heterogeneity, and adapting the contributions on the fantastic emerging from literature to the particularities of the visual arts. Considering the fantastic as an aesthetic category and not as an artistic genre, the second objective is to examine more closely its visual strategies for making the impossible –the central element of the fantastic– visible, based on the distinction of four conditions: aspect of verisimilitude (formal condition); appearance of the impossible (ontological condition); critical questioning (intellectual condition); and effect of fear (emotional condition). In conclusion, this thesis proposes a reconsideration of some of the artists, works and periods traditionally ascribed to the fantasticDistinguiendo entre “arte maravilloso”, “arte fantástico” y lo que llamamos “arte daimónico”, el primer objetivo de la presente tesis doctoral consiste en elaborar una definición funcional de arte fantástico que aglutine las diferentes aportaciones existentes en un corpus previo marcado por la heterogeneidad, y adaptando a las particularidades de las artes visuales las contribuciones sobre lo fantástico surgidas de la literatura. Considerando lo fantástico como categoría estética y no como género artístico, el segundo objetivo consiste en examinar con mayor detenimiento sus estrategias visuales para hacer visible lo imposible –elemento central de lo fantástico–, a partir de la distinción de cuatro condiciones: aspecto de verosimilitud (condición formal); aparición de lo imposible (condición ontológica); cuestionamiento crítico (condición intelectual); y efecto de miedo (condición emocional). Como conclusión, la presente tesis propone reconsiderar parte de los artistas, las obras y los períodos tradicionalmente adscritos a lo fantástico
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Axelsson, Olle. "Diegetiska och spatiala UI-element i speltutorials : Hur immersion och lärbarhet påverkas av olika typer av UI i ett VR-spels tutorial." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13671.
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Tutorial kallas ofta delen i början av ett spel där spelaren lär sig hur spelet fungerar. Utformningen av detta segment, som ofta innehåller en kombination av träning i spelmekanik och inledning till spelets berättelse, utgör ofta en utmaning för speldesigners. I tutorial-delen av VR-spelet Budget Cuts har utvecklarna använt sig av så kallade spatiala UI-element för att förmedla instruktioner och information till spelaren. Man har från utvecklarnas sida sett vissa brister i lärbarhet och immersion. Det har föreslagits att en förflyttning av UI-element till ett diegetiskt plan, d.v.s. där dessa får en naturlig placering och del i spelets fiktion, kan ha en positiv effekt på immersionsnivån och lärbarheten. En ny version av spelets tutorial har utvecklats för att undersöka detta antagande. Genom användbarhetstestning och jämförelse av den nya och tidigare versionen, har detta visats stämma.
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Synnergren, Johan, and Malmberg Vanessa Olofsson. "En talande miljö : En modell för att designa diegetiska objekt i First Person Shooters." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19222.
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Hur en spelare förstår gameplay är en diskuterad fråga bland forskare inom det ludologiska fältet. Denna studie ser specifikt på förståelsen av genomförbara interaktioner i spelvärlden och forskning kring ämnet som grundar sig i ekologisk psykologi samt kognitionsvetenskap. Detta med målet att se hur diegetiska element i spelvärlden kan kommunicera mening till spelaren. Studien ser även på förändringar i denna förståelse när spelare utsätts för stress för att kunna anpassa de diegetiska elementen till spel med högt tempo. Baserat på den framtagna forskningen har designprinciper samt två versioner av en artefakt skapats, varav en har dessa principer implementerade. Dessa artefakter har spelats av fem deltagare vardera som observerats och sedan intervjuats om deras upplevelse av spelet. Datamängden från undersökningarna har sedan utvärderats och en jämförande analys utförts av de två observatörerna. Resultatet pekar på tendenser för att de skapade designprinciperna hjälper spelare att förstå möjliga interaktioner i spelvärlden.
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Norrman, Alex. "User Interface's Impact on Player's Immersion." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-170644.
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With the success of technology, computers and digital games have become a new, more advanced, medium for storytelling. What sets digital games apart from more traditional forms is that the player must engage and interact with a game world and the characters on a whole new level. Immersion is a term that is described as the experience of feeling deeply engaged within another reality. So how does a player become immersed in the game? In order to enable the necessary interactions between the player and the game, a user interface is required. User interface elements can be designed in a variety of ways. Some elements are part of the game’s geometric world and its narrative, so-called diegetic elements. Then there is the opposite, nondiegetic elements, which have no connection to the game story at all and only fulfill the purpose of conveying information to the player. The aim of this thesis was to investigate how the user interface affects the players’ immersion. The study consisted of a theoretical literary section and two empirical investigations in the field of user tests and online surveys. What was investigated in this thesis was how non-diegetic user interface elements affect immersion as well as whether immersion increases by integrating the user interface into the gaming world. Determining a statistical significance difference in immersion seems difficult. But with the help of interviews and online surveys, the player’s preferences have shown that minimizing non-diegetic elements can increase immersion and that integrating the user interface into the game world is a very good and preferred solution for conveying the necessary information to the player. However, the data collected indicate that failure to convey the necessary information can lead to the opposite, reduced immersion.
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Pettersson, Ulf. "Textmedierade virtuella världar : Narration, perception och kognition." Doctoral thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29606.
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This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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Rettel, Marc. "Ionesco et la narration : Formes, fonctions et enjeux de l'incursion de la diégésis dans le théâtre ionescien." Thesis, Mulhouse, 2016. http://www.theses.fr/2016MULH4251.
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Selon la définition classique, le théâtre est action et parole en action : « c’est une imitation faite par des personnages en action et non par le moyen d’une narration » (Aristote, Poétique, 1449b). Or, force est de constater que le théâtre d’Eugène Ionesco déroge à ce précepte et constitue une entorse à la conception aristotélo-hégélienne du genre fondé sur le primat du dialogue et la représentation de conflits entre personnages. La diégésis sous toutes ses formes – récits stricto sensu, mais aussi récits protopoétiques, descriptions et portraits – y abonde. Si le glissement modal devient systématique, la narration continue à être conditionnée par le contexte mimétique. Néanmoins, le cadre spatio-temporel s’en trouve foncièrement fragmenté, les notions d’intrigue et d’action mises à mal ou supplantées, sans que cette esthétique dramatique ne devienne pour autant épique au sens brechtien. Dans la prolongation des écrits non fictionnels de Ionesco, la narration est à la fois une trace du processus d’écriture et un moyen d’investigation ; elle devient le creuset d’une quête à la fois identitaire et mystiqueAccording to the classical definition, theatre is conceived as action and words in action : “it represents men in action and does not use narrative” (Aristotle, Poetics, 1449b). The theatre of Ionesco, however, clearly bends the rules of the aristotelo-hegelian primacy of dialog and representation of conflicts between characters. It is rich in diegesis in all its forms – storytelling, protopoetic narrative, descriptions and portraits; the shift in modes becomes systematic. Nonetheless, narrative is conditioned by the dramatic, mimetic framework. But space and time are fragmented, the concepts of plot and action undermined, without the aesthetics of Ionesco becoming epic in the Brechtian sense. Prolonging the non fictional writings of Ionesco, narrative in his theatre is to be considered both as a trace of the writing process and a means of investigation, located at the crossroads between a search for identity and a quest for mysticism
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Abdala, Helio Santiago Rodrigues. "A lógica dos implícitos em "O Alienista": uma abordagem não-convencional do narrador." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6226.
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The present work aims to promote a different study concerning the narrator. Thinking about the complexity of the short story O alienista (Machado de Assis), we observed that such aspect results of the 'manners' of intervention that the narrator accomplishes by a 'historiographic' discourse. Through this discourse, he is able to project events and ideologies from the moment of enunciation (narration) on the elements of the statement (diegesis). Hence the difficulty that the short story introduces to the critic suggests an approach that goes beyond the traditional theoretical classifications about the narrator, once the richness of the category does not reside in the stagnated characteristics of its form, but in its manner of proceeding actively on the report. Based on this, we propose a study that is centered not properly in the narrator's figure as 'typological' result, according to the traditional theoretical classifications, but in the formal means that act, starting from the narration, on the constitution of the diegesis. In other words, we tried to study the category indirectly through the relationships between strategic discursive means, enunciation and statement. Such relationships are capable to dissimulate an entire implicit universe that hides ferocious criticismo to different domains of the reality. Therefore we need a research to be ruled by different concepts when the subject is the reflection on unconventional manners with which the narrator intervenes in his report. The immediate consequence of such a study concerning this subject is a methodological arrangement that is based on new concepts formulated by a range of theorists that belong not only to literary theory. Thereby we built and adopted, throughout the whole analysis, some specific notions, as it is the case of the allusion-that results from the dialogue between the ideas of Gérard Genette s narrative levels, the ideas of Peirce s indexicality and the Grice s implicature. This conglomeration of theoretical aspects from different áreas can suggest a certain perplexity. However, at the end, the allusion and its constituent phases -as it results from the a fore mentioned theoretical connection provides an indispensable service to our analysis. Still of our specific method another fundamental concept arises: the prototypicality. By this term we want to designate the cutting done by the narrator of certain essential lines that configure particularities of the reality.
O presente trabalho tem como objetivo promover um estudo diferente acerca da categoria narrador. Pensando na complexidade da obra O alienista, de Machado de Assis, observamos que tal aspecto resulta dos modos de intervenção que o narrador realiza através do seu discurso historiográfico . Por meio deste discurso, ele está habilitado a projetar eventos e ideologias do momento da enunciação (narração) sobre os elementos do enunciado (diegese). Nessa perspectiva, a dificuldade que o conto apresenta ao crítico sugere uma abordagem que em muito ultrapassa as tradicionais classificações teóricas do narrador, tendo em vista que a riqueza da categoria não se encontra nas características estanques de sua forma, mas nos seus modos de proceder ativamente sobre o relato. Decorre disso um estudo que se centra não propriamente na figura do narrador enquanto resultado tipológico , segundo as classificações teóricas tradicionais, mas nos meios formais que agem, a partir da narração, sobre a constituição da diegese. Ou seja, ao considerarmos a categoria, procuramos estudá-la indiretamente por meio das relações entre estratégias procedimentais , enunciação e enunciado. Tais relações são capazes de dissimular todo um universo implícito que esconde críticas ferozes a distintos domínios da realidade objetiva. Resulta, portanto, de semelhante observação uma pesquisa pautada em conceituações bem diferentes das que nos são indicadas inicialmente quando o assunto é a reflexão sobre o narrador. A consequência imediata de um estudo direcionado para estas questões é um arranjo metodológico que se baseia em autores e conceitos diversos. Dessa maneira, construímos e adotamos, durante toda a análise, algumas noções específicas, como é o caso da alusão que resulta da junção entre as ideias dos níveis narrativos de Gérard Genette, do índice de C. S. Peirce e da implicatura de H. P. Grice. Este conglomerado de aspectos teóricos de áreas relativamente diferentes pode sugerir certa perplexidade. Entretanto, no final, a alusão e suas fases constituintes como resulta da junção teórica mencionada presta um serviço imprescindível a nossa análise. Ainda de nosso método específico decorre outro conceito fundamental o de prototipicidade. Com este termo queremos designar o recorte feito pelo narrador de certos traços essenciais que configuram particularidades da realidade objetiva.
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Johan, Hellgren. "You are here. Exploring the intersection of wayfinding and presence in video games." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23613.
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This thesis project aims to contribute knowledge to the field of user experience design in games by examining the relationship between presence and wayfinding in games in order to determine how one might design wayfinding systems that simultaneously facilitate player navigation and create a sense of presence. Based on examining and comparing existing literature on wayfinding and presence in games, and by analyzing existing games that accomplish the aforementioned dual purpose, I formulate a set of hypothetical design principles for presence-creating wayfinding design. The validity of these principles is then put to test by creating and testing a digital prototype where participants are tasked with navigating a virtual space. The testing of the practical application of these principles reveals them to be largely viable, demonstrating the viability of designing wayfinding solutions for games that simultaneously facilitate presence.
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Schartman, Samantha. "The Logic of Disorder: A Dynamic View of Cognitive Aesthetics." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1270180685.
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Lecompte, Rémi. "La représentation de la musique dans le cinéma de fiction : L'exemple de la musique diégétique dans le cinéma français des années 1960." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2032/document.
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À travers l'analyse d'un corpus de plus de quatre cents films français réalisés au début de la Ve République (1958-1968), cette thèse étudie les représentations de la musique avec pour ambition de rendre compte du fait musical dans sa globalité, de l'auditeur au musicien en passant par les nombreux médiateurs matériels ou humains. Le parti pris de ce travail est de privilégier l'observation d'une des modalités de la musique au cinéma, la musique dite « diégétique », c'est-à-dire celle audible et/ou produite par les personnages. Ces représentions cinématographiques de la musique sont appréhendées dans leurs multiples dimensions : visuelle – l'image de la musique –, sonore – la musique elle-même –, et linguistique – le discours sur la musique. À la diversité des films concernés (du cinéma « populaire » au cinéma « d'auteur ») répond la diversité des musiques convoquées par le cinéma de cette décennie, où jazz, musique populaire et musique classique se croisentThrough the analysis of more than a four hundred movies collection, directed in the early years of the Fifth Republic (1958-1968), this thesis studies the representations of music aiming to report the wholeness of the musical fact, from the listener to the musician, including both human and material intermediaries. This study is devoted to the observation of one of the modality of music witch is the diegetic one, meaning the music that characters are either listening and/or making inside the story. These représentations are considered in their numerous aspects : visual – the image of music –, sound – the music itself –, linguistic – the speech about music. To the variousness of the chosen movies (from popular cinema to arthouse cinema) answers the variety of music carried by movies in this decade, where jazz, popular music and classical music are crossing paths
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Goile, Joanne Elizabeth. "Fascinations of fiction an examination of devices used within the television programme Buffy the Vampire Slayer that succeed in blurring the boundaries between viewers and the fictional diegesis of the show : thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2003." Full thesis. Abstract, 2003.
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Silva, Guilherme Doval Estima da. "A semiotic and usability analysis of Diegetic UI: Metro - Last Light." Master's thesis, 2019. http://hdl.handle.net/10400.26/31043.
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A narrativa de um jogo é um dos principais componentes da criação da imersão do jogador. À medida que a tecnologia avança, novas ferramentas possibilitam aos desenvolvedores de jogos a criação mundos digitais cada vez mais complexos. A Interface de Usuário tem um papel crucial, fornecendo ao jogador feedback sobre os vários atributos e mecânicas do jogo. Alguns jogos buscaram integrar a interface tradicionalmente intrusiva dentro da narrativa e da arte do jogo, por meio das Interfaces Diegética. O objetivo desta tese é entender como a integração da interface na arte e na narrativa do jogo - criando o que é chamado de Interface Diegética - pode aumentar a sensação de imersão do jogador. Para identificar os processos através dos quais o significado é observado na Interface Diegética, contamos com a Semiótica Discursiva proposta por A.J. Greimas e para avaliar se essas representações Diegéticas afetam a Usabilidade, empregamos as Heurísticas proposta por Desurvire e Wiberg. A metodologia mostrou resultados interessantes acerca das relações entre Interface e Narrativa, bem como o impacto de Usabilidade derivado de tal implementação no jogo Metro: Last Light.A Game’s narrative is one of the key components of creating Player immersion. As technology advances, game developers increase their toolset for creating increasingly complex game worlds. The UI has a crucial role, providing the Player with feedback about the various attributes and mechanics within the game. Some games sought to integrate the traditionally intrusive UI within the game’s narrative and art, by the means of Diegetic UI. The goal of this Thesis is to understand how integrating the User Interface into the game’s art and narrative – creating what is called a Diegetic Interface – can increase the feeling of immersion for the Player. To identify the processes through which meaning is observed in Diegetic UI, we’ve relied on the Discoursive Semiotics proposed by A.J. Greimas and to assess if these Diegetic Representations affect usability, we employed Game Usability Heuristics proposed by Desurvire and Wiberg. The methodology proved to yield interesting results regarding the relationships between UI and Narrative as well as the Usability impact derived from such implementation in the game Metro: Last Light.
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Cattell, Allison G. "Disability Drama: Semiotic Bodies and Diegetic Subjectivities in post-WWI German Expressionist Drama." Thesis, 2014. http://hdl.handle.net/10012/8417.
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In this dissertation, I examine discourses on disability and the body in three German Expressionist dramas written directly after WWI both for the discursive work they do in this context and for their relevance today: Ernst Toller’s Die Wandlung: Das Ringen eines Menschen (1918) and Der deutsche Hinkemann (1923) as well as Karl August Wittfogel’s Der Krüppel (1920). I analyze how these plays draw on ideas about disability in post-WWI Germany in the midst of a broad-ranging critique of the violence inherent in nationalistic, militaristic, economic, and rehabilitationist discourses. The analysis contributes to the current discussion on how to dismantle what are referred to in disability studies as “disabling discourses,” that is, those discourses that lend support to discrimination against bodies marked as disabled. I contend that the use of representation to subvert bodily norms and resist “the medical model of disability” did not begin only after the emergence of the disability rights movement. I demonstrate how these three Expressionist plays indeed resist disabling discourses in ways that were both feasible and intelligible in their context. I argue that not only was the discourse on disability in this time and place multiple, but also that the primary texts use of a variety of (literary) strategies to resist normative paradigms that privilege able-bodied, aesthetically-pleasing, and economically-productive bodies. The analysis shows how these representations pose a challenge the medical mode of understanding the body, critically engage the social stigma that often accompanies the presence of disability, and offer alternative ways of reading and valuing the body. I argue that literary representations of disability can serve to de-naturalize ideas about ability and other ideals of embodiment, and that even the hyperbolic bodies one encounters in these Expressionist dramas can help readers to better understand processes of disablement. This project will also demonstrate that literary representations of disability are of importance for disabled and non-disabled persons alike because they reveal and critically engage various techniques that are used to categorize and assign value to all bodies in a society in which ideals of ability, beauty, and utility are used to assess the value of life.
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""You're Getting to be a Habit with Me": Diegetic Music, Narrative, and Discourse in "Bioshock"." Thesis, 2015. http://hdl.handle.net/10388/ETD-2015-09-2233.
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In 2K Games’ Bioshock (2007) the player, as the protagonist Jack, is thrown into a dystopian, futuristic alternate history of America. Rapture is an underwater city saturated in music: popular songs from the mid twentieth century; classical-style soundtrack pieces composed by Garry Schyman; characters humming, singing, whistling or playing instruments; musical vending machines; and even the sounds of whales and other creatures all participate in forming a textured soundscape. The songs from the 1930s - 50s used throughout Bioshock recall a real-world cultural environment—a popular music culture that is both comfortably recognizable yet strangely unfamiliar. They occur within the game world and are heard by the player and game characters, and thus the songs are diegetic or “screen music.” In Bioshock, such music is an explicit component of narrative production, game environment creation, and player immersion. Significantly, diegetic music participates in the construction of narrative through a constant interplay or negotiation with the video game’s other elements—visual, textual, ludic—and ultimately functions as a distinct discourse able to mediate for Jack/the player between contesting factors, via established conventional codes of musical, cultural, film, and now video game signification. Bioshock’s use of music initiates a pre-game discourse during installation and prior to every game session in the disc-loading scenes, and this musical discourse is continued throughout the narrative. The story’s opening and descent into Rapture further establishes and “naturalizes” the presence of diegetic music as part of the story being told, and as a vital component of the audio-visual environment enhances player immersion. At the same time, these opening instances and subsequent occurrences of diegetic music at significant points in the story demonstrate that music’s culturally encoded emotive potential produces ironic and poignant effects, while its lyrical intertextuality generates narratological and ludic commentary in various song/scene pairings.
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CHOU, JUI-CHEN, and 周銳宸. "Online Game Sound Diegetic for Players into Flow of Influence -"HearthStone: Heroes of Warcraft" as an Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/aj29ye.
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碩士世新大學
廣播電視電影學研究所(含碩專班)
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This research takes the《HearthStone: Heroes of Warcraft》 digital card game as an example to explore how the in-game sound design fits into the simple style of the game, and produces an excellent narrative context, allowing the players to enjoy an immersive experience, and creating a comfortable gaming environment that helps them ease into the game flow. The researchers identify three different aspects of the in-game sound design that significantly impact the players’ game flow experience, including the background music, sound effects, and voiceovers. Throughout 《HearthStone: Heroes of Warcraft》, all three of these aspects deliver their respective impacts in their own unique ways, while working together at the same time. In this study, we will examine from the perspective of Flow Theory how sound design can enhance overall game enjoyment, and ease the player into the game flow. This study uses the questionnaire survey method to determine the intensity of in-game flow experience, with a focus on measuring the “in-the-moment” experience, rather than relying on post-game recollection, as the two may have a significant difference in reliability. In order to avoid the possibility of players not being able to accurately recall their flow experience after the game, this study takes a purposive sampling approach, having 313 players fill out questionnaires immediately after their gaming session, reporting their experiences regarding narrative enjoyment and game flow. Based on the conclusions of this study, we can not only observe whether the players’ flow experience can be affected by in-game sound design, but also take an in-depth look at the effect of the various in-game sound elements on the gameplay experience, from the players’ point of view. We hope the results of this study can provide some insight to the gaming industry for the benefit of future in-game sound design, and also serve an enlightening role for further research in the field of in-game sound experiences.
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Karlberg, Christoffer. "Spatiala och Diegetiska Användargränssnitts Effekter på Känslan av Närvaro i VR-miljöer : En jämförande studie." Thesis, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17098.
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Denna studie har undersökt effekterna som spatiala och diegetiska användargränssnitt har på känslan av närvaro i VR-miljöer för att lokalisera fallgropar och bidra till att fastställa uppdaterade designkonventioner vid utveckling av VR-applikationer. Introduktionen ger en överblick över hur arbetet gått till och vad frågeställningen varit. I bakgrunden förklaras och definieras viktiga termer samt fokus för arbetet. Därefter beskrivs metoden som nyttjades under undersökningen. Två artefakter togs fram i samband med undersökningen. Utvecklingsprocessen av dessa artefakter beskrivs i kapitel 4: genomförande. Artefakterna kombinerades med semistrukturerade kvalitativa intervjuer och observationer för att samla in data till slutsatserna. Från datan som samlades in kunde det utläsas att det diegetiska användargränssnittet verkade ha en positiv inverkan på användarnas känsla av närvaro i VR-miljön samtidigt som det spatiala var lättare och effektivare att använda. Framtida forskning kan använda denna studie som stöd för att utforska användargränssnitt i fler genrer, användningsområden och applikationer inom VR.
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Smith, Barnabas Gregory. "Making the Virtual Actual: a research model to understand music of contemporary open-world video games." Thesis, 2019. http://hdl.handle.net/2440/122295.
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The global video game industry has in part achieved its ubiquitous cultural influence through the creation of increasingly realistic gameworlds. Of these, contemporary open-world games offer vast internal environments presenting complex narrative constructs and ever-higher production values, including music content. Research into these games has typically ranged from their characteristic technical design and storytelling attributes, to ethnographic studies of their gameworlds, through to commercially based evaluations of the games’ soundtrack content. Breaking new ground by merging these disparate lines of enquiry into a cohesive whole, the purpose of this study is to examine the music of open-world game soundscapes as sociocultural artefacts. This study seeks to offer a foundation for explaining the musical functions causal to the popularity of these games according to a research model that determines and separates the constitutive musical components of a gameworld’s soundscape into diegetic categories. These components are examined according to a tripartite model with a methodological basis in game music design principles, adopting a gameworld as a virtual ethnography fieldsite, and studies of game music in culture. This study takes Grand Theft Auto V as its focus in demonstrating an application of the proposed model. As an open-world game grossing more than any other form of media and featuring more musical content than any previous title of its series, it is shown that the proposed model does greater intellectual justice to the technical, aesthetic, and sociocultural sophistication of this artefact. The development and application of the proposed research model enables a shift of analytical approach in ludomusicology from an outside-in perspective to one of an inside-out nature. In addition to its application to other games, the offered model affords theorists and game designers a valuable analytical and conceptual tool to see the virtual music of a game as anchored in the actual world.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2019
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Ndebele, Vusisizwe N. "The subliminal and explicit roles of functional film music: a study of selected works by Hans Florian Zimmer." Thesis, 2011. http://hdl.handle.net/10539/10874.
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M. Mus. (Composition) by Coursework and Research, Faculty of Humanities, University of the Witwatersrand, 2011The aim of this Research Report is to highlight the overt and more subtle roles that contemporary film music plays in the final presentation of a film. An analysis of selected examples by the renowned film music composer, Hans Zimmer, illustrates the techniques and musical tools that he uses to achieve certain effects which influence the way different scenes are perceived by the viewer/listener. Much of the debate revolves around the degree to which the music plays either an obvious or less obvious role in the multi-media modality of film and the techniques that the composer applies to achieve his/her desired dramatic result. I have drawn on the writings of current film music theorists in order to interrogate the interaction between music and some of the other art-forms that coalesce in the creation of the final film product.
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Paredes-Olea, Mariana. "Procedural Realism in Computer Strategy Games." Master's thesis, 2009. http://hdl.handle.net/10048/690.
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Throughout the history of strategy games, the concept of realism has taken part of cultural discourses that claim such games reproduce dynamics of war. In this thesis, A. Galloways, I. Bogosts and C. Pierces work are used to construct the concept of procedural realism to support the thesis that strategy games build realist fiction based on the execution of game processes through the Heads Up Display interface. Discussion on the visibility of rules will draw attention to the extra-diegetic dimensions of games, to explore how these devices promote ideological approaches to the real. The form of realism found in computer strategy games is an example of Katherine Hayles regime of computation, where [c]ode is understood as the discourse system that generates nature itself (27). This worldview is also present in non-computational strategy wargames; however, analysis focuses on Real Time Strategy and Turn-Based Strategy games non-diegetic devices.Modern Languages and Cultural Studies
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Bazika, Tomáš. "Formanův Amadeus a role hudby ve filmové naraci." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435223.
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Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...